Track Record – The Kinks

These are my gut reactions while listening to the entire catalog of The Kinks from start to finish.

The Kinky Katalog

The answer to the question, “Who are the biggest bands of the British Invasion” is pretty objective. Everyone knows The Beatles led the way, along with The Rolling Stones and The Who. Bands like The Animals, The Yardbirds, The Hollies, The Zombies, and others followed quickly. A lot of times, people forget about The Kinks, but I feel they were right up there with the Stones and The Who. What made them stand out to me was their sound. They didn’t sound like a lot of the other wimpier bands out there. While they could be quiet, they were usually loud and proud. The guitar tones of songs like “You Really Got Me” and “All Day and All of the Night” were so killer at the time. This is why a lot of people call them a proto-punk band, though I think they’d probably eschew that title. I’ve always loved this band, but sometimes I’d forget just how many great songs they had and how influential they were, and still are. I realized a while back that I had never listened to their entire catalog. I anticipate hearing some old gems I’ve forgotten, but also finding some new songs that I like.

They have a lot of albums, so without further ado… let’s dive into this diverse catalog.

 

Kinks (1964)

The band’s debut album starts off with a cover of Chuck Berry’s “Beautiful Delilah,” and that sets the tone for the rest of the album. This cover his upbeat and nasty like a Rolling Stones track. About half the album is covers, including another Berry cover of “Too Much Monkey Business” which is just as cool. Ray Davies’ originals are pretty great. “So Mystifying,” “Just Can’t Go to Sleep,” “I Took My Baby Home,” “You Really Got Me,” and “Stop Your Sobbing,” fit right in with any other British Invasion band’s catalog. For some stupid reason, I’ve noticed that there are two songs with the word “bald” in their titles.

The rest of the album goes the way you think it will – a mix of bluesy, rock standards, but with attitude. They’re like the bastard children of the Beatles and the Stones, and they’re just as fun as either band. Both Dave and Ray share vocals and both do a great job delivering the goods. Anyhow, the guitar sound on “You Really Got Me” is worth the price of admission. Classic.

Line up:

• Ray Davies – vocals, guitar, harmonica
• Dave Davies – vocals, electric guitar
• Pete Quaife – backing vocals, bass guitar
• Mick Avory – drums, percussion

 

Kinks-Size (1965)

This album was only released in the US and Canada. It’s a thrown together thing consisting of songs from a UK EP, leftovers from the first album, and the A/B sides of “All Day and All of the Night” and “Tired of Waiting for You.” The music, however, is just a good as it is on their first album.

“Tired of Waiting for You” heads more into Who territory than the Stones, but it’s important to remember that these guys were all contemporaries. It’s not like they were trying to emulate the other bands outright. This tune has that “Where Have All the Good Times Gone” riff in it. “I Gotta Move” is rocking. The rest of the album feels like an extension of the first one. It’s bluesy but also garage-rocky. These are really fun songs.

Line up:

• Ray Davies – vocals, guitar, harmonica
• Dave Davies – vocals, electric guitar
• Pete Quaife – backing vocals, bass guitar
• Mick Avory – drums, percussion

 

Kinda Kinks (1965)

This is the reason I tend to get bored with early 1960s music. A lot, and I mean a lot, of these songs sound the same. They are fun, but not too memorable. Ray Davies said that the production was lacking and some of the double tracking isn’t great. He’s actually correct. The album was rushed and sometimes it clearly sounds like there are two Ray Davies singing out of sync, which is the opposite of what double tracking should be. If you like early Beatles and Stones, this is for you.

“Nothin’ in the World Can Stop Me Worryin’ ‘Bout that Girl” is a slight left turn here, and I enjoy the little time changes. Ray Davies was starting to hone his craft a bit. “So Long” is another one, and it sounds like it was recorded on the same day, in the same way. They are very minimal, featuring acoustic guitar and quiet rim shots. Very nice. Another thing I noticed is that they cover “Dancing in the Street,” which was also covered by Van Halen on Diver Down, the album where they covered the Kinks’ “Where Have All the Good Times Gone.” I don’t know why I find this amusing.

