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Kinks Information
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'The Kinks' are a British rock group. They first gained prominence in the mid-1960s and became one of the most influential groups of British rock and the "British Invasion" of America, and today are credited as founding fathers of genres as diverse as Britpop and heavy metal. Originally consisting of lead singer/guitarist Ray Davies, lead guitarist Dave Davies, drummer Mick Avory and bassist Peter Quaife, the core of the group over the years has remained the brothers Davies. For a brief period in the mid-'60s, the band rivalled The Rolling Stones as the second most popular British group behind only The Beatles, but internal squabbles, conflicts with the music industry, and an untimely ban from touring the United States eroded their popularity on both sides of the Atlantic just as the group was reaching its artistic peak. They experienced popular fan revivals in the '70s and '80s but didn't regain the critical acclaim of their 1960's output.
History
Formation and first years (1963-1965)
The musically inclined Davies brothers were born in Muswell Hill, London in a large family. Ray Davies (b. Raymond Douglas Davies, 21 June 1944; vocals/guitar/piano) studied at Hornsey College of Art and gained an experience in music as a guitarist with the Soho-based Dave Hunt Band in 1963. Meanwhile Ray's brother Dave (b. 3 February 1947; guitar/vocals) and his schoolmate Pete Quaife (b. 31 December 1943, Tavistock, Devon, England; bass) formed a band. Soon after that they invited Ray to participate and Ray immiadately accepted. Like the Davies brothers Quaife played guitar, but switched to bass. By the summer of 1963 the band had decided to call themselves 'The Ravens' and had recruited a drummer Mickey Willet. Eventually a demo type landed in the hands of Shel Talmy - notorious American record producer, who helped them land a contract with Pye Records in 1964. Before signing to the label, drummer Willet left the band. The band saw an advertisement on the magazine Melody Maker of drummer Mick Avory, who had a short tenure as a performer with then-fledging peers Rolling Stones, they searched him out and he became the group's drummer. In the first couple of months however Talmy hired more experienced drummers like Bobby Graham and Clem Cattini to handle studio work, while Mick was on additional percussion and fleshing his skills. After their first couple of albums, Avory played on most of the Kinks material in the next 20 years.
The first single "Long Tall Sally" was a cover of Little Richard as The Beatles covered it with enormous success. The Kinks' version was overlooked and failed to chart. Nevertheless, the band received a a lot of publicity through the efforts of their managers Robert Wace, Grenville Collins and ex-50s showbiz star Larry Page. Their second single "You Still Want Me" also failed and the band were warned by Pye that future mistakes would result in their being dropped from the label. The third single had to be successful, but nobody suspected that "You Really Got Me" would crack the charts. It shot to No.1 in the UK and in top 10 in US, boosted by an excellent performance on the UK television show Ready, Steady, Go!. With a loud, distorted guitar riff (achieved, according to legend, by Dave Davies sticking knitting needles into his amplifier) "You Really Got Me" helped launch hard rock. It was also even recorded by Jimmy Page of Led Zeppelin. "All Day and All of the Night," the group's fourth single, was released late in 1964 and it rose all the way to No. 2; in America, it hit No. 7.
The group continued to record with three albums and several EPs in 2 years, coming under the belt. They also performed and toured relentlessly, which caused much tension within the band. At the conclusion of their summer 1965 American tour, the Kinks were banned from re-entering the United States by the American Federation of Musicians Union, after ugly conflicts with the American tour promoters over money and performance venues. For four years, the Kinks were prohibited from returning to the U.S., which not only meant that the group was deprived of the world's largest music market, but that they were effectively cut off from the musical and social upheavals of the late 60s. Consequently Davies' songs grew more introspective, relying more on English influences such as music hall and English folk, than the rest of his British contemporaries. At this time, Davies also became embroiled in bitter legal disputes with the band's management and with his music publishing company that would drag on through the rest of the decade. Some legendary onstage fights erupted during this time as well. In the most notorious incident, at The Capitol Theatre, Cardiff, Wales in 1965, the normally placid drummer Avory hit Davies with his drum pedal, in reprisal for Davies kicking over his bass drum as revenge for a drunken fight the previous night in Taunton, apparently won by Mick. He then fled into hiding for days to avoid arrest for Grievous Bodily Harm.
