The Kinks - Album Ranking - Least Favorite to Most Favorite
The Kinks. What an amazing band, and such a great, unique, and diverse catalog. Certainly one of the greatest rock bands of all time. And this year (2023) we are celebrating the 60th Anniversary of the band. Although often overshadowed by the other members of that ‘Big Four’ (Beatles, Rolling Stones, and The Who) of 60’s British Invasion Bands, The Kinks were every bit as good, talented, and influential as the rest, but due to their own quirky musical directions, they never were as popular. The musical legacy left behind by the Kinks is amazing, and they have been important influences on so many subsequent music types, everything from hard rock, heavy metal, punk rock, progressive rock, power pop, new wave, Britpop, country rock, folk rock, rock opera, and even musical theater and show tunes. But most important was the music itself. Never taking an easy path, The Kinks always went their own way, creating a diversity of styles and sounds (and often alienating previous fans in the process), but always maintaining a characteristic ‘Kinkness’ to their music. Known for their quirky, eccentric pop and rock songs, strong melodic sensibilities, compelling story songs, and embracing varied musical styles and influences, they expanded the concept of what a pop song could be. Started in 1963 in Muswell Hill area of North London, lead by Ray Davies as songwriter/lead vocalist/rhythm guitar/keyboards, his brother Dave Davies on lead guitar/backing vocals, Mick Avory on drums, and Pete Quaife on bass, The Kinks burst on the music scene in a big way in 1964 when Dave stroked that power guitar riff heard ‘round the world, marking the opening to ‘You Really Got Me’, and The Kinks were off and running. Probably more so than most artists, The Kinks musical career is usually divided into several distinct periods: from their early success as a British Invasion Band (1964-1965); their glory years of pop creativity and diversity (1966-1972); their much maligned theatrical incarnation (1973-1976), in which they expanded to an eight-piece band with horns, clarinets, etc. and produced and staged elaborate pop operas and musical theater; their return to rock, commercial success, and sold-out arena shows (1977-1985), and then the inevitable years of declining fan interest (1986-1996). And despite some reports to the contrary, they were wonderful all through the many phases of their career. Ray Davies is one of the great songwriters of rock and an extremely versatile vocalist; Dave Davies is an underrated guitarist, master of guitar riffs, fills, and lead lines; Mick Avory, an accomplished energetic drummer that added alot to their music; bassists Pete Quaife (1963-69), John Dalton (1969-76), Andy Pyle (1976-78), and Jim Rodford (1978-1997), all providing solid playing and contributions; as well as excellent keyboard work, first from Nicky Hopkins (1965-68) as a guest artist, and then John Gosling (1970-78), and Ian Gibbons (1979-97) in the later years.
When I started this blog 15 years ago, The Kinks were the very first artist I featured, with articles about their music and concert posts from throughout their career. But I have not yet done a full analysis and ranking of their albums, that is, until now. So, here is my assessment of all of the Kinks studio albums. The Kinks released 24 studio albums over the course of 30 years, from 1963-1993, in addition to several live albums and innumerable compilations and collections, as well as many other EP's, singles and B-sides containing songs that were not included on any albums (and many of their biggest hits were not included on the albums). Ranking the albums was very difficult though, because I love almost all these albums. I have gone back and forth changing the order dozens of times over the past couple months preparing for this (It seems every time I listen to particular album, I want to move it higher in the ranking because it is so good). All of the top 20 are at least good to very good, and the top ten are all great. Although many people seem to embrace mainly their 60's output and somewhat dismiss their
later albums, I contend their resurgent rock period (from 1977-1984, from Sleepwalker through Word of Mouth)
contained some of their very best albums and songs. As I've reiterated several times on this blog, The Kinks do not get the attention and acclaim they deserve as one the greatest bands of all time. Such a unique and creative band. So, anyway, here are my takes on their albums, ranked from least favorite to most favorite, based solely on my own opinion,
