God Save The Kinks, Pt.2

'Muswell Hillbillies' back-to-the-roots formula was all the vogue when it was released in 1971. Although the National steel guitar and Salvation Army horns nicely complimented Ray Davies themes, they were still a bit jarring to long time fans who first heard slashing guitars in The Kinks early recordings, and then grew to love the delicate harpsichords and lilting melodies in the releases that followed. Contributing to what seemed a surprising turnabout to the casual fan was the fact that the LP's previously singled out last week went largely unheard by American audiences. With the band unable to tour these shores, radio airplay of their recordings during that period fell by the wayside as well. It's a shame, because those recordings I believe, firmly stand among Ray Davies finest moments, and the transition from dandies to organic gardeners was almost a quite natural one. Now that the band was finally able to return to American stages, those casual fans only remembered the raw, sloppy proto-punk of 'All Day And All Of The Night' and 'I Need You' played by angry young mop tops dressed for a fox hunt in maroon velvet. The Kinks were now 'down home,' blue jeaned, and bewhiskered. And to make matters worse, the band seemingly never bothered to even rehearse before embarking on their trip across the pond in 4 years. The new Kinks were something entirely different. Something different was also beginning to appear in Davies songwriting as the band entered into this new phase. With subsequent releases like 'Everybody's In Showbiz,' and 'Preservation, Acts 1&2,' his astute observation and charming wit turned increasingly bitter, soured and dulled no doubt by the fact that now, the band was actually living the rock and roll warrior life with endless touring schedules. The isolation that had so previously sparked Davies imagination and creativity was replaced with early morning radio interviews, midday magazine interviews, late afternoon sound checks, a quick and unsatisfying meal before showtime, then on to the stage only to repeat it all the following day.

Ray Davies attempted to satisfy his theatrical aspirations by fashioning 'rock operas' long after the genre had died out. The three above-mentioned recordings although successful, came with overblown stage shows and overwrought arrangements that "made 'Quadrophenia' look like an exercise in restraint."* Gone was Davies compassion for the common man, replaced by whining, self pity, and contempt for the poor quality of road food. Ah, to be a rock star. "Look what I have to go through to entertain my adoring audience." Admittedly, playing civic auditoriums and hockey rinks can't be the most conducive environment for making music, but it was now the age of 'arena rock,' and The Kinks were deep in the trenches; platoon commanders in the rock and roll army.

God Save The Kinks, Pt.2

1) Where Have All The Gone Times Gone?
2) A Well Respected Man
3) Until Death Us Do Part
4) Holloway Jail
5) Australia
6) Something Better Beginning
7) Set Me Free
8) Rosemary Rose
9) God's Children
10) I'm Not Like Everybody Else
11) Stop Your Sobbing
12) Wonderboy
13) Starstruck
14) Two Sisters
15) Rainy Day In June
16) You Really Got Me
17) Complicated Life
18) Lavender Hill
19) Rosy Won't You Please Come Home?
20) Too Much On My Mind
21) Drivin'
22) Situation Vacant
23) Mountain Woman
24) Dedicated Follower Of Fashion
25) Moments
26) Who'll Be The Next In Line?
27) Waterloo Sunset
28) Tired Of Waiting
29) People Take Pictures Of Each Others
30) Dreams

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*Courtesy of J. Kordosh