Ray Davies was inspired to compose "Do You Remember Walter" after running into an old friend and finding they didn't have anything to talk about. The friend directly inspired the song's character Walter. The song's narrator recalls his various exploits with Walter, such as playing cricket in the rain and smoking cigarettes together, and remembers a childhood promise they made to one another that they would sail away to sea. In the second half of the song, the singer's idealised memory of his friend is broken when he sees him as fat, married and what band biographer
Johnny Rogan terms "irredeemably grown up". The singer mocks the older friend's early bedtime, while Walter is uninterested in his reminiscing of the past. "Do You Remember Walter" is one of the songs thematically central to
the Kinks' 1968 album
The Kinks Are the Village Green Preservation Society; Miller considers it the album's "lyrical heart", and Rogan writes it centres on the album's themes of
nostalgia and loss. Due to its examination of Walter, the song is one of several character studies which appear on
Village Green. Rogan considers the song a departure from some of Davies's earlier compositions where he created idealised figures, focusing in particular on the 1967 song "
David Watts". Rogan adds that while "David Watts" hero-worships in the present tense, the narrator of "Do You Remember Walter" instead contrasts the past and the present, conveying "a loss of almost tragic proportions" where the Walter character is "demythologised in adulthood". Academic Ken Rayes writes the song evokes the album's themes of English
pastoral poetry, suggesting it is a variation on a convention in the genre in which a reader is addressed as an acquaintance and told about "a dead 'Golden Age' hero". In his November1968 interview with
Melody Maker, Davies stated the song's closing line, "People often change but memories of people can remain", served to sum up the song's message. "Do You Remember Walter" is a
pop song with a subdued production, allowing for attention to remain on the lyrics. After opening with what Rogan terms "machine gun drumming", the song is defined by a dominant piano and bass guitar, alongside snare
rolls, elements which English professor Thomas M. Kitts thinks represent the narrator's "assault" on the adult Walter and the present. The song employs a vertical melody which band biographer
Andy Miller compares to a piano exercise. == Recording ==