Q: You're going to have to play at least one or two more songs to get that guitar.

Let's talk about this new album called the Kinks BBC Session '64 to '77. These archival releases from the BBC, the Beatles, the Who, Led Zeppelin, Pink Floyd. How do you feel about this release'

A: Well, mixed feelings, really, because those sessions we did in those days, you know, we spent so much time getting the records to sound like us and making them sound as good as possible. Then we had to rush in, because needle time can get on the radio. There wasn't round-the-clock radio then. They only had a few programs a week that dedicated to music. And it was quite a coup to get on then. We failed the BBC audition when we started out. But they had to have us on, because "You Really Got Me" was number one. So they got have that ' let us on. So we had like half an hour to do these songs in very rough -- they sound rough. But I think it's representative of the way the band sounded, you know. But not very well recorded. But I guess, as archive pieces, they stand up. What appaled me was the state of the archives at the BBC - British Broadcasting Corporation - you know, our state outlet, radio outlet, didn't really look after the tapes. And all the Who things and the Beatles' things were salvaged just in time, because they would have been lost otherwise.

Q: Now, other parts of the Kinks' catalog, they were being released on a label that then went away fairly quickly, Vel-Vel. I think -- don't you agree, it's time for the entire Kinks catalog to be presented in the proper fashion at this point?

A: It needs to be in one home. That's what we've got to do. And we're working on it as I speak. It needs to be -- yeah, I mean, one of the things I talked about in the speech this morning is that my songs are like children. But some of them are like orphans because they're off on funny little labels.

Not to put Vel-Vel down, but it's -- understanding that the way the catalog came about -- there are people, to be fair. They try their best to get people who are knowledgeable to help work it and look after the tapes. But it is, it's like -- you know, it's an art form. And it's something that we -- bands of our era, I guess, have tried to develop a sound. And the tapes should be looked after. Not that they're not technically looked after, it's just understanding what the music was about.

Q: Are you not willing to be the one who looks for the additional tracks that might be added or to oversee the reissue of the catalog? Are you not into that?

A: You know, so many tracks were abandoned. One might say the Come Dancing album, the State of Confusion album that was out in 1983. And I had a meeting last week with some distributors in London who asked me to look at some old -- through the archives. And I suddenly remembered out of the blue a song I'd done called "Tonight in Romford". Romford is a suburb of London. And it was the whole Come Dancing project before it was actually -- you know, it's the first pass at it. And there were backtracks that we did at the studios. The Konk studios. And I'd forgotten about them. And they're still lying around somewhere. And at the end of multi-track reels, you know, I gave them joke titles, code titles, because the songs weren't finished.

Q: So it will be quite an undertaking to try and unwind all that and figure it all out.

We're talking with Ray Davies of the Kinks, who gave the keynote speech this morning at South By Southwest. The last album Ray gave us was a live edition of the Storyteller show, which played La Zona Rosa a couple of years ago. And now Ray is readying a new album for a new label, Capitol Records.

A: Yeah.

Q: I hear they have some other artists on that label that are from Britain.

A: You know, I always said, right from the beginning, because we were turned down, the Kinks, by every major label in England. It was only a company called Pi Records. They were affiliated to Chess, I think, in America. But it was Pi. It was a little indy label. Gave us a three-single deal. And as I said, the first two singles were flops. And "It Really Got Me" was number one. And it's -- I always said, I never want to be on the Beatles' label. And there you go. It goes around. But actually, weren't they on Parlophone in England? I think they were.

Q: Yeah, EMI/Parlaphone.

A: Yeah, I think they were.

Q: Well, here they're definitely on Capitol. And that's where Ray's going to be.

A: Good for them.

Q: And we're looking forward to your new album. I understand you did a gig a few months ago where you had some younger musicians like Yo La Tengo be your band. And that was a first of sorts.

A: Well, yeah, the age thing in music, you know -- actually, they're all over 30 so I'm -- but I'm not prejudice. It's this whole mixing up music. You know, I believe, whatever makes the music happen is right. I like to -- I really want to cast the right players with this record, because I do like it to sound -- even though it's a solo -- I'd rather it sounded like a band, this record I'm doing, than a bunch of musicians backing Ray Davies. I think it would be boring.

Q: Well, I bet the Yo La Tengo guys had some ideas about Kinks' songs to play that perhaps you hadn't dealt with in -- since they were recorded.

A: Well, there were a few that they suggested that I had forgotten that I had written, actually. And quite right, too. But everybody's got their own -- it's interesting how everybody's got their own definition of what a good Kinks' song is.

Q: You know, I could name a bunch. I'd have to say off the top of my head, "Better Things" just comes to mind as a quintessential song. Ray Davies our guest today on KGSR. Ray, I know your finger's hurting, but if you want to just take one more pass at that Gibson before we say good-bye. So many ways we could go here. "Tired of Waiting", "Better Things".

A: This is a song that they suggested that -- Ira and Georgia in Yo La Tengo. You know, that -- do you know what that means, their name?

Q: Yo La Tengo?

A: Yeah. It means -- it's -- I think it was in New York. I had two players who were either Hispanic or whatever. I think it means "I've got it." They both work for the same ball. They both said I got it and both missed it.

Q: They called it "I got it."

A: I think that's what it is. This is a song they suggested. This will be -- for all the listeners out there, this will be truly bad.

(This Is Where I Belong)

A: But it just repeats the same thing again. So I'll go to the bridge.

A: And I think that was a B-side on something. But, um never released in America. So now you've got it pressed -- probably already pressed on a CD somewhere.

Q: Oh, yeah, it's halfway to bootleg-ville.

A: Good luck to you.

Q: Ray Davies our guest. Good luck to you.

A: Yeah, no problem.

Q: It was nice to meet you.

A: Sorry about the finger.

Q: Well, you've got work to do in England, but when the record comes out --

A: No, I'll be here with all my -- you won't be able to keep me away from the studio when the record's finished. I'll be in there: "I've got to play live. I insist on being on the radio." But I was reluctant today because I've this wretched finger. I just don't know what to do about it.

Q: Well, just to look up for our listeners, just to hear that voice coming through the speakers live is a real treat. So welcome back to Austin.

A: It's good to be back. It really is.

Q: Ray Davies our guest. Look for a new album on Capitol Records as soon as he gets out of demoville. Look for the live Storytellers' album. I'm not plugging stuff. I just want people to know all the stuff that's been going on. The book X-Ray.

A: Yeah, there's been a lot happening. And yeah, it's going to be busy this year.

Q: Alright. Nice to meet you, Ray.

A: Take care, thanks.