Английская Википедия:Big Sky (song)

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Шаблон:Good article Шаблон:Short description Шаблон:For multi Шаблон:EngvarB Шаблон:Infobox song

"Big Sky" is a song by the English rock band the Kinks. Written and sung by Ray Davies, it was released in November 1968 on the album The Kinks Are the Village Green Preservation Society. While Davies has typically avoided providing a direct answer on the song's meaning, commentators often interpret it as describing God as unsympathetic towards the problems of humans.

Davies composed the song in January 1968 in Cannes, France, after watching people walk beneath the sunrise from his hotel balcony. The Kinks recorded it in October 1968, making it among the last songs recorded for Village Green. Davies' lead vocal alternates between singing, speaking and harmonising with his brother, Dave, while his wife, Rasa, contributes a wordless falsetto harmony. Though Ray Davies later disparaged his vocals and the song's production, contemporary reviewers and retrospective commentators have described it in favourable terms, highlighting its songwriting, while disputing its level of thematic cohesion with the other songs on Village Green. It is one of only two songs from the album that the Kinks performed live, including it in their set list from its release through 1971. Yo La Tengo and Matthew Sweet have each covered the song. Шаблон:TOClimit

Background and composition

The Carlton Hotel at sunset.
The Carlton Hotel in Cannes, France (pictured 2004), where Ray Davies composed the song

Ray Davies composed "Big Sky" in January 1968 while visiting Cannes, France.[1] At the request of his song publisher, Davies was attending the second annual MIDEM Music Publishers Festival, an international music industry convention, hoping it would help boost his position in the record industry.Шаблон:Sfn He later recalled watching the sunrise from his balcony at the Carlton Hotel: "I spent an evening with all these people doing deals. The next morningШаблон:Nbsp... I watched the sun come up and I looked at them all down there, all going out to do their deals. That's where I got the 'Big Sky looking down at all the people' line. It started from there."Шаблон:SfnШаблон:Refn Davies later stated that watching the businessmen from his hotel made him imagine "a being somewhat bigger than all the hustlers around me,"[2] but that rather than dealing with his dissatisfaction of the music business, the resulting lyrics are instead "more about the struggle of ordinary human beings surviving in the modern world."Шаблон:Sfn

Commentators have often interpreted the lyrics of "Big Sky" as relating to God,[3] though when asked directly, Davies has typically avoided providing a direct answer.Шаблон:Sfn In a 1968 interview with Melody Maker, he denied that the "Big Sky" of the lyrics was God and instead said it referred only to "a big sky".[4] Author Johnny Rogan finds Davies' comment both "reductive and obtuse" and suggests he was hesitant to discuss any potential theological theme due to fears of being misinterpreted.Шаблон:SfnШаблон:Refn In a 2015 interview, Davies suggested the song's central meaning related to the triviality of personal problems when compared with the issues of the world at large.Шаблон:Sfn Author Andy Miller suggests the term "Big Sky" may have been influenced by the 1952 Howard Hawks film, The Big Sky,Шаблон:Sfn while critic Paul Williams suggests Davies drew the lyrics thematically from the 1897 short story "The Open Boat" by Stephen Crane.Шаблон:Sfn

Most authors write that the song describes God as unsympathetic to the problems of humans and too preoccupied to interact with them,[5] heard in the line, "People lift up their hands and they look up to the big sky / But big sky is too big to sympathise'."Шаблон:Sfn Author Thomas M. Kitts writes that the song's lyrics attempt to resolve humans' suffering and their relationship with God, and that its central theme relates to "the smallness of human action in the overall scheme of a vast universe and divine indifference".Шаблон:Sfn He writes that the singer takes consolation at Big Sky's indifference, as in the line, "When I think that the world is too much for me / I think of the Big Sky and nothing matters much to me."Шаблон:Sfn Miller similarly writes the song finds solace in the indifference of God, since compared to the Big Sky, humans' issues are small.Шаблон:SfnШаблон:Refn Author Christian Matijas-Mecca describes "Big Sky" as an example of introspective rock music that began appearing post-psychedelia, writing that the singer's detachment from both society and himself is channelled into "a hoped-for state of being".Шаблон:Sfn