Line up:

• Ray Davies – vocals, guitar, harmonica
• Dave Davies – vocals, electric guitar
• Pete Quaife – backing vocals, bass guitar
• Mick Avory – drums, percussion

 

Kinkdom/Kwyet Kinks (1965)

Kinkdom is another (and thankfully the last) one of these thrown together albums only released in the US and Canada. In the UK, the band put out an EP called Kwyet Kinks. Those songs are here, along with some other A and B sides of singles, and other oddities.

The standout track here is “A Well Respected Man,” a very popular tune of theirs. “I Need You” is another rocker in the style of “All Day and All of the Night” and “You Really Got Me.” The rest of this is standard fare for this era of the band.

Line up:

• Ray Davies – vocals, guitar, harmonica
• Dave Davies – vocals, electric guitar
• Pete Quaife – backing vocals, bass guitar
• Mick Avory – drums, percussion

 

The Kink Kontroversy (1965)

This is technically their third album. It starts out strong with “Milk Cow Blues,” an old blues standard covered by many. It soon becomes clear, however, that this isn’t going to be another album of just the usual early 1960s stuff. Something’s happening here. There’s only one cover. Ray Davies was expanding his songwriting, with brother Dave contributing one song called “I Am Free.” Their sound doesn’t change too much, but things feel like they are maturing a little. The songs are beginning to improve and become slightly more diverse. “I’m on an Island” is a good example. The big standout track for me is “Where Have All the Good Times Gone” which takes little jabs at The Beatles and The Stones in the lyrics, along with some other cool puns. I’ve always liked that song. The non-album single “Dedicated Follower of Fashion” was recorded at this time also. Why it wasn’t on the album is beyond me. It’s a fun song.

Line up:

• Ray Davies – vocals, guitar, harmonica
• Dave Davies – vocals, electric guitar
• Pete Quaife – backing vocals, bass guitar
• Mick Avory – drums, percussion

 

Face to Face (1966)

Ah, here’s where it starts to get interesting, and they are finally ditching the punny album titles. Sure, it’s the beginning of the psychedelic era, but it’s not what I consider the annoying, wandering, droning, nonsensical, drug-induced psychedelic era. This album is sonically better than all of the previous ones. The riffs are cool and clean. The songs are a little lighter in tone, but the writing is better than before. “Sunny Afternoon” is a great track, and you can hear echoes of it in the song “Dandy” (made popular earlier by Herman’s Hermits, though written by Davies) a little earlier. I also enjoyed “Little Miss Queen of Darkness.” I was reading that this is considered by many to be rock’s first concept album. If there’s a theme, it’s pretty loose.

My biggest disappointment about this album is that it did not include the song “She’s Got Everything” (later covered by The Romantics.) It was recorded for this album, but ended up being released years later as a B-side to something else. This is a great song. I can’t figure out why it was not included. They still can sound like The Beatles at times. You’ll hear “If I Needed Someone” in the song “I’ll Remember.” In any case, Davies’ songwriting definitely went up a few notches on this one. It’s a good album, and definitely a patriarch of power pop.

Line up:

• Ray Davies – vocals, guitars
• Dave Davies – vocals, guitars
• Pete Quaife – bass
• Mick Avory – drums

 

Something Else (1966)

Continuing the theme of British observations, the boys take another turn into more serious songwriting. These are fun, catchy tunes that go to different places. The song “Two Sisters” features harpsichord by Nicky Hopkins and a string arrangement. There are horns and flute at times. There’s even a bossa nova tune called “No Return” which is nice. They’re taking more chances, exploring new genres and avenues. “David Watts” is a decent tune, but the real money’s on “Waterloo Sunset.” What a great song. Is it their best? Probably not, but it’s creative and different for them. I love the way the lyrics dance around the chord changes in the verses. It’s like the lyrics lead you into the changes. Dirty old RIVER, Must you keep ROLLING…

Line up:

• Ray Davies – vocals, guitars, keyboards, mellotron
• Dave Davies – vocals, guitars
• Pete Quaife – backing vocals, bass
• Mick Avory – drums, percussion

 

The Kinks Are the Village Green Preservation Society (1968)

More English observations! Pop and Rock music was definitely shifting and evolving at this point. The Summer of Love was on the way out. One thought I had while listening to this album is that it had to have been very influential. I kept hearing tracks from other bands in my head, but some of them came out years later.

