Face to Face is the fourth studio album by the English rock band the Kinks, released on 28 October 1966. The album marked a shift from the hard-driving style of beat music that had catapulted the group to international acclaim in 1964, instead drawing heavily from baroque pop and music hall. It is their first album consisting entirely of Ray Davies compositions, and has also been regarded by critics as one of rock's first concept albums. Davies' blossoming songwriting style became increasingly observational and satirical, commenting on English culture, social class and the music industry.
Arthur or the Decline and Fall of the British Empire, often referred to simply as Arthur, is the seventh studio album by the English rock band the Kinks, released on 10 October 1969. It was the first Kinks album to feature bassist John Dalton, who replaced Pete Quaife after the former’s departure. Kinks frontman Ray Davies constructed the concept album as the soundtrack to a Granada Television play and developed the storyline with novelist Julian Mitchell; the television programme was never produced. The rough plot revolved around Arthur Morgan, a carpet-layer, who was based on Ray and guitarist Dave Davies' brother-in-law Arthur Anning. A stereo version was released internationally with a mono version being released in the UK, but not in the US.
Lola Versus Powerman and the Moneygoround, Part One, commonly abbreviated to Lola Versus Powerman, or simply Lola, is the eighth studio album by the English rock band the Kinks, released on 27 November 1970. A concept album, it is a satirical appraisal of the music industry, including song publishers, unions, the press, accountants, business managers, and life on the road. It marked the group's expansion to a five-piece with the addition of keyboardist John Gosling.
"Lola" is a song by the English rock band the Kinks, written by frontman Ray Davies for their 1970 album Lola Versus Powerman and the Moneygoround, Part One. The song details a romantic encounter in a Soho bar between a young man and the eponymous Lola, who is possibly a trans woman or cross-dresser. In the song, the narrator describes his confusion towards Lola, who "walked like a woman but talked like a man", yet he remains infatuated with her.
The Kinks were an English rock band formed in London in 1963 by brothers Ray and Dave Davies. The band emerged during the height of British rhythm and blues and Merseybeat, and were briefly part of the British Invasion of the United States until their touring ban in 1965. Their third single, the Ray Davies-penned "You Really Got Me", became an international hit, topping the charts in the United Kingdom and reaching the top 10 in the United States.
"Shangri-La" is a song written by Ray Davies of the Kinks. The song appeared on the 1969 concept album, Arthur. The song's inspiration can be traced back to when the band visited the Davies brothers' sister, Rose, and her family in Australia, the "designed community" that the family lived in serving as the initial lyrical inspiration. The song's highly ironic lyrics comment on British class society while portraying Arthur, the album's ill-fated protagonist, and his empty life in the suburbs. The musical aspects of the song both reflect and comment on the mood of the lyrics.
"Apeman" is a 1970 song by the English rock band the Kinks. It was written by Ray Davies and appears on the album Lola Versus Powerman and the Moneygoround, Part One. Written as a call to return to nature amidst the crowding and industry of the city, the song features calypso stylings. Like its predecessor, "Lola", it had to have a lyric re-dubbed for commercial release.
Come Dancing with The Kinks: The Best of 1977-1986 is a double album compilation by the Kinks, released on Arista Records in 1986. It contains thirteen tracks released as singles, only one of which did not also appear on album, and six album tracks. Every one of the band's seven albums released by Arista during the time period indicated is represented here. Designed specifically for the American market, it peaked at No. 159 on the Billboard 200 and failed to chart in the United Kingdom. A version for compact disc was issued in 2000 by Koch Records. Liner notes are by John Swenson, and the original recordings were produced by Ray Davies.
Low Budget is the eighteenth studio album by English rock group the Kinks, released in 1979. It was their first to feature bassist Jim Rodford who would remain with the group until their disbandment in 1996. Following the minor success of their 1978 album Misfits, the band recorded the majority of the album in New York rather than London. Unlike the more nostalgic themes of many Kinks albums prior to Low Budget, many of the album's songs allude to contemporaneous events. Musically, the album is a continuation of the band's "arena rock" phase, resulting in a more rock-based sound and more modern production techniques.
Misfits is the seventeenth studio album by the English rock band the Kinks, released in 1978. Following the minor success of Sleepwalker in the United States, Misfits featured a more rock-oriented style than many other Kinks records of the 1970s. It was their last album to feature pianist John Gosling and the only one to feature bassist Andy Pyle as a member, both of whom quit the band following internal conflicts. Despite this, the album made the Top 40 in America. The album also contained the minor hit single "A Rock 'n' Roll Fantasy", as well as less successful releases "Live Life" and "Black Messiah".
Percy is a 1971 film soundtrack for the British comedy film Percy performed by the English rock group the Kinks with additional orchestral arrangements conducted by Stanley Myers. It was released as the band’s ninth official studio album. The songs were written by Ray Davies and include both standard rock/pop songs and instrumental numbers.
"Dead End Street" is a song by the British band the Kinks from 1966, written by main songwriter Ray Davies. Like many other songs written by Davies, it is to some degree influenced by British Music Hall. The bass playing was partly inspired by the "twangy" sound of Duane Eddy's guitar. It was originally released as a non-album single, but has since been included as one of several bonus tracks from the Face to Face CD. The song, like many others by the group, deals with the poverty and misery found in the lower classes of English society.
"Big Black Smoke" is the B-side to The Kinks' single "Dead End Street", written by Ray Davies. The song was not originally included on any album, but has since appeared as a track on the popular 1972 Kink Kronikles compilation and as a bonus track on the CD reissue of Face to Face.
Kinkdom is a studio album by the English rock band the Kinks. Released in the United States and Canada on 24 November 1965, it was their fourth album issued on Reprise Records. It peaked at number 47 on the Billboard album chart.
"Plastic Man" is a song written by Ray Davies and recorded by the Kinks in 1969.
"Juke Box Music" is a track from The Kinks' 1977 album, Sleepwalker. It was one of the first tracks recorded in The Kinks' Konk recording complex. The song was also performed for The Old Grey Whistle Test in 1977.
"Sleepwalker", written by Ray Davies, is the third track from The Kinks' 1977 album of the same name.
"Berkeley Mews" is a song by the English rock band the Kinks. It was released on a non-album single in June 1970, as the B-side to "Lola". Written and sung by bandleader Ray Davies, the song was recorded in early 1968 during the sessions for The Kinks Are the Village Green Preservation Society (1968). The title references a small street in London, while the lyrics recount a one-night stand. Influenced by the music of the 1940s, the song employs a heavier production than was typical for the band's 1968 work.
"Life Goes On" is a song by the British rock band The Kinks. Appearing on their album Sleepwalker, it was written by the band's main songwriter, Ray Davies.
Then Now and Inbetween is a promotional compilation album by the English rock band the Kinks. Reprise Records issued the album in July 1969 to journalists, radio program directors and disc jockeys in conjunction with the "God Save the Kinks" promotional campaign, which sought to reestablish the Kinks' commercial status in the US after their four-year ban on performing in the country.