Not quite a real Kinks album, as it is a soundtrack with only 6 new Kinks songs and a bunch of movie background music and incidental instrumentals played by the Kinks. Of the actual Kinks songs, only a couple are noteworthy, God's Children is a standout and Dreams is quite good, but the rest are forgettable. This does contain a unique Kinks oddity, in that it has the only Kinks song sung by anyone other other than Ray or Dave Davies, sung in an Elvis Presley style by bassist John Dalton (Willesden Green). Rating: 2ó
23. Preservation Act 2 (1974) Best tracks: Mirror of Love, He's Evil. Rating: 2.5ó
22. Preservation Act 1 (1973) The Preservation series, essentially a musical theater piece, consisting of three discs over the the two acts, with a convoluted story of evil vs. good has some very good songs, but not enough to make the whole very enjoyable, and quite a few substandard songs. Act 1 is the better of the 2 acts, but the whole is too long with too few memorable parts, and just quite a slog to get through. Worked a bit better as a live show than on the albums.Best Tracks: One of the Survivors, Sweet Lady Genevieve, Sitting in the Midday Sun. Rating: 3
21. UK Jive (1989) The weakest of their latter day albums. Again, some good songs, but overall weak compared to most of their other stuff. Best Tracks: Down All the Days, UK Jive, Now and Then, Loony Balloon. Rating: 3ó
20. Kinks (1964) Best Tracks: You Really Got Me, Stop Your Sobbing.
19. Kinda Kinks (1965) Best Tracks: Tired of Waiting, Come On Now
18. The Kink Kontroversy (1965) Best Tracks: Till the End of the Day, Where Have All the Good Times Gone, Milk Cow Blues. These early Kinks albums featured a primarily blues-rock style similar to other UK bands at the time (Stones, Who), as their producer., Shel Talmy (who also managed The Stones and Who) tried to fit them into this UK blues-rock mold, but that wasn't where the Kinks shined. Each generally have a couple of original standout tracks amidst a bunch of more standard blues-rock covers and lesser songs. Although these albums boast great tracks such as You Really Got Me, Tired of Waiting, etc, the bulk of tracks are just competently played standard blues-rock. Many of the bands best songs from this period were not included on the albums, but released only as singles or EPs. If those tracks are included on the albums (as with the CD reissues), their ratings would each would improve by 0.5 to 1 stars. But as released, all are overall good, but not great.
Rating (all three): 3ó. Note: Non-album tracks from this period that are NOT on any of these albums include: All Day and All the Night, I Gotta Move, Everybody's Gonna be Happy, Who'll Be the Next in Line, Set Me Free, See My Friends, A Well Respected Man, Dedicated Follower of Fashion, among others, which collectively far surpass most of the songs that were included on the albums.
17. Schoolboys in Disgrace (1975)
A themed album from their musical theater period, looking back at Ray's schooldays in the 1950's. Thus, much of the music has a fifties style, which hampers the album a bit. This is a good example of an overall lesser album from the band but which still contains some really great songs, such as the fantastic No More Looking Back and the quite strong The Hard Way. The songs with the strongest fifties feel, such as Jack the Idiot Dunce and The First Time We Fell in Love are the weakest, but overall the album works fairly well.
Best Tracks: No More Looking Back, The Hard Way, I'm in Disgrace, Education.
Weak tracks: The First Time We Fall in Love, Jack the Idiot Dunce.
Rating: 3.5ó16. Give the People What They Want (1981)
Harder-rocking, but
less effective than their other albums from this period, but still quite
an enjoyable album. They go with a heavier sound here, opening with
rockers Around the Dial and Give the People What They Want, and tease
the rhythm and chords of All Day and All the Night on Destroyer, but a
couple of the other heavier tracks don't work that well. But the lighter
fare really perks up the album with Killer's Eyes and the strong
closing tracks A Little Bit of Abuse and the great Better Things. Art
Lover is a pretty tune, but the strong pedophile vibe in it makes it a
bit too creepy to enjoy. A bit of a mixed bag, but the strong tracks
carry the weaker ones to still make a quite good album.