The album starts out with the title track which feels like a cross between any random Bob Dylan tune and Manfred Mann’s “Mighty Quinn.” I can hear where ELO got the idea for “Mr. Blue Sky” in the second track called “Do You Remember Walter.” “Picture Book” sounds more like a traditional Kinks tune. Fun stuff. I think Squeeze might have been influenced by this one. I can hear it. “Last of the Steam-Powered Trains” sounds a lot like “Smokestack Lightning,” but then again, the blues is all about taking it and making it your own. One of the weirdest Kinks songs I’ve ever heard is on this album. It’s called “Phenomenal Cat” and while it fits squarely in that psychedelic arena, the hilarious lyrics make me think it’s actually mocking the whole idea. It starts out with the lyrics, “A long, long time ago, in the land of idiot boys.”

Other highlights include “Starstruck,” “Wicked Annabella,” and “Monica.” This is one of their better 1960s efforts for sure.

Line up:

• Ray Davies –vocals, guitars, keyboards, harmonica
• Dave Davies –vocals, guitars
• Pete Quaife – backing vocals, bass
• Mick Avory – drums

 

Arthur (1969)

The band’s first major line up change occurs here, with Peter Quaife replaced by John Dalton. Ray Davies continues on as producer.

This album has the great “Victoria” on it – a totally fun song in every way.  I remember hearing this one on the radio when I was a kid every now and then. It took me years to figure out it was actually The Kinks.

The rest of the album is pretty decent for 1969 standards, and about as good as their previous effort. The title track is pretty fun (and it’s the closer.) I liked “Brainwashed” a bit because the horns came out of nowhere and grabbed my attention. It also has a few cool guitar moments that sound like their early hits. The horns also show up in the track “Australia,” which goes on about 3 minutes too long. “Nothing to Say” was a song I had never heard, but enjoyed. It also has horns.

There’s a whole concept/theme here which isn’t always obvious, but after reading about the album’s history, it made more sense. I’ll let you look that up.

Line up:

• Ray Davies – vocals, guitar, keyboards
• Dave Davies –guitar, vocals
• John Dalton – bass guitar, backing vocals
• Mick Avory – drums, percussion

 

Lola Versus Powerman and the Moneygoround, Part One (1970)

The 1970s have arrived and the band continues with its series of loose concept albums. This time, it’s not as English, but more about the music industry in general, among other things. Keyboard player John Gosling joined the group for this album. It includes on of the tracks they are most known for – Lola, one of the earliest songs about transsexuality that I can remember, along with Lou Reed’s “Walk on the Wild Side,” which came out two years later. Great song.

I like the opening track called “The Contenders” with its folky intro leading into a bluesy guitar-driven song. “Strangers” has some cool time changes, melodies, and lyrics. “Top of the Pops” is great. You can hear where bands like The Smithereens got their ideas. They even have their own song with the same title and it sounds a little like this. I like their little side trips into Music Hall/Vaudeville with tracks like “Denmark Street” and “The Moneygoround.” The heavy sound of “Rats” and “Powerman” probably inspired a few bands over the years. “Apeman” starts out sounding like “Lola” part two, but soon falls into its own island/calypso pattern, and it’s a fun song.

I can’t lie. This is definitely better than any of their previous albums, as a whole. The songwriting definitely leveled up. The sonic quality of their albums was getting better. Too bad there was never a Part Two. Don’t skip this one.

Line up:

• Ray Davies –vocals, guitars, harmonica
• Dave Davies – vocals, guitars
• John Dalton – bass, vocals
• Mick Avory – drums
• John Gosling – keyboards

 

Percy (1971)

I had no idea this album even existed until now. Apparently, someone asked the band to record a soundtrack to a film called Percy right after their success with Lola. Feels like an odd choice after what many people considered a comeback album.

There are a few oddities on this album, including a bunch of instrumentals including a jam of “Lola.” The standout tracks are “God’s Children,” and “Animals in the Zoo.” The rest of it sounds phoned in. I hope they at least got paid a bunch.

