(Credits: Far Out / Ray Davies)
Sat 8 November 2025 15:00, UK
Ray Davies is probably one of the most misunderstood musicians in all of history.
Taking a look at some of his best material, from The Village Green Preservation Society to Face to Face, it’s easy to see why. From humble beginnings to a sonic vision that captured the complexities of British nationalism and the spirit of the counterculture scene, Davies’ explorations have always been highly sophisticated and intellectual, twisting the dark hues of nostalgia and longing into bigger, world-building concepts that take time to really sink in.
This was especially the case with Village Green, a flop upon initial release. But Davies had long been pouring British-specific experiences into his music, especially through the 1960s, when there were several distinctive changes that coincided with the British Invasion. On The Kink Kontroversy, which might’ve been more forgettable without the few that signalled the later focus Davies would come to master, he captured some of his familiar gripes with the local scene around him in ways people will likely still relate to.
What might have surprised some at the time, however, was how some of the songs seemed starkly different to the version of the Kinks they’d come to know and love. To many, they were the raw-sounding, punchy rock group that brought songs like ‘All Day and All of the Night’ and ‘You Really Got Me’. But then came a song like ‘Dedicated Follower of Fashion’, a song Davies credited with being one of his darkest pieces and borne out of his disdain for someone who once made fun of his choice of attire.
The main feature of ‘Dedicated Follower of Fashion’ was how scathing the song seemed, talking about a man who “does his little rounds / ‘Round the boutiques of London town / Eagerly pursuing all the latest fads and trends / ‘Cause he’s a dedicated follower of fashion”. Capturing the fashion explosion, especially in places like Carnaby Street, and how outrageous some of it had become, Davies made the entire circus seem a bit ridiculous – likely because it initially came from a bitter place.
As he later explained, “I got pissed off with [a fashion designer] always going on about fashion. I was just saying you don’t have to be anything; you decide what you want to be and you just walk down the street and if you’re good the world will change as you walk past. I just wanted it to be the individual who created his own fashion.”
Knowing this, it’s easy to see the whole thing as an attack on those who follow fashion like there’s nothing else worth being invested in. However, there’s another element he ensured was in there too – the comedic aspect – which softened the blow and made it sound more like a lighthearted reflection on the entire scene than a complete diss.
During an interview with Magnet, Davies elaborated, “There’s a lot of venom in that song. You don’t have to be in Metallica to write venom. It’s as venomous as satanic heavy metal, but it’s done with humour.”
This was often Davies’ game, and another reason why he’s one of the most misunderstood musicians in all of history. It’s also why many of the records contain sleeper hits, and why many of their themes failed to land upon first release, but which gained broader appreciation much later on. They’re packed with an immense amount of intellect, with a cultural and social density that evades easy black and white descriptions.
Songs like ‘Dedicated Follower of Fashion’ might have been “venomous”, but the listening experience is starkly different. And that’s one of the main reasons why Davies’ material lasts – it shifts and changes while remaining rooted in one place.
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