"the Kinks"

Ray Davies had indulged himself one time too often with Soap Opera, and his bandmates, namely brother Dave and founding member Mick Avory, revolted, insisting that their sixth RCA album sound more like a Kinks album (certainly, that's something RCA wanted too). So, Davies designed their next album as a return to a simpler, band-oriented sound. Of course, he didn't jettison his love for conceptual works, so Schoolboys in Disgrace was born. Working under the presumption that a return to simple rock demanded a simple theme, Davies constructed the album as a nostalgic trip through childhood, reviving '50s rock & roll (including the occasional doo wop harmony) for the album's foundation, then turning the amps up high…

Although the best of the Kinks' early work is among the best British Invasion music, their initial pair of albums was far less consistent than those of the Beatles, Stones, and Who. Aside from the great "You Really Got Me," this was a shabby, disappointing set with surprisingly thin production…

Face to Face was a remarkable record, but its follow-up, Something Else, expands its accomplishments, offering 13 classic British pop songs. As Ray Davies' songwriting becomes more refined, he becomes more nostalgic and sentimental, retreating from the psychedelic and mod posturings that had dominated the rock world…

"Lola" gave the Kinks an unexpected hit and its crisp, muscular sound, pitched halfway between acoustic folk and hard rock, provided a new style for the band. However, the song only hinted at what its accompanying album Lola Versus the Powerman and the Moneygoround, Part One was all about…

Originally released as a double-album set in 1986, just after the Kinks had their last run at chart success, Come Dancing With the Kinks (The Best of the Kinks 1977-1986) does an excellent job of summarizing their stadium rock and AOR radio favorites on Arista. It leaves no single or radio favorite behind, while adding such terrific obscurities as "Long Distance" (originally only released as a bonus track on the State of Confusion cassette; the early '80s were a completely different world than the late '80s), the non-LP single "Father Christmas," the wonderfully sentimental album track "Better Things" (a close, upbeat cousin to Dylan's "Forever Young"), and the charming "Heart of Gold." In addition to these, there are live takes of "You Really Got Me" and "Lola" taken from the fine One From the Road album. It winds up being a representative selection of the Kinks' time as stadium warriors.

Arista had made it clear they would not accept any concept albums from the Kinks, and Sleepwalker, their first effort for the label, makes good on the band's promise. Comprised entirely of glossy arena rockers and power ballads, the album is more of a stylistic exercise than a collection of first-rate songs. Ray Davies contributed a handful of fairly strong songs, highlighted by the exceptional "Juke Box Music," which sees him in a shockingly resigned frame of mind, claiming that rock & roll is just rock & roll, and nothing more. Unfortunately, he chose to illustrate that fact by loading the rest of Sleepwalker with competent but undistinguished mainstream rock. While that might have made the album a hit at the time, its processed sound and weak songs sound dated today, especially compared to the lively arena rock the Kinks later released.

The Kink Kontroversy was a considerable leap forward in terms of quality, but it pales next to Face to Face, one of the finest collections of pop songs released during the '60s. Conceived as a loose concept album, Face to Face sees Ray Davies' fascination with English class and social structures flourish, as he creates a number of vivid character portraits. Davies' growth as a lyricist coincided with the Kinks' musical growth. Face to Face is filled with wonderful moments, whether it's the mocking Hawaiian guitars of the rocker "Holiday in Waikiki," the droning Eastern touches of "Fancy," the music hall shuffle of "Dandy," or the lazily rolling "Sunny Afternoon." And that only scratches the surface of the riches of Face to Face, which offers other classics like "Rosy Won't You Please Come Home," "Party Line," "Too Much on My Mind," "Rainy Day in June," and "Most Exclusive Residence for Sale," making the record one of the most distinctive and accomplished albums of its time.

The Ultimate Collection spans the group's career in two discs, including the hits, B-sides, and key album tracks.
Although generally not as highly regarded by the critics as the Beatles, the Rolling Stones, or the Who, the Kinks may well have influenced far more musicians. The three-chord sledgehammer proto-metal burst of teenage lust called "You Really Got Me," the Kinks' third single and first hit, touched off a garage band explosion, which in turn influenced the rise of punk a decade later. Blessed with an astute songwriter in Ray Davies, the Kinks followed the template of "You Really Got Me" for a couple years, racking up hits with "All Day and All of the Night," "Tired of Waiting for You," and "Till the End of the Day." But Davies had more than one card in his pocket, and he blossomed into a sharp social satirist ("Dedicated Follower of Fashion")…