Line up:

• Ray Davies – vocals, guitars, harmonica
• Dave Davies – vocals, guitars
• John Dalton – bass, vocals
• Mick Avory – drums
• John Gosling – keyboards

 

Muswell Hillbillies (1971)

1971 wasn’t a total loss after Percy. Towards the end of the year, they were able to put out another album. The band is really sounding better here and they’ve eased into their new 1970s sound. The production quality is the best it’s ever been.

“20^th Century Man” is a killer opener. Ray Davies goes for it vocally at times. It’s that cool screaming that would continue throughout his career. I love how Ray sings in character at times. He’s making up all these figures from his home town. It’s almost like watching television at times. “Skin & Bone” is a fun little honky-tonk. “Alcohol” is sardonic reminder of how excess can ruin you in the end. I like the guitar tone on songs like “Here Come the People in Grey,” and “Holloway Jail.”

This one (along with Percy) didn’t sell very well, which was unfortunate, coming off the success of Lola. I’m not sure why because there’s a lot to like about this album. I found myself bopping my head along to several of these tunes. I think it’s better than Lola as a whole. It gave me good vibes.

Line up:

• Ray Davies – vocals, guitars
• Dave Davies – vocals, banjo, guitars
• John Dalton – bass
• Mick Avory – drums
• John Gosling – keyboards

 

Everybody’s In Show-Biz (1972)

As the 1970s progressed, so did the band’s sound. They always had an element of their contemporaries in their sound, yet still maintained individuality. This is probably their mightiest feat. On this album, and the previous one, you can hear those influences, but something tells me they were more coincidences than influences. You can hear Faces, Who, Stones, Beatles, and even things like the Grateful Dead in these tunes. “You Don’t Know My Name” could easily pass for a Faces song.

But it’s the closer that really gets me. The song “Celluloid Heroes” is a little masterpiece in and of itself. It’s like a follow up to “Waterloo Sunset,” not in theme, but in creativity. I’ve always loved that song.

This is technically a double album, but one of the discs contains a live show from Carnegie Hall.

Line up:

• Ray Davies – vocals, guitars
• Dave Davies – vocals, banjo, guitars
• John Dalton – bass
• Mick Avory – drums
• John Gosling – keyboards

 

Preservation Act 1 (1973)

When this album started, I thought I was listening to “Purple Haze” by Jimi Hendrix. To me it sounds like they took that song and re-jigged some of the riff’s rhythm and notes and then took it elsewhere after it kicked in. That’s not a critique, though. “Preservation” is a cool song. Another standout track is “There’s a Change in the Weather,” an obvious commentary on the times, but with an interesting, eclectic arrangement. “One of the Survivors” is a great bluesy rocker about one of the characters Ray Davies had created previously, Johnny Thunder.

I’m enjoying the musical experimentation here. Lots of dirty electric piano, soul singing in the background, a little funky, but still Kinks. I can’t say this is one of their better albums, but it’s not terrible. It’s also Part 1 of 2, and unlike Lola, Part 2 actually happened.

Line up:

• Ray Davies – vocals, guitars, harmonica
• Dave Davies – vocals, guitars
• John Dalton – bass
• Mick Avory – drums
• John Gosling – keyboards

 

Preservation Act 2 (1974)

Part 2 of this concept album series is pretty much more of the same. This one’s a double album, so there’s just more of it, along with odd little announcements. It’s musical theater. I’m here for the music, though. It has its moments, but it’s definitely weird. It’s a pretty uneven effort, though that’s sometimes the case with musical theater. Some of it sounds like The Kinks and some of it sounds like it belongs in Little Shop of Horrors.

As for the songs, “Money Talks” is a good track. It’s very Rolling Stones. “He’s Evil,” could easily have been an Alice Cooper tune. Other standout tracks include “Mirror of Love,” “Nobody Gives,” and “Scrapheap City” (an old-school country romp sung completely by the female backup singers.)

Line up:

• Ray Davies – vocals, guitars, harmonica
• Dave Davies – vocals, guitars
• John Dalton – bass
• Mick Avory – drums
• John Gosling – keyboards

 

Soap Opera (1975)

Yet another concept project, this one seems a little more interesting thematically. A famous musician swaps places with a normal guy. It starts out pretty rocking with “Everybody’s a Star (Starmaker).” This introduces the main character. I hear a bit of David Bowie happening here.

