Lola

"Lola" by The Kinks is a pioneering song that explores themes of love, sexual ambiguity, and gender identity with a mix of humor, naivety, and acceptance. The narrative follows a young, inexperienced man's romantic encounter with the titular character, Lola, who he meets in a Soho club. The song carefully unpeels the layers of the narrator's confusion and dawning realization that Lola, who "walked like a woman but talked like a man," is not a cisgender woman. The story culminates in the famous line, "I know what I am and I'm glad I'm a man, and so is Lola," confirming that Lola is a trans woman or a cross-dresser. Rather than a punchline, this revelation leads to a sense of acceptance and contentment. The song champions the idea that love and attraction transcend conventional gender norms, summarized in the bridge: "Girls will be boys and boys will be girls / It's a mixed up, muddled up, shook up world, except for Lola." This lyric suggests that in a confusing world, the connection with Lola is a point of clarity and certainty. For its time, the song was revolutionary, bringing LGBTQ+ themes into mainstream rock music and challenging societal conventions with a progressive and empathetic viewpoint.

The narrator recounts an experience from a week after he first left home, describing his first romantic encounter. He meets someone named Lola in a club in Soho, London, where they serve champagne that has a taste reminiscent of a particular fizzy cola. Lola approached him and asked him to dance. The narrator, who admits to being inexperienced with women, is immediately captivated. He notes his initial confusion, observing that Lola "walked like a woman but talked like a man."

They spent the entire night dancing together under the dim, electric candlelight. At one point, Lola, who possesses surprising strength, lifted him onto her knee and invited him to come home. This moment intensifies the narrator's budding realization about Lola's identity. He describes a moment of inner conflict where he pushes Lola away and heads for the door, only to fall to his knees. In that moment of vulnerability, they simply look at each other, and an understanding passes between them.

The narrator then reflects on the fluid nature of gender, stating that in this "mixed up, muddled up, shook up world," such distinctions don't matter when it comes to Lola. He declares his own identity, stating, "I know what I am and I'm glad I'm a man, and so is Lola." This line confirms the reveal and his ultimate acceptance and even affection for the situation. The song concludes with a desire for things to remain just as they are, expressing a deep fondness for Lola, whose name is repeated in a memorable, sing-along chorus.

"Lola" was primarily written by The Kinks' frontman, Ray Davies, in April 1970. The song was part of the concept album Lola Versus Powerman and the Moneygoround, Part One, a satirical critique of the music industry. There are several stories about the song's inspiration. The most cited anecdote involves the band's manager, Robert Wace, who, during a night out in Paris, danced with a person he thought was a woman, only for Ray Davies to later point out the individual's stubble. Davies himself also recounted an experience at a club where he was asked to dance by a "fabulous looking woman" who then left with his manager. Drummer Mick Avory suggested the inspiration came from his own experiences frequenting drag queen bars in West London, to which he sometimes invited Ray. Ray's brother, Dave Davies, has also claimed to have created the core musical riff for the song.

The recording took place at Morgan Studios in London during April and May 1970. Ray Davies meticulously crafted the song's distinctive acoustic sound by combining a 1938 Dobro resonator guitar with a Martin guitar, creating a unique "clangy sound." The song faced a significant hurdle with the BBC, which banned it not for its controversial subject matter, but for its mention of "Coca-Cola," violating their policy against product placement. This forced Ray Davies to make a 6,000-mile round trip from New York, where the band was touring, back to London to overdub the line to "cherry cola" for the single release. The success of "Lola" was crucial for The Kinks, as it revitalized their career, especially in the US, and gave them the leverage to build their own studio and gain more creative control.