The band's stylistic changes were first evident in late 1965, with the appearance of "A Well Respected Man", "Dedicated Follower of Fashion", and the album The Kinks Kontroversy. These demonstrated the progression in Davies' songwriting from hard driving rock numbers towards social commentary, observation, and idiosyncratic character study, all with an increasingly English flavour. The satiric single "Sunny Afternoon" was the biggest hit of the summer of 1966 in the U.K., topping the charts. Prior to its release, Davies suffered a nervous and physical breakdown from the pressures of touring, writing, and ongoing legal squabbles, and spent several months recuperating and writing new songs. Quaife was also forced to leave the band for much of 1966 after an automobile accident. He was briefly replaced by the future full-time bass player John Dalton. Qauife returned the end of end of the year, fully recovered.
"Golden Age" (1966-1972)
"Sunny Afternoon" was a dry run for the band's great Face to Face. One of the first concept albums, Face to Face displayed Davies' growing skill at crafting gentle yet cutting narrative songs about everyday life and people. The great social comment single "Dead End Street" was released at the time of Face to Face, and became another big U.K. hit. In May 1967, they returned with one of the greatest Davies' songs - "Waterloo Sunset" - a simple but emotional tour de force with the melancholic singer observing two lovers (many have suggested actor Terence Stamp and actress Julie Christie, but Davies denies this) meeting and crossing over Hungerford Bridge in London.Released in the autumn of 1967, the excellent songs on the album Something Else By The Kinks continued the musical progressions of Face to Face, but without the stronger thematic consistency of that album. Dave Davies also scored major chart success with "Death of a Clown", cowritten with Ray and recorded by the Kinks, but released as a Davies solo single.
Although the band grew tremendously in a mere couple of years, their coping in the charts was lackluster, as the tastes of the pop world began to change. After the weak reception of Something Else, the Kinks rushed out a new single, "Autumn Almanac," which became a big U.K. hit. But "Wonderboy", an ill-considered single released in the spring of 1968, was the band's first not to "make it" to the Top Ten, stalling at No. 36. Throughout 1968, Davies doggedly continued to pursue his deeply personal songwriting style, at the same time rebelling against the heavy demands placed on him to keep producing commercial hit singles. Thereafter The Kinks released the classic "Days", which recaptured a bit of the audience and made No. 12 in the summer of 1968, but the band's lack of success was clear by the failure of The Kinks Are the Village Green Preservation Society, released in the autumn of 1968. A brilliant collection of thematically-related vignettes assembled from songs written and recorded over the previous two years, the album lacked a commercial single and was sorely out of touch with the social and psychedelic music popular at the time. While commercially unsuccessful, it was well-received by the new underground rock press, particularly in the U.S., where the Kinks' status as a cult band began to grow. Village Green is now considered as one of the best records of that time.
Original bassist Peter Quaife grew tired of Ray Davies' dominant role and lack of commercial success, and resigned in March 1969. He was swiftly replaced by John Dalton. Dalton had temporarily replaced Quaife due to his injury in 1966 but was now a permanent part of the band. The American ban upon the band was finally removed and the band was free to tour the U.S. after four years absence. The early US shows were held in small venues (such as the Fillmore East), and reportedly were rather disorganized and chaotic, as the band had to adapt to a concert scene that had changed radically in their absence. It took several years of extensive touring in the US between 1969 and 1972 before the band developed a disciplined stage act that would generate positive reviews and draw crowds to medium and larger size concert venues.
Before their return to the US, the Kinks released Arthur (Or the Decline and Fall of the British Empire). As previous two albums, Arthur was soaked with British lyrical and musical hooks, having been conceived as the score for a proposed television drama. It was a modest commercial success, and was particularly well-received by music critics in America, where it was very favourably compared to the contemporary album Tommy by the Who, even lauded as superior in some prominent articles. While the band were recording the follow-up to Arthur, they became a five-piece included in their lineup to include keyboardist John Gosling, whose debut with the band was on "Lola" - a satiric account of a confused meeting with a transvestite, that cracked the charts in both the U.K. and the U.S. The album Lola versus Powerman and the Moneygoround, Part One was their most successful since the mid-'60s in both sides of the Atlantic, helping them to become a highly regarded stage act, and spawned the group's final UK Top 10 hit "Apeman". In 1971 the band released Percy, a soundtrack album to a film of the same name. It is generally regarded as a lesser Kinks effort, and the band's US label Reprise declined to release it in America, precipitating a major dispute that contributed to the band's departure from that label.