The other songs are pretty fun, or at least more fun than the Preservation songs. Ray Davies talks through the narration as needed so you can keep track of the story. Sometimes the narration is right there in the songs. This one definitely feels more like a musical. It’s a little easier to visualize as you hear it. In the end, it’s probably not an album I’d go back to listen to again.

Line up:

• Ray Davies – vocals, guitars
• Dave Davies – vocals, guitars
• John Dalton – bass
• Mick Avory – drums
• John Gosling – keyboards

 

Schoolboys in Disgrace (1975)

You know, when you sit back and think about it, not many bands put out this many concept albums in a row, or even in their entire careers. It’s a pretty impressive feat by The Kinks. Thankfully, this one would be their last. This one even links to Preservation. The saving grace here is that the album is sometimes based on 1950s rock music, which is always fun. Other times it sounds like heavy 1970s rock. It’s a bit all over the place, which is typical for The Kinks, actually. Again, not a terrible album, but not one I’d want to listen to every day.

Standout tracks are “Jack the Idiot Dunce,” “The First Time We Fall in Love,” “I’m in Disgrace,” “The Hard Way,” and “No More Looking Back.”

Line up:

• Ray Davies – vocals, guitars, keyboards
• Dave Davies – vocals, guitars
• John Dalton – bass
• Mick Avory – drums
• John Gosling – keyboards

 

Sleepwalker (1977)

The band moved to a new label (Arista) for this rocker of an album. Long time bass player John Dalton left during recording and was replaced by Andy Pyle. This album is a breath of fresh air after all of the theatrical concept albums. This album is the official kick off to my favorite era of The Kinks. You might call it the “arena rock” era, but to me it’s just fun rock music with louder guitars, better grooves, more screaming, and less cheese.

“Life on the Road” is about what you think it’s about, and a good opener. Things get intense (in a good way) with “Mr. Big Man.” Standout tracks include “Sleepwalker,” “Juke Box Music,” and “Life Goes On.” There’s also a bonus track that wasn’t included on the original release called “Prince of the Punks” which is a pretty hilarious takedown of the punk scene, something The Kinks have been said to inspire. “He talks like a Cockney, but it’s all bologna” makes me smile all day long.

I had never heard this album before, and I regret that. It’s a really good one.

Line up:

• Ray Davies – vocals, guitars, keyboards
• Dave Davies – vocals, guitars
• John Dalton – bass
• Andy Pyle – bass on “Mr. Big Man”
• Mick Avory – drums
• John Gosling – keyboards

 

Misfits (1978)

The band is on a roll now. I’m really glad they got back to some guitar-driven, straight-ahead rock and roll music. Like the previous one, I had never heard it all before so this was a great experience. The simplicity somehow creates a big sound. The production quality is great. The songs are fun. What’s not to like?

I like the title track. It’s almost like a Springsteen song or something, but maybe a little better? “Black Messiah” is an interesting song that poses the question, “If I told you that God was black, what would you think of that? I bet you wouldn’t believe it.”

Other standout tracks include “Hay Fever,” “Live Life,” and “Get Up.” It was around this time they recorded the Christmas favorite “Father Christmas,” which was added as a bonus track to later releases.

Line up:

• Ray Davies – vocals, guitars, keyboards
• Dave Davies – vocals, guitars
• John Dalton – bass on “In a Foreign Land”
• Andy Pyle – bass
• Mick Avory – drums
• John Gosling – keyboards

 

Low Budget (1979)

Things get grittier and heavier on this album, and it’s great. Ray Davies always had a certain dynamic to his voice. He could be very quiet and talky, but he could scream and yell with the best of them. Right when the first track hits, he’s already shouting with style. New bass player Jim Rockford rocks it up too. This is a great line up.

“Attitude” is a lot of fun. I remember hearing the songs “Catch Me Now I’m Falling,” and “(Wish I Could Fly Like) Superman” on the radio a lot when I was young. I still love both of those songs. I still wonder if there’s a nod to “Jumping Jack Flash” in the middle of “Catch Me” when I hear it. It’s so obvious, but I wonder if they did it on purpose.

