Kwyet Kinks is the third EP by the English rock band the Kinks. It was released on in the United Kingdom by Pye Records. In the United States, which had no corresponding market for EPs, Reprise Records instead used its songs as the basis for the November1965 LP Kinkdom. Driven by the inclusion of the song "A Well Respected Man", Kwyet Kinks topped sales charts in Britain for several weeks. With its mostly acoustic sound, Kwyet Kinks represented a departure from the heavier rock for which the Kinks had become known, a change reflected in the title with its play on the word "quiet". Contemporary and retrospective coverage of the EP has typically focused on "A Well Respected Man", which marked a shift in bandleader Ray Davies's songwriting towards social commentary. Ray hoped that the success of Kwyet Kinks would allow for more EPs made up of exclusive material, but Pye's focus on the more popular singles market meant that future Kinks EPs instead collected previously released recordings. Background and music The Kinks' singles and LPs from mid-1964 to mid-1965 were characterised by a focus on fast, gritty R&B and rock and roll. Kwyet Kinks marked a stylistic departure from the Kinks' earlier output by being mostly acoustic in sound, a change reflected in the title through its play on the word "quiet". Author Richie Unterberger describes the EP as generally folk rock. The Kinks recorded all four of its songs at Pye Studios in London around , except for "Wait Till the Summer Comes Along" which was done on 3May. Shel Talmy produced while Alan MacKenzie likely engineered. Dave Davies composed and sang the EP's lead track "Wait Till the Summer Comes Along", a country-tinged ballad featuring a twelve-string guitar. The song was the first by the Kinks credited to only Dave, while his brother Ray Davies composed and sang the EP's remaining three songs. Contemporary and subsequent coverage of the EP has typically focused on Ray's song "A Well Respected Man", which signalled his shift in songwriting from basic sentiments about love towards satire and social commentary about contemporary British society. Among band biographers, Johnny Rogan writes that the song "Such a Shame" suggested the Kinks' transition from beat music to folk rock, while Nick Hasted writes that the appeals to comfort, familiarity and domestic life in "Don't You Fret" anticipated Ray's later songwriting. Release and reception Pye