In 1971 the band's contracts expired with Pye and Reprise. Before the end of the year, the Kinks signed a five-album deal with RCA Records, receiving a million dollar advance. This helped them construct their own recording studio "Konk" and have bigger control over the output. Their debut album for RCA, Muswell Hillbillies - a brilliant piece of work, that recalled of the band's late-'60s albums, though with more country and music hall influence. Although it was one of their finest albums, it failed to be a commercial success. A few months after the release of Muswell Hillbillies, Reprise released a double-album compilation called The Kink Kronikles, which outsold their RCA debut.
After that the band released Everybody's in Showbiz (1972) - an excellent double set consisting half of studio tracks (most prominently the amazing ballad "Celluloid Heroes" and the catchy "Supersonic Rocket Ship", their last UK Top 20 hit for over a decade) and another of live recordings. The album was a commercial failure in the U.K., but more successful in the U.S.
Failure of rock operas (1973-1976)
In 1973, Ray Davies dove headlong into the theatrical style, with a rock opera called Preservation, a more ambitious outgrowth of the earlier Village Green Preservation Society. In conjunction with this project, Davies expanded the Kinks' lineup to include a horn section and female backup singers, essentially reforming the group as a theatrical troupe. But Davies also suffered serious drug and marital problems during this period which adversely affected the band. Coupled with Avory and Dave's alcoholic abuse and the latter's lack of enthusiasm for the theatrical style, the band's recorded and live output remained uneven, and their popularity eroded.
When the first part - closer in spirit to vaudeville than to opera - was released in late 1973, it received generally poor reviews, though its live performances fared better with the critics. Act 2 appeared in the summer of 1974, facing similar reception. Davies began another musical, Starmaker, for the BBC; the project eventually metamorphosed into Soap Opera, which was released in the spring of 1975. In 1976, the Kinks recorded the final theatrical work, Schoolboys in Disgrace. Compared with the previous three albums, the songs on Schoolboys were more independent from the album's concept, and they were harder than any of the RCA albums. From critical point of view, the theatrical concept albums now are viewed as rather self-idulgent, over-ambitious records, essentially a bridge between the next incarnation of the band.
Much of the improvement on Schoolboys was due to the bands' considerable growth as musicians: Dave Davies showed a dramatic emergence as an excellent, modern rock guitarist, and Mick Avory fleshed out his skills and become powerful and first-class drummer. At this time Ray also completely kicked his drug and alcoholic addictions, and with renewed energy started writing excellent mainstream rock songs again.
In 1976, the Kinks signed with Arista Records. With the encouragement of label's management, they recasted themselves back into a commercial rock group, stripping down to the five-person core group and jettisoning the extra personnel from the theatrical phase. Essentially, they abandoned the experimentation of the previous decade (both brilliant and otherwise), and picked up where they had left off in late 1965. Rock in general was in a back-to basics trend at this time, spearheaded by the Punk movement and the emergence of late 1970s "supergroups"; ironically, one the biggest of these, Van Halen, achieved their breakthrough with a powerful remake of "You Really Got Me", which in turn greatly boosted The Kinks' resurgence. With Davies' renewed creativity the band consequently bounced back on the record charts.
Bouncing back to the charts (1977-1984)
Before completing their fist Arista album, John Dalton left the band and was replaced by Andy Pyle. Sleepwalker cracked the charts in U.S. As the band were finishing touches on the follow-up to Sleepwalker, Pyle left the group and Dalton returned to the fold. Their second album Misfits, was also successful in U.S., although its recording was marred by the ever-present internal discord. After the band ended a British tour, Dalton left the band this time finally, along with keyboardist John Gosling. Ex-Argent bassist Jim Rodford and (with a short service by Gordon Edwards) keyboardist Ian Gibbons completed the line-up. Despite the personnel changes, the group's recording and concert success continued to grow. With their well-honed stage craft and great repertoire, they were again beginning to play large sell-out concerts again in the United States.
During this time punk bands like the Jam ("David Watts") and the Pretenders ("Stop Your Sobbing") and heavy metal acts like Van Halen ("You Really Got Me") made successful covers of Kinks songs in the late 1970s, that boosted their fame. In the same time this helped the popular and saleable status of the band - they became more commercially successful with each release, reaching peak in the hard and punk rock sounds of Low Budget (1979) - the group's biggest American success, cracking at number 11. Davies' wry songwiting skills hit their second commercial peak, as he crafted intellegent, polished, and commercially appealing songs like "Pressure", "A Little Bit of Abuse", "Catch Me Now I'm Falling", and the minor hit "(Wish I Could Fly Like) Superman". A live album (their third) and video, "One for the Road", followed in 1980, and its success pushed their concert drawing power to a peak between 1981 and 1983. Dave Davies also took advantage of the group's improved commercial standing to fulfill his decade-long solo ambition, releasing a series of well-received albums on his own.