Recording and release

"Big Sky" was among the last tracks recorded for The Kinks Are the Village Green Preservation Society. The Kinks recorded it in October 1968 during a series of sessions meant to increase the album from twelve to fifteen songs.Шаблон:SfnШаблон:Refn Due to the nine-month gap between its writing and recording, Miller suggests that Davies may have initially intended to keep the song for a solo album, but that once plans for a possible solo project had dissolved, he instead opted to include it on Village Green.Шаблон:Sfn

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The band recorded "Big Sky" in Pye Studio 2, one of two basement studios at Pye Records' London offices.Шаблон:Sfn Davies is credited as the song's producer,Шаблон:Sfn while Pye's in-house engineer Brian Humphries operated the four-track mixing console.[6] It features Davies on lead vocal, alternating between singing and speaking;Шаблон:Sfn Davies interpreted the spoken section as being "like the voice of God",Шаблон:Sfn while his brother, Dave Davies, later suggested he was impersonating American actor Burt Lancaster.Шаблон:SfnШаблон:Refn Other vocal contributions include a shared harmony vocal between the brothers, as well as a wordless falsetto harmony from Ray Davies' wife, Rasa Davies.Шаблон:Sfn For the instrumentation, Dave plays what Kitts describes as a "muscular, hard-pushing guitar riff", alongside the "forceful drumming" of Mick Avory.Шаблон:Sfn

Pye released Village Green in the United Kingdom on 22 November 1968,Шаблон:Sfn sequencing "Big Sky" on side one between "Last of the Steam-Powered Trains" and "Sitting by the Riverside".Шаблон:SfnШаблон:Refn Reflecting in 1984, Ray Davies expressed that "Big Sky" was one of his favourite songs, though he was unsatisfied with the finished recording,Шаблон:Sfn finding his vocal performance and the production wanting.Шаблон:Sfn

Critical reception

Contemporary reviews

While Village Green generally went unnoticed by contemporary critics and listeners,[7] the founder of Crawdaddy magazine, Paul Williams, published an influential guest-review in the 14 June 1969 issue of Rolling Stone magazine.[8] In it, he declares Davies a genius,Шаблон:Sfn further writing that "[h]earing 'Big Sky' on this new album, I know we'll get along just fine."Шаблон:Sfn He singles out the line, "I think of the big sky and nothing matters much to me", describing it as an experience he has shared.Шаблон:Sfn In the April 1969 edition of The Village Voice, critic Robert Christgau characterises "Big Sky" as "an acrimonious anti-religious song which exemplifies fictional song technique", and that it achieves the difficult task of writing a song that says, Шаблон:"'God is horrible because he lets people suffer.Шаблон:'"Шаблон:Sfn

Retrospective assessment

In a retrospective assessment, critic Rick Clark of the All Music Guide (now AllMusic) describes "Big Sky" as one of Village GreenШаблон:'s highlights,Шаблон:Sfn and author Andy Miller praises the song in laudatory terms, designating it the creative peak of the album while comparing it to the best work of Lennon–McCartney and Bob Dylan.Шаблон:Sfn He disputes Davies' disparagement of the song's production, finding it instead, "perfectly balanced", "scintillating in design and execution" and "some of the most beautiful, thunderous music [the Kinks] ever recorded".Шаблон:Sfn He concludes it marks the end of Davies' creative peak, a period he determines began in 1966 with "Sunny Afternoon".Шаблон:Sfn Kitts finds Miller's assessment excessive, but suggests the song is among the best of those dealing in similar themes, such as John Lennon's 1971 song "Imagine".Шаблон:Sfn Author Nicholas Schaffner describes the song as "the closest [Davies] ever came to a theological statement",Шаблон:Sfn while Mendelssohn characterises it as "probably the most cogent expression of the precept that religion is the opiate of the people in rock history."Шаблон:Sfn

Author Olga Ruocco connects the song lyrically to Davies' 1967 song "Lazy Old Sun" – recorded for the band's previous album, Something ElseШаблон:Sfn – a connection Rogan also makes, suggesting that both songs employ a similar method of lyrical pondering.Шаблон:Sfn Critic Rob Sheffield compares "Big Sky" to another of Davies' 1967 songs, "Waterloo Sunset", writing that it transports the listener to "an equally unforgiving country locale" with a sense of resignation that is "almost mystical".Шаблон:Sfn Kitts further suggests that the resignation of the singer hints at a death wish, something he relates to other songs on Village Green, like "Johnny Thunder", "Phenomenal Cat" and "Sitting by the Riverside".Шаблон:Sfn

