I began listening to the Kinks in early April of 2021. I quit the band after Lola in June but came back to Muswell Hillbillies in mid-2023 after a friend noted it as his Kinks' favorite album.
Kinks (1964): B-
Kinda Kinks (1965): B
The Kink Kontroversy (1965): B-
Face to Face (1966): A-
Something Else by the Kinks (1967): B+
Muswell Hillbillies (1971): B+
Kinks (1964):
Although it's comparatively weaker than the Rolling Stones' debut, Kinks suffers from the same fundamental problem: many of the cover songs don't translate well to the rock and roll setting (though "Bald Headed Woman" does make me laugh). Excluding the excellent "You Really Got Me," Ray Davies's songwriting is still in an incubator state. However, even despite thin production, the band has already sonically carved out their own recognizable style that separates them from their contemporaries. Fortunately for the band, since I began reviewing the Stones in August 2020, I've become a much bigger fan of early rock and roll and this is a decent, if uneven, document of that sound and style. B-
Kinda Kinks (1965):
Kinda Kinks is another uneven affair from the band. Though Ray Davies has increased his songwriting output--there are only two covers on the album--he hasn't honed his talent enough to write an entire album of interesting material. That is not to downplay his accomplishments, one of which is writing half of an excellent album (after all, it took the Stones until their fourth record Out of Our Heads, released several months after this, to write half of the songs on one of their albums). The two best songs are "Nothin' in the World Can Stop Me Worryin' 'Bout that Girl," an introspective ballad that reflects a maturing in Davies's songwriting, and "Time of Waiting for You," another great rock'n'roll song propelled by a seductive riff. Although I never thought "You Really Got Me" was a fluke, the best tracks off their sophomore release are their first to suggest a future as bright as their superstar British contemporaries. B
The Kink Kontroversy (1965):
Although this is their first album that is well produced, it's their first to lack any standout material. Sure, it includes the hit "Till the End of the Day," but it's unsatisfying as the album's best. "Milk Cow Blues," "When I See That Girl of Mine," and "I'm on an Island" are similar in quality--pleasant, but nothing worth remembering 50 years later. And instead of helping the album, the diversity of musical influences leaves the band unable to properly focus on mastering the songs Ray has brought them. As for the lyrics, Davies's writing hasn't ascended mediocrity yet. The shift in song topics hasn't made his writing more imaginative or expanded his imagery. A transition album indeed. B-
Face to Face (1966):
Despite the movement away from their blues roots, the basis of the album is still very much rock'n'roll, which is relief because that's what the Kinks are best at. Other than his hooks which could still be slightly improved, Ray Davies's songwriting has blossomed and he has perfected a simplistic lyricism that has wit, charm, and emotion. And unlike Pete Townshend, Davies doesn't gets caught up making some big or important statement--"Holiday in Waikki," about the commercialization of Hawaii, and "Most Exclusive Residence for Sale," about a man who lavishly wastes his fortune, appear to be written without a theme in mind, which sells their themes even better in the final product. A-
Something Else by the Kinks (1967):
Now that Ray Davies has moved away from the social commentary of the previous Face to Face, his lyrics are generally less pungent thematically and consequently less rewarding to read. Still, he's one of the better lyricists of the British invasion. "David Watts," "Two Sisters," and "Harry Rag" are the album's best, combining thoughtful lyrics and strong melodies. Not to mention "Waterloo Sunset," a true masterpiece. Touching on British hall music, acoustic ballads, and baroque pop, the album is unique and a standout in a year dominated by psychedelic music. B+
Though certainly not an achievement in the world of literature, Ray Davies's first full-blown concept album is an impressive piece of pop songwriting. Nostalgia and idealization are Davies's main vessels and he appropriately uses them to build up his best lyrics "Last of the Steam-Powered Trains" and "Big Sky." The eclectic musical influences of the band blend so seamlessly that the combination only appears obvious in retrospect and the production, from the crisp sound to the subtle use of a mellotron and orchestration, is simply superb. Two underwhelming tracks--one about a cat and one called "Wicked Annabelle"--keep it from an A but otherwise an excellent record and a pleasant trek down a weirdly familiar dirt road. A-
Since their fourth Face to Face, I've been worried that even a small dip in songwriting would result in a severe drop in quality. Because of Ray Davies's high lyrical ambitions and the band's inclination for high-class music, they always teetered near the cliff of pretentiousness. Both the lyrics and music of this album don't completely work. Davies's lyrics are preachy and relativity simple while many of the melodies are either dull or irritating. The best songs--"Brainwashed," "Australia," and "Mr. Churchill Says"--evade the album's usual tropes by demonstrating the band's most straightforward rock'n'roll since their second or third album. B-
With songs titled “Apeman,” “The Moneygoround,” and “Powerman,” many of the lyrics are more preachy and ridiculous than their lyrics on their previous work Arthur. Nevertheless, the band has moved into a more agreeable lane on pop, which gives this album the edge. Still, I pretty much only enjoy the songs with an acoustic guitar and tolerate everything else in varying degrees. I also thoroughly enjoy "Lola" both lyrically and musically even though Ray Davies predicts and brags about the single going to number one on the very next song, one of the band's worst ever: "Top of the Pops." B
Muswell Hillbillies (1971):
After the success of the acoustic guitar on Lola, the Kinks try out their own version of country rock. Musically, it's very pleasing. The band stays focused on the country twang for the entire album while an excursion like "Acute Schizophrenia Paranoia Blues" fit right in because of its seamless tie of the blues and the band's signature music hall. The loungy singing is also surprisingly strong. Ray has never been my favorite singer but at a smokey bar, he sounds right at home. And hey! On "Skin and Bone," the band even lays out a glam sound that T. Rex would put some extra glitter on for Electric Warrior! B+