Their next album, Give the People What They Want, was released in late 1981 and reached number 15 in US; the record attained gold status. They spent the better part of 1982 in touring. In Spring 1983, the swing-flavoured "Come Dancing" became their biggest American hit since "Tired of Waiting for You", owing to the video's continuing telecast on MTV; it reached number 6 and number 12 in US and UK, respectively. The anthemic album State of Confusion followed and it was another commercial success and number 12 in the US. At this time Ray Davies also became romantically involved with Pretenders leader Chrissie Hynde, herself a longtime Kinks fan, resulting in the birth of a daughter.
The Kinks' second wave of popularity effectively peaked with State of Confusion in 1983, but both internal and external factors would soon begin to undermine them. An influx of new, fresh talent and styles into popular music at this time effectively muted the early 80s resurgence of many of the classic acts (including fellow UK acts such as David Bowie, the Who and even the Rolling Stones). Bands more or less influenced by the Kinks like U2, the Smiths, The Jam and Duran Duran were topping charts and raised to stardom. Also, the concert market for Kinks shows in the US had largely been played out by a decade of almost non-stop touring. But the internal strife in the group reached a critical point now, too.
The second half of 1983, Ray Davies started working on a ambitious solo film project, Return to Waterloo, which strained much the relationship with his brother. Also fuel to the fire added the stormy relationship end between Davies and Chrissie Hynde. The band were feuding and working and personal relationships between the brothers and Dave and Mick were maligned. Finally, this took a heavy toll when Ray Davies' best friend of the band - the quiet drummer Mick Avory left. It is hard to understate Mick's tight and steady drumming and immerse contribution to the band, who never ceased to support the band for two decades. His relationship with Dave had reached a breaking point, reportedly the latter didn't want to work with Mick and unwillingly Ray had to chose side; so with an agreement with Ray, the group's longest serving member and drummer assumed a management position at Konk Studios. Jim Rodford proposed his ex-Argent colleague - Robert "Bob" Henrit and since Henrit also played with Dave Davies on a couple of his solo records, he was the obvious choice.
By the time Ray finished production work on Return to Waterloo and Avory's departure, who still provided drums on three tracks, the band recorded and released the album, Word of Mouth in late 1984. It was similar to the last few Kinks records, but the songs lacked the heart, cleverness, and quality of the previous albums, making it a commercial failure. It was also partially due to the rhythm section of the album, whereas backed up by the talented and skilled Avory, in Word of Mouth was quite messy as ¹/³rd of the tracks were done with Mick, another with Henrit and another by drum machine. Intense squabbles over track selections for the album further strained the Davies brothers' working relationship. Following this album, the Kinks seemed to lose a creative edge that they never fully recovered, and they never again made it to the Top 40.
Fall in popularity (1985-1996)
Word of Mouth was their last album for Arista Records. In early 1986, the group signed with MCA Records in the United States, London in the UK. Their first album for the new label Think Visual (1986) was a mediocre success, but with no hit singles. The band followed this in 1987, with another live album, titled The Road, which was also mediocre commercial and critical success. In 1989, the Kinks released UK Jive - a commercial and critical failure. Because of this their label dropped them out and the same year, longtime keyboardist Ian Gibbons left the group, disappointed with the lack of success.
In 1990, the Kinks were inducted into the Rock & Roll Hall of Fame, their first year of eligibility, and Avory and Quaife were present as well. The induction however did not bring back to life their stagnated career. In 1991, a compilation of the best of their material from the MCA records-period, Lost & Found (1986-1989), arrived and their contract ended. Thereafter the band signed with Columbia Records and released an EP called Did Ya, which didn't chart at all. Gibbons rejoined in 1993 and The Kinks' first album for Columbia, Phobia was released in 1993 and was well critically accepted, but yet again a commercial failure. The album suffered from lack of promotion (the public still perceiving the Kinks as a 60s act). A prime example was "Scattered', as good a song as Davies has ever written, which when released was totally ignored apart from a few pro-Kinks radio broadcasters. Following this in 1994, the group was dropped by Columbia, leaving the band to release the double live set To the Bone, which consisted of effective new treatments of many of their old hits, on independent labels in the UK and the US. (The US version of the album was substantially longer than the original British edition.)