Author Clinton Heylin describes "Big Sky" as a "choice cut", being a major statement on Davies' part and an indication that he "could not suppress a more autobiographical view of the world." However, he criticises the song for departing from the album's concept, having more in common with the themes of the Kinks' next two albums and "[sending it] some place that was more Muswell Hill than village green".Шаблон:SfnШаблон:Refn Miller likewise views the song as a departure from Village GreenШаблон:'s central themes of memory and desire,Шаблон:Sfn and Morgan Enos of Billboard magazine writes it deals in "heavenly" concerns where the rest of the album is largely "terrestrial".Шаблон:Sfn By contrast, Kitts finds that, though "Big Sky" and "Last of the Steam-Powered Trains" were not recorded until late in the album's production, both "now seem indispensable to the concept of Village Green."Шаблон:Sfn He writes that while "Big Sky" deals less in specific characters than in larger "statements and questions",Шаблон:Sfn it fits into the album through its themes of "contemplation" and "yearning for understanding".Шаблон:Sfn Jem Aswad of Variety magazine instead sees the song as another of the album's "vivid" character studies, with its central character being "the almighty",Шаблон:Sfn and author Mark Doyle writes that though several of the album's characters do not seem to directly interact with one another, "it is easy to imagine them all coming together under the benevolent (but non-interventionist) 'Big SkyШаблон:'".Шаблон:Sfn

Other versions

"Big Sky" is one of two tracks from Village Green that the Kinks added to their live set list,Шаблон:Sfn including it from 1968 through 1971.Шаблон:Sfn Miller describes a heavy rock performance of "Big Sky" at the Fillmore West in 1970 as resembling Jimi Hendrix's version of "Hey Joe", though he concludes the treatment is "horrible", with Ray Davies' "beautiful words" hidden under the guitar work of Dave.Шаблон:Sfn Kitts instead finds that the version demonstrates the band's tightness, highlighting the "inventiveness and precision" of Dave's guitar work.Шаблон:Sfn

On the suggestion of musician Clint Conley,Шаблон:Sfn American indie rock band Yo La Tengo covered "Big Sky" for their 1986 debut album, Ride the Tiger.Шаблон:Sfn The song was the first on which drummer Georgia Hubley contributed backing vocals.Шаблон:Sfn Reviewing the album for AllMusic, Mark Deming describes the cover favourably, writing that "any band that can cover the Kinks and Pete Seeger on the same album and make them both work must be doing something right."Шаблон:Sfn American musician Matthew Sweet recorded a cover of the song,Шаблон:Sfn released on the 2002 tribute album This Is Where I Belong: The Songs Of Ray Davies & The Kinks.Шаблон:Sfn In Tom Semioli's review of the album for AllMusic, he writes that the cover sounds "as fresh and vital as the day [it was] written",Шаблон:Sfn while Rob Mitchum of Pitchfork calls it "inessential", criticising it for being too similar to the original.Шаблон:Sfn

Notes

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References

Citations

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Sources

Books

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Journals, magazines and websites

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Liner notes

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External links

Шаблон:The Kinks Are the Village Green Preservation Society

Шаблон:Authority control

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  1. ↑ Шаблон:Harvnb, quoted in Шаблон:Harvnb.
  2. ↑ Шаблон:Harvnb, quoted in Шаблон:Harvnb.
  3. ↑ Шаблон:Harvnb; Шаблон:Harvnb.
  4. ↑ Шаблон:Harvnb, quoted in Шаблон:Harvnb.
  5. ↑ Шаблон:Harvnb; Шаблон:Harvnb; Шаблон:Harvnb; Шаблон:Harvnb; Шаблон:Harvnb; Шаблон:Harvnb; Шаблон:Harvnb; Шаблон:Harvnb.
  6. ↑ Шаблон:Harvnb: (engineers Mackenzie & Humphries, operated four-track); Шаблон:Harvnb: (Humphries worked on recordings from May 1968 and later).
  7. ↑ Шаблон:Harvnb; Шаблон:Harvnb.
  8. ↑ Шаблон:Harvnb; Шаблон:Harvnb.
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