Best Tracks:
Better Things, A Little Bit of Abuse, Destroyer, Predictable, Killer's
Eyes.
Weak Tracks: Add It Up, Yo-Yo.
Rating: 3.5ó15. Soap Opera (1975)
A very interesting album, although, again, doesn't fit the expectations of what fans wanted a Kinks album to be. Another musical theater piece, and this one really is a musical play that tells a story through the songs, and it was actually presented as a live TV production prior to the release of the album. Here, Ray plays an egotistical rock star who claims he can make anyone into a star and decides to change places with a boring ordinary person to provide material for his next album. But rather than following the exploits of the regular person thrust into the celebrity role, the story focuses exclusively on Ray as he assumes the life of Norman, a working class nobody, working at his dead-end job, living in his house, and being with his wife. This sets up a series of songs dealing with everyday workingman problems (Rush Hour Blues, Nine to Five, When Work is Over, Have Another Drink), but as he adjusts to the working class routine, he takes comfort in the simple pleasure of coming home to a loving wife (You Make It All Worthwhile), and eventually begins to accept that maybe he is just an ordinary person (Face in the Crowd). The show concludes with a rousing song espousing how rock stars come and go but the music always plays on (You Can't Stop the Music). As a musical theater piece this album works very well, with fun, moving, and inspiring songs that fit and carry the story forward. However, most of these would be considered show tunes-type songs and not really 'rock' at all, which is why it was not well-received by rock fans. But it does contain some genuine Kinks classics in Face in the Crowd and You Can't Stop the Music, and Everybody's a Star.
Rating: 3.5ó14. Phobia (1993)
The band's last studio album, an expansive 16-track release, over 71 minutes long, and somewhat surprisingly, it's really good! I came to this one late as it didn't have the best reputation, yet I was pleasantly surprised to find a whole bunch of very good Kinks songs here. Yes, there are a few duds or lesser efforts (including Dave's couple of rockers being a bit weak), but there are more than enough good songs, and with this many songs to choose from, it's quite easy to put together a really good regular length album here. Sure, they don't chart any new ground here, just solid songwriting and performing in styles they are old pros at, and for a band that had been going for 30 years at this point, that's a lot better than we have a right to expect.
Best Tracks: Hatred, Scattered, Surviving, Only A Dream, Drift Away, Over the Edge.
Weak Tracks: Phobia, It's Alright, Close to the Wire.
Rating: 3.5ó12. Muswell Hillbillies (1971)
This is a fascinating album, and a really bold experiment and departure for the band. But this was also the album that drove away many of the bands more rock-oriented fans, as well as much of their UK success (they never had another big hit in the UK from this point on). On the heels of their big success with Lola, the band took a sharp turn, basically away from rock and even pop music. Although sometimes referred to as their country album, there's actually very little 'country' music here, but it does delve into Americana roots music, featuring early 20th century styles of folk, blues, and jazz. Although the subject matter of this themed album deals with working class issues in contemporary life, the music harkens back to explorations of bluegrass, Appalachian, early New Orleans jazz, and depression-era blues. Adding a horn section to their sound and using mainly acoustic instruments, the band explores the sounds of regional folk and ethnic American roots music, for a starkly different sounding album. Not all of it works (I've never cared for the dramatic revival meeting-style testimonial Alcohol), but it is an amazing album, unlike anything else in their catalog, and really unlike anything else any other rock band has attempted.
Best Tracks: Muswell Hillbilly, 20th Century Man, Oklahoma USA, Skin and Bone, Have a Cuppa Tea.
Weak tracks: Alcohol, Uncle Son.
Rating: 3.5ó13. Think Visual (1986)
Another surprisingly good album from late in their career. Once again Ray shows an astonishing ability to write compelling story songs about all aspects of contemporary life, with wonderful melodies and catchy choruses and hooks throughout. Whether he is comparing being in a rock band to his days working at a factory (Working at the Factory), lamenting the clean-up of a once thriving underbelly of a city (Welcome to Sleazy Town), opening up a video store (The Video Shop), or a band adjusting to the MTV age (Think Visual), it all just works. Add in lite-rock gems like Lost and Found, Natural Gift, and How Are You, and they've got another really good album. Nice arrangements with Dave's tasteful and clever guitar riffs and fills, and Ian Gibbons keyboards filling in just right, provides such a wonderful whole. These songs may not rank among the band's all-time best, but they are all quite good and enjoyable, not a weak track here, even Dave's somewhat generic rocker, Rock n Roll Cities, works quite well.
Best Tracks: Working at the Factory, Lost and Found, Welcome to Sleazy Town, Think Visual, Natural Gift, How Are You.
Weak Tracks: none
Rating: 3.5ó11. Everybody's in Show-Biz (1972)
This is a double album, with one studio album of new songs and one live album. The live component is quite good, but I am only ranking this based on the studio album component. This album followed after Muswell Hillbillies, and they have kept the horn section from that album, as well as some of the sounds and styles, but now mixing them into a more rock and pop-oriented sound, as well as the beginning of some of their more Music Hall-oriented sound, so this includes a wide diversity of styles and sounds. Because of that, it may seem a bit disjointed, but there are numerous rewards throughout this entertaining album. The songs that are most reminiscent of Muswell Hillbillies, Maximum Consumption and Unreal Reality, retain that horn-heavy early Preservation Hall bluesy jazz style. The horns are also well-incorporated into the great opening rocker, Here Comes Yet Another Day. Filled with fun songs, such as the melodious sing-along Hot Potatoes, the soaring ballad Sitting in My Hotel, the country toe-tapper Motorway, and the funky acoustic gem Supersonic Rocket Ship, there are surprises with each song. The album finishes with the Music Hall ditty Look a Little on the Sunny Side and then closing with the all-time Kinks classic Celluloid Heroes. An odd mixture maybe, but still wonderful throughout.
Best Tracks: Celluloid Heroes, Sitting in My Hotel, Supersonic Rocket Ship, Here Comes Yet Another Day, Hot Potatoes, Motorway.
Weak track: You Don't Know My Name.
Rating: 3.5ó10. Low Budget (1979)
A great album from their resurgent period that actually became their highest charting album in the US, reaching #11 (The closest they ever came to a top10 album). To understand why, you need to recognize what was going on in the world, and how this album zeroed in on the issues, anxieties, and and problems of that time, particularly in the US, and dealt with them in a very genuine and enjoyable way. This came out during a time of great stress, with the hostage situation in Iran, economic recession, energy crisis, three mile island nuclear accident, etc. And The Kinks captured the mood of the times in songs such as Attitude, Catch Me Now I'm Falling, Pressure, Low Budget, and A Gallon of Gas, and provided musical support and an uplifting message through insightful lyrics and great tunes. And humor as well, as with the blues jam of A Gallon of Gas, which chronicles the unavailability of gasoline with the singer trying to score some gas from his local drug dealer, and Low Budget, describing the singer's extreme lack of funds. The album has a very nice mix of rockers, ballads, and pop songs, and underrated gems such as Little Bit of Emotion and Moving Pictures.
Best Tracks: Catch Me Now I'm Falling, A Gallon of Gas, Low Budget, Attitude, Moving Pictures, Little Bit of Emotion
Weak Track: National Health.
Rating: 4ó9. State of Confusion (1983)
Another really strong album filled with great songs and a great mix of rockers and lighter fare. Once again, they mix in some rockin' good songs dealing with contemporary issues and concerns (State of Confusion, Young Conservatives, Cliches of the World) with some absolutely gorgeous pop story songs (Come Dancing, Don't Forget to Dance, Heart of Gold, Property), and a few other catchy rockers (Definite Maybe, Labour of Love, Bernadette), and there you have a really great album, just loaded with high quality songs and a nice mix of sounds and styles. The only weak spot is Dave's overly screechy rocker, Bernadette.
Best Tracks: State of Confusion, Definite Maybe, Come Dancing, Don't Forget to Dance, Heart of Gold, Cliches of the World.
Weak Track: Bernadette.
Rating: 4ó8. Something Else by the Kinks (1967)
The band continue demonstrating their unique style and diverse songwriting with this great release. The album is full of quirky pop gems in a variety of styles, from the driving pop of David Watts, chamber pop of Death of a Clown, the harpsichord-laden Two Sisters, the bouncy pop of Afternoon Tea, the pleasant shuffle of Funny Face, the old-timey vibe of End of the Season to the timeless beauty of Waterloo Sunset, which emerges as one of the all-time great pop songs. And they still have some of that raunchier rock sound in them in Dave Davies' Love Me Till the Sun Shines. They also try their hand at some more psychedelic content in Lazy Old Sun, but unfortunately it doesn't suit them very well, as it interferes with their melodic sensibilities, and ends up being one of their weakest songs from this period. This is their first album to include multiple songs written by Dave Davies, there are 3 of them here (Love Me Till the Sun Shines, Funny Face, Death of a Clown),and they are all really good, and he would be a steady contributor from this point on.
Best Tracks: Waterloo Sunset, Love Me Till the Sun Shines, Death of a Clown, David Watts, Funny Face, Afternoon Tea.
Weak Track: Lazy Old Sun.
Rating: 4ó7. Misfits (1978)
Following the resurgent success of Sleepwalker, the band keeps it going with another fantastic album featuring the cornerstone classic Kinks rock tracks of Misfits, Live Life, A Rock n Roll Fantasy, and Get Up. But what makes the album such a delight to listen to, are some of the seemingly 'lesser' tracks that are just wonderful and so much fun, including songs dealing with such minor topics as allergies (Hay Fever), a humorous take on discussions of racial equality (Black Messiah), the possible need to change your hair style to be happy and successful (Permanent Waves), and a 70's take on LGBTQ issues (Out of the Wardrobe). Overall, just a wonderful, enjoyable album all the way through. The song Misfits, in particular is one of my all-time favorites, one I would definitely include on the soundtrack of the movie of my life. Best Tracks: Misfits, Live Life, A Rock n Roll Fantasy, Get Up, Black Messiah, Trust Your Heart. Weak Tracks: none. Rating: 4.5ó
6. Face to Face (1966)
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By this time the band was moving away from the more aggressive hard-driving rock and blues-rock of their early days and expanding their repertoire to include a wider variety of material, especially softer and more quirky and different types of pop songs, from baroque pop, quiet ballads, and music hall-inspired ditties to fun rockers, and Ray Davies songwriting developed into more social commentary, observations, and character studies in his unique story songs. This sensational album followed a theme of social observation and communication, and included songs about the mysteries of a phone party line, a parent pleading for their runaway child, a neighborhood playboy, vacationing in Hawaii, and a formerly rich man who lost everything but a sunny afternoon, and all with witty, insightful lyrics. Stylistically, they range from grand pop songs, bouncy rockers, and gentle ballads, to some darker, more somber fare. This was their first album to fully embrace these more eclectic songs and songwriting, and this album showed the Kinks to be among the very best of the pop-rock bands of the day, right there along with the likes of the Beatles and The Beach Boys.
Best Tracks: Sunny Afternoon, Dandy, You're Looking Fine, Too Much on My Mind, Holiday in Waikiki, Party Line, Little Miss Queen of Darkness.
Rating: 4.5ó5. Word of Mouth (1984)
After more than 20 years in and many ups and downs, this band delivers one of their very best albums, as this one is stunningly great from start to finish, with a great mix of rockers, pop songs, and ballads. Starting off with a couple of powerful rockers with engaging melodies (Do It Again and Word Mouth), then