After the Hall of Fame induction, the Kinks decided to make some moves in the 'unplugged" direction and softened their live performances, giving sensitive treatment to little-played songs from their early career (such as "Days"). The band's name and profile considerably rose in the mid 1990s, mainly due to the rock-boom Britpop at this time. Several of the most prominent bands of the decade, including Blur, Pulp, Suede and Oasis, acknowledged the Kinks as a major influence on their careers. Particularly Blur frontman Damon Albarn and Oasis' chief songwriter Noel Gallagher both have stressed that the Kinks are one of the bands that made biggest impact on their songwriting as well as their developing as artists and musicians and respective bands' careers. Ray Davies also took his role and acted as the bands' "godfather", while promoting his autobiography, "X-Ray", published in early 1995, while the hysteria was at the peak in the UK. Dave Davies responded with his "Kink", published in the spring of 1996.
Split and solo work (1997-present)
The Kinks performed together for the last time in late 1996. The working relationship between the Davies brothers seemed to have broken down completely in early 1997. Talk of a Kinks reunion has circulated (including an aborted reunion of the original band members in 1999), but both Ray and Dave Davies have shown tepid interest in playing together again. One of Ray's projects has included a symphony commissioned by the Norfolk and Norwich Festival, and regular touring with his own backup band. Dave also toured and released solo work since the Kinks' demise. Ray was awarded a CBE (the rank below Knighthood) by Queen Elizabeth II in 2004, for "services to music". A number of the Kinks' former supporting players, such as John Dalton, John Gosling and Mick Avory, also perform in Europe and the UK as the "Kast-Off Kinks". Ray also has been working a new album for years. Called Other People's Lives, it is scheduled for early 2006 release. He embarked on another tour in October 2005.
Both Davies brothers suffered injuries in 2004. On January 4, Ray was shot in the leg while chasing thieves who had snatched the purse of his companion in the French Quarter of New Orleans. Dave suffered the more serious one in June 30 when he had a bad stroke in an elevator at the London offices of the BBC, where he had been promoting his latest solo album, Bug, he was hospitalised and released on August 27.
Ironically, Dave's stroke has caused a reconcilliation, with Dave reportedly working closely with his older brother to regain his guitar skills. It seems that the two brothers are back to having a good relationship - something considered abnormal for two decades. "I'm spending lots of time with Dave," said Ray. "I'm coaching him along as best I can to re-learn the guitar. Actually, we're getting along better than ever. As soon as he can play guitar again, then it's back to the old hatred," he added, laughing, "It's the only thing that lasts." On this Dave responded jokingly on his web-site that it sounds like him "giving songwriting lessons to Ray".
Apparently, when Dave's stroke occurred, the two brothers were seriously considering a reunion to coincide with the 40th anniversary of their first number one hit "You Really Got Me". It remains to be seen if this reunion will come to fruition, due to Ray's tight touring schedule behind his new album and the on-going recovery of his brother.
Influence
The Kinks were never as commercially successful as their peers The Beatles, Rolling Stones, The Who or Led Zeppelin, mostly because of the internal squabbles and Ray Davies' fierce creative disdain of commercial musical trends that were imposed by record labels. Nevertheless, they are cited as one of the greatest and most influential acts and the quality of their finest material remains unquestionable. Their best albums like Face to Face, Something Else, Arthur, The Kinks Are the Village Green Preservation Society, Lola and Muswell Hillbillies are unique exemples of literate and creative pop music. The band also experienced acclaimed revivals in the late-70s-early-80s with some highlight albums back then.
The amount of acts the band has influenced vary from hard rock and heavy metal acts to the alternative rock Britpop movement with most of the acts owing much to the Kinks and Ray Davies' amazing songwriting skills. As self-professed Kinks fan Pete Townshend said, "The Kinks were much more quintessentially English. I've always thought of Ray Davies as one Davies poet laureate. He invented a new kind of poetry and a new kind of language for pop writing which I think influenced me from the very very beginning."
Whether or not, Ray Davies can keep the band as a going concern, he has put his mark on rock music as one the best, most prolific and perceptive songwriters of our time. His catalogue of songs is one of the finest available, and he remains one of the most acute observers of the quirks and eccentricities of ordinary life.
Line-ups
The band changed many line-ups during the years, with Davies brothers and Avory remaining for most part of the band's history. However Ray explained that he doesn't fire bandmembers, rather than they leave: "I'd never fired anyone before. When someone in the nucleus of the band goes, I get upset... but now I'm used to people leaving me, I expect it every day."