“Pressure” is a fast rocker with a 1950s vibe to it. “Low Budget” is a bluesy rocker with clever, humorous lyrics about being broke. Other standout tracks include, “A Gallon of Gas,” “Misery,” and “Moving Pictures.”

This is a great record. I enjoyed listening to it.

Line up:

• Ray Davies – guitar, keyboards, vocals
• Dave Davies – guitar, background vocals
• Jim Rodford – bass, background vocals
• Mick Avory – drums
• Gordon Edwards – piano on “Low Budget”

 

Give the People What They Want (1981)

Now we come to my favorite one of the bunch. Maybe it was because I was an impressionable eleven-year-old at the time. I had this on cassette and wore it out. I think a friend actually gave it to me and told me to check it out. That’s what we used to do back in the day.

Anyhow, this album has all the elements of its day including rock, punk, and even new wave. You can hear the Ramones, Blondie, Sex Pistols, and the like, but still they are loud and proud Kinks. Every tune is a winner on this one. I like the production. I can put this on any time and be happy.

“Around the Dial” sounds just like a Replacements song. They coincidentally have a great song called “Left of the Dial.” I think Paul Westerberg might have been a Kinks fan. “Give the People What They Want” picks up from there and continues the upbeat drive. “Killer’s Eyes” analyzes the mind of a serial killer. “Predictable” talks about the mundane lives some people live. I remember a very funny video for this one on Mtv. “Add It Up” gives Blondie a run for their money. “Destroyer” was a monster hit and was on the radio constantly. Not only does it mention Lola, but the chord progression is nearly the same as “All Day and All of the Night.” I guess if you’re gonna rip off someone, it should be yourself, but man, this is a great song. I have covered it with bands before. It’s so much fun and people still like it. “Yo-Yo” brings us back to social observation, discussing people’s ability to switch back and forth between personalities as they lead double lives. It’s a slower tune but interesting lyrically. I always loved the rolling guitar/bass line in “Back to Front” which is soon. This is one of my favorite tracks on the album. “Art Lover” is the only song on the album that slows things down for me, but it does fit the Kinks mold if you think about their previous albums. It’s slow, but the lyrics are funny. “She’s a work of art, and I should know. I’m an art lover. Come to daddy,” makes me chuckle. “A Little Bit of Abuse” has a great groove, but the subject is pretty serious. It takes on a battered woman who won’t leave her abuser. It’s written from the perspective of an outside friend. Oddly enough, I have a song that’s the same thematically called “The Devil You Know,” and I never put it together until just now. The Kinks song is a little more on the nose and direct, though. “Better Things” closes out the album. It’s a little more reminiscent of their earlier efforts. After a pretty angry album, we wrap things up on a hopeful note. “It’s really good to see you rocking out and having fun. Living like you’ve just begun. Accept your life and what it brings. I hope tomorrow you’ll find better things.”

This album has balls, attitude, and a certain timelessness that I enjoy. It’ll probably remain my favorite Kinks album. I would love to make an album as good as this one day.

Line up:

• Ray Davies – guitar, keyboards, vocals
• Dave Davies – guitar, vocals
• Jim Rodford – bass
• Mick Avory – drums
• Ian Gibbons – keyboards

 

State of Confusion (1983)

You probably remember this album because of its big hit “Come Dancing” which was a top 10 hit in the USA. It’s a great song that you couldn’t escape in 1983. But is there anything else worthwhile on this album? Turns out, there is!

“State of Confusion” and “Definite Maybe” are decent rockers that kick the album off. Of course, “Come Dancing” is a pleasant track that maintains their love for English nostalgia. Other standout tracks include “Labour of Love,” and “Bernadette.” The cassette of this album also featured two extra tracks called “Noise” and “Long Distance” that should have been included on the album because they’re better than some of the tracks that made it to the LP. The CD reissue contained a cool tune called “Once a Thief” and again, I’m not sure why it wasn’t included on the original album.