The rhyme scheme in "Lola" is relatively simple and direct, often following an AABB or ABCB pattern in the verses, which supports its storyteller-like quality and makes the lyrics clear and memorable. For example, in the first verse, "before" rhymes with "before," and "hand" rhymes with "man." This straightforward structure helps to drive the narrative forward. The rhythm has a distinctive, striding feel, described by Ray Davies as a "macho swing," which creates an interesting juxtaposition with the song's theme of gender fluidity. The song starts with a memorable, slightly syncopated guitar riff that establishes its rhythmic identity. The tempo is steady and mid-paced, giving it a jaunty, folk-like quality that encourages participation, especially in the sing-along chorus. The interplay between the lyrical rhythm, which is conversational and natural, and the solid musical rhythm of the band makes the song both engaging and easy to follow.

"Lola" is notable for its compelling narrative structure, which unfolds like a short story, building suspense and culminating in a gentle reveal. Ray Davies employs a first-person narrative voice that is both naive and observant, allowing the listener to experience the discovery alongside the protagonist. Musically, the song is a masterclass in dynamic arrangement. It opens with a powerful and distinctive acoustic riff, a combination of a Martin acoustic guitar and a 1938 Dobro resonator guitar, which creates a unique, clangy, and sonorous sound. This folk-rock foundation is contrasted with a harder, power-chord-driven feel in parts of the song, reflecting the narrator's internal shifts. The vocal delivery by Ray Davies is key, moving from conversational storytelling in the verses to a celebratory, anthemic quality in the chorus. The addition of John Gosling's piano provides music hall-style texture, rooting the song in a traditional British sound while the subject matter was profoundly modern.

"Lola" had a significant cultural impact upon its release in 1970 and its legacy endures. Commercially, it was a massive success, reaching number two on the UK Singles Chart and number nine on the Billboard Hot 100 in the US, effectively reviving The Kinks' career. Critically, it was recognized as one of the first and most prominent mainstream rock songs to openly address themes of trans identity and gender ambiguity. Its daring subject matter was considered progressive for its time, influencing numerous artists and paving the way for glam rock's exploration of androgyny. Lou Reed reportedly told Ray Davies that "Lola" was a major influence on his own song, "Walk on the Wild Side." The song has been featured in various films and TV shows, including Wes Anderson's The Darjeeling Limited (along with other tracks from the album). It has been covered by artists as diverse as Madness and "Weird Al" Yankovic (as "Yoda"). For its bold and empathetic storytelling, "Lola" is often cited as a landmark song in both rock history and for LGBTQ+ representation in music.

The song "Lola" uses the central character and the setting to symbolize broader themes of innocence, experience, and societal transformation. Lola herself represents a break from traditional norms and a symbol of freedom and self-expression in a "mixed-up, muddled-up, shook-up world." Her ambiguous gender identity serves as a metaphor for the blurring lines of culture and sexuality during the late 1960s and early 1970s.

The setting, a club in "old Soho," is symbolic of a liminal space where societal rules are suspended, and new experiences are possible. The line "you drink champagne and it tastes just like cherry cola" (originally Coca-Cola) can be interpreted as a metaphor for illusion versus reality. On the surface, it's glamorous (champagne), but the reality is more common or artificial (cola), mirroring the narrator's initial perception of Lola versus the truth he discovers. The "electric candlelight" further enhances this theme of an artificial, yet enchanting, environment where new forms of romance can blossom.

The most significant recurring motif in the song is the name "Lola" itself, chanted in the famous "Lo-lo-lo-lo Lola" chorus. This chant is simple, incredibly catchy, and functions as an affectionate, celebratory hook. Ray Davies noted that he knew the song would be a hit when he heard his one-year-old daughter singing the "la-la, la-la Lola" part. The repetition turns Lola's name into an anthem of acceptance. Another recurring lyrical motif is the narrator's commentary on the "mixed up, muddled up, shook up world." This phrase frames the central theme of the song, suggesting that in a world of confusion, the narrator's feelings for Lola are a point of clarity. The line "walked like a woman but talked like a man" is a key phrase that is not repeated but serves as the central enigma of the song, capturing the narrator's initial confusion and curiosity.