The+kinks

Even though the album was weighed down by its adherence to late-'80s state of the art studio techniques, UK Jive was a noticeable improvement over the lackluster Think Visual. Featuring only a handful of hard rockers – including the excellent, snarling "Aggravation" – the album was comprised of pop songs that painted an unfocused portrait of modern British life. Although many of Ray Davies' finest songs were based on a similar concept, his songwriting on UK Jive was frustratingly inconsistent, ranging from the infectious bop of the title track to the ham-fisted anthem "Down All Days (To 1992)." With the loping "Looney Balloon," Davies wrote one of his finest songs of the '80s, but the only track that equaled its conviction was his brother Dave's spiteful protest, "Dear Margaret."

There's a good reason why the Move's eponymous 1968 debut album sounds like the work of two or three different bands – actually, befitting a band with multiple lead singers, there's more than one reason. First, there's that lead singer conundrum. Carl Wayne was the group's frontman, but Roy Wood wrote the band's original tunes and sometimes took the lead, and when the group covered a rock & roll class, they could have rhythm guitarist Trevor Burton sing (as they did on Eddie Cochran's "Weekend") or drummer Bev Bevan (as they did on the Coasters' "Zing Went the Strings of My Heart").

In a sense, it's unfair to rate Koobas entirely by this, their only LP, because they were already in the process of calling it quits as a group when they cut it late in 1968; indeed, it's likely that if they'd thought they would have a possible future, a couple tracks that are here might never have seen the light of day. That said, Koobas is a good document of its time: Its three best songs, "Royston Rose," "Barricades," and "Gold Leaf Tree" are resplendent in rippling guitar parts, lots of fuzz-tone, searing breaks that sound like George Harrison's or Tony Hicks' playing pumped up by a few hundred amps, and drum patterns lifted right out of "Rain" and a dozen equally impressive psychedelic tracks, and some very pretty singing.

By the time the Rolling Stones began calling themselves the World's Greatest Rock & Roll Band in the late '60s, they had already staked out an impressive claim on the title. As the self-consciously dangerous alternative to the bouncy Merseybeat of the Beatles in the British Invasion, the Stones had pioneered the gritty, hard-driving blues-based rock & roll that came to define hard rock. With his preening machismo and latent maliciousness, Mick Jagger became the prototypical rock frontman, tempering his macho showmanship with a detached, campy irony while Keith Richards and Brian Jones wrote the blueprint for sinewy, interlocking rhythm guitars.quote]

In a way, the Searchers are a footnote. Never entering the upper echelon of British Invasion beat groups, the band nevertheless had legs, outlasting all but the titans of the Rolling Stones, the Kinks, and the Who. The Searchers always flew just below the radar, even if they had something of a renaissance at the tail end of the '70s with a new lineup headed by lead singer – and only constant – John McNally, with his lead guitarist companion Mike Pender directing the band through two superb power pop LPs and their jangle echoing in the stable of Shelter Records, heard strongly in the early records of Tom Petty & the Heartbreakers. They are best known for their earliest hits – 1963's "Sweets for My Sweet," 1964's "Needles and Pins" – which may be because they were their biggest hits but it's also because the Searchers never abandoned their pure pop template throughout their entire career, something that becomes blindingly evident over the course of the four-disc box set Hearts in Their Eyes.

The "storyteller" concept was ideal for aging singer/songwriters, letting them run through their back catalog and illuminate the origins of their best-known songs with stories and anecdotes. Ray Davies essentially invented the concept on his promotional tour for his semi-fictional memoir X-Ray, and his concerts were so successful, they eventually provided the basis for the VH1 series Storyteller. It also led to Storyteller, his first solo album since the soundtrack to Return to Waterloo. Like that album, it has a sound very similar to the Kinks – which shouldn't be surprising, since Davies was the musical force behind the band – but it's considerably more engaging than Return to Waterloo.

British Beat was the term adopted to describe the exciting new sounds out of Liverpool and other cities in the wake of The Beatles' explosion onto the world stage in 1963/64. Named after the slang term forever associated with The Beatles, this mammoth 6-CD box set offers around 180 tracks in chronological order from the mid-1960s, many of which are new to CD and some of which are previously unissued. Fab Gear includes many of the era's biggest names such as The Kinks, The Moody Blues, The Searchers and The Tremeloes and other hit acts such as The Marmalade, The Alan Price Set, The Rockin' Berries, David & Jonathan, The Ivy League, Twinkle, Peter Jay & The Jaywalkers, Chad & Jeremy, The Tornados, Arthur Brown, Tony Jackson & The Vibrations, The Undertakers, Billie Davis, The Migil 5, The Truth, The Quiet Five and The Sorrows.

The Rock Sects In was the Downliners Sect's final official studio album, though you'd never guess from the intensity with which they approach covers of "Hang on Sloopy" and "He Was a Square" – they were becoming less enchanted with the direction in which music was going around them, and losing enthusiasm for recordings, in particular, but that didn't stop them from generating this fuzzed-out classic. They could still hold their own with anyone in music this side of the Kinks, and on "I'm Looking for a Woman," with its shimmering Bo Diddley guitar pyrotechnics, they even managed to outdo the Stones on their similarly conceived "Please Go Home." The sound is beautiful throughout the CD, and there's a very full and informative annotation of the group's history, but it's the presence of bonus tracks like the fuzzed-out lust-fest "All Night Worker" that make this essential listening.