The production on this album isn’t as “in your face” as the last one, and I miss that. It still has some of the energy of the previous effort, but it’s not as raw. The drums take more of a back seat this time. The keyboards are a little more pronounced. Everything seems a little more compressed and equalized, thinner perhaps. There are more slower tracks, but when it rocks, it rocks well.

I don’t like it as much as the previous album, but it’s certainly a decent listen.

Line up:

• Ray Davies – guitar, keyboards, vocals
• Dave Davies – guitar, vocals
• Jim Rodford – bass
• Mick Avory – drums
• Ian Gibbons – keyboards

 

Word of Mouth (1984)

The band’s 1980s run continues. “Come Dancing” was a big success and they followed it up with this album which contains yet another one of my favorite tracks from the band called “Do It Again.” What a great song.

“Word of Mouth” is a good track with some biting guitars. Other standout tracks include “Living on the Thin Line,” “Sold Me Out,” “Guilty,” and “Summer’s Gone.”

The production quality is better on this album. It’s somewhere between Give the People and State of Confusion. The guitars have more edge and the drums are a little more in the mix this time. The songs hit slightly harder at times. I’d place it above the previous album in a ranking.

Line up:

• Ray Davies – guitar, keyboards, harmonica, vocals, drum machine
• Dave Davies – guitar, vocals
• Jim Rodford – bass, background vocals
• Bob Henrit – drums, percussion
• Mick Avory – drums, percussion on “Missing Persons”, “Sold Me Out” and “Going Solo”
• Ian Gibbons – keyboards, background vocals

 

Think Visual (1986)

I don’t know much about this album. I remember that it didn’t sell too well because I used to see it in the bargain bins at the records stores. It was around this time I started working in record stores, so the cover was familiar to me.

While listening to “Welcome to Sleazy Town” I noticed a direct lift of the main riff of Genesis’ “Misunderstanding” in certain parts. Standout tracks here include “Think Visual,” “Lost and Found,” and “Rock ‘N’ Roll Cities.”

The production is clean and clear with some surprisingly great guitar tones for the late 1980s when everything was so compressed and effects-driven. I guess it didn’t sell too well, but it’s a decent album.

Line up:

• Ray Davies –guitar, vocals, keyboards, harmonica
• Dave Davies –guitar, vocals, keyboards
• Ian Gibbons – keyboards, backing vocals
• Jim Rodford – bass guitar, backing vocals
• Bob Henrit – drums, percussion

 

UK Jive (1989)

This is another one I didn’t know much about and had never heard. The Kinks are not done with you yet, apparently.

The opener called “Aggravation” kicks in pretty hard after a short, mellow lead in. Ray is still at his screaming best. This is a fun tune that travels around different beats and grooves. The title track has a cool 1960s boogie-woogie vibe to it. Other standout tracks include “How Do I Get Close,” and “Dear Margaret.”

This album started out great, then sunk a little in the middle, but stuck the landing with “Perfect Strangers.” It’s still good old-fashioned rock and roll. It’s worth a listen.

Line up:

• Ray Davies –guitar, vocals, keyboards, harmonica
• Dave Davies –guitar, vocals, keyboards
• Ian Gibbons – keyboards, backing vocals
• Jim Rodford – bass guitar, backing vocals
• Bob Henrit – drums, percussion

 

Phobia (1993)

As of this writing, this is the final album by The Kinks. Rumors are always swelling, so who knows. It’s a bit of a more modern sound for them, so that’s welcome.

“Drift Away” is a pretty cool track. I like the much-welcomed upbeat song “Hatred (A Duet).” I fear it only grabbed me because the rest of the album was wallowing in mid-tempo songs, of which there are many. “Scattered” isn’t bad.

Ray still has some balls and attitude, which is great. I love his style. It’s still fun to listen to them. I just wasn’t blown away. If they could still make a rocking album like Give the People What They Want when they’re in their 80s, that would be pretty awesome. I’d be on board.

Line up:

• Ray Davies – guitar, keyboards, vocals
• Dave Davies – guitar, vocals
• Jim Rodford – bass, backing vocals
• Bob Henrit – drums

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The Gut Check

• Peak Album: Give the People What They Want
• Deep Cut: “Back to Front”
• Skip It: Percy

 

Leave me a comment below with your favorite album, track, or album ranking.