1964-1984
*Vocals, rhythm guitar, songwriting: Ray Davies
*Lead guitar, backing vocals, occasional songwriting & lead vocals: Dave Davies
*Drums: Mick Avory
'Bass guitar (1964-1984):'
*Pete Quaife (1964-1969)
*John Dalton (1966;1969-1976;1978)
*Andy Pyle (1976-1978)
*Jim Rodford (1979-1996)
'Keyboards (1970-1984):'
*John Gosling (1970-1978)
*Gordon Edwards (1978-1979)
*Mark Haley (1989-1992)
*Ian Gibbons (1979-1989,1993-1996)
1984-1996
*Vocals, Rhythm Guitar, Keyboards, Songwriting: Ray Davies
*Lead guitar, Harmony and back vocals: Dave Davies
*Bass guitar: Jim Rodford
*Drums: Bob Henrit
*Keyboards: Ian Gibbons (/1989-1993/)
*Production and Management: Mick Avory
Discography
'Studio Albums'
#The Kinks (Released in the US as You Really Got Me), 2 October 1964
#Kinda Kinks - 5 March 1965
#The Kink Kontroversy - 26 November 1965
#Face to Face - 28 October 1966
#Something Else By The Kinks - 15 September 1967
#The Kinks Are the Village Green Preservation Society - 22 November 1968
#Arthur (Or the Decline and Fall of the British Empire) - 10 October 1969
#Lola versus Powerman and the Moneygoround, Part One - 27 November 1970
#Muswell Hillbillies - 24 November 1971
#Everybody's in Show-Biz (2CD) - August 1972
#The Great Lost Kinks Album 1973
#Preservation Act 1 - December 1973
#Preservation Act 2 - June 1974
#Soap Opera - March 1975
#Schoolboys in Disgrace - November 1975
#Sleepwalker - February 1977
#Misfits - May 1978
#Low Budget - July 1979
#Give the People What They Want - August 1981
#State of Confusion - May 1983
#Word of Mouth - November 1984
#Think Visual - 1986
#UK Jive - 1989
#Phobia - 18 March 1993
'Lives and Compilations'
*Live at Kelvin Hall - 12 Jan 1968 (recorded January 1967)
*The Kink Kronikles - 1971
*One for the Road - 1980
*Come Dancing With The Kinks - 1986
*Live: The Road - 1987
*Lost and Found (1986-1989) - (1991)
*To the Bone - 1994 (UK), 1996 (US)
indicates partially live album
'Hit Singles'
* August 4, 1964 "You Really Got Me" #1 UK, #7 US
* October 23, 1964 "All Day And All Of The Night" #2 UK, #7 US
* January 15, 1965 "Tired Of Waiting For You" #1 UK, #6 US
* March 19, 1965 "Ev'rybody's Gonna Be Happy" #17 UK
* May 21, 1965 "Set Me Free" #9 UK, #23 US
* July 30, 1965 "See My Friend" #10 UK
* August 14, 1965 "Who'll Be the Next in Line" #34 US
* November 19, 1965 "Till The End Of The Day" #8 UK, #50 US
* January, 1966 "A Well Respected Man" #13 US
* February 25, 1966 "Dedicated Follower Of Fashion" #4 UK, #36 US
* June 3, 1966 "Sunny Afternoon" #1 UK, #14 US
* November 18, 1966 "Dead End Street" #5 UK, #73 US
* May 5, 1967 "Waterloo Sunset" #2 UK
* July 1, 1967 "Mr. Pleasant" #80 US
* October 13, 1967 "Autumn Almanac" #3 UK
* April 5, 1968 "Wonderboy" #36 UK
* June 28, 1968 "Days" #12 UK
* March 28, 1969 "Plastic Man" #31 UK
* December 12, 1969 "Victoria" #33 UK, #70 US
* June 12, 1970 "Lola" #2 UK, #9 US
* November 20, 1970 "Apeman" #5 UK, #45 US
* May 5, 1972 "Supersonic Rocket Ship" #16 UK
* April 2, 1977 "Sleepwalker" #48 US
* July 22, 1978 "A Rock 'N Roll Fantasy" #30 US
* April 28, 1979 "(Wish I Could Fly Like) Superman" #41 US
* August 30, 1980 "Lola (Live)" #81 US
* October 31, 1981 "Destroyer" #85 US
* November 28, 1981 "Better Things" #46 UK, #92 US
* November 19, 1982 "Come Dancing" #12 UK, #6 US
* August 20, 1983 "Don't Forget to Dance" #58 UK, #29 US
* December 22, 1984 "Do It Again" #41 US
* January, 1997, The Days EP #35 UK
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