As the band continued recording their next album, released later in the year as The Kinks Are the Village Green Preservation Society, bandleader Ray Davies submitted fifteen completed master tapes to Reprise.

[2] Bandleader Ray Davies initially thought about making a solo LP, but as recording sessions persisted into June 1968, his idea evolved into plans for the Kinks' next studio album.

[6] By June 1968, as sessions for Village Green continued, the band were contractually obligated to immediately submit a finished LP to their US label, Reprise Records.

However, at least two have come to light in recent years, which strongly suggests the release of [Four More Respected Gentlemen] was cancelled at the eleventh hour, in favour of [The Kinks Are the Village Green Preservation Society].

[18] Adding to the confusion, the Schwann Long Playing Record Catalog listed the album in error for several months as part of the Kinks' released discography.

[18] The label did not receive Village Green's master tapes until 20 December 1968 but made no plans to restart the release of Four More Respected Gentlemen.

[17] The fifteen songs Davies sent to Reprise range chronologically from "Autumn Almanac" to "Days", recorded in September 1967 and May–June 1968, respectively, except for "She's Got Everything", which dates to February 1966.

[26] Four More Respected Gentlemen generally includes fast rock numbers, something band biographer Andy Miller thinks Reprise sought to emphasise when editing the album down to eleven tracks.

[32] In an interview with NME,[26] Davies stated that he intended the album satirise English social etiquette, table manners and other outdated customs.

[18] Rogan counters that in spite of Davies's comment, none of the eleven tracks planned for the album actually satirise etiquette, something he thinks points to either an abandonment of the original concept or mismanagement of the project by the record label.

[33] Miller writes that despite the track listing's quick and seemingly random assembly, Davies's songwriting thematically reflects his increasing unease over his personal and professional lives; many of the songs deal with methods of escape, whether by running away ("Polly"), drinking alcohol ("Misty Water"), listening to music ("Mr. Songbird"), being nostalgic ("Picture Book"), having one-night stands ("Berkeley Mews") or by committing suicide ("Did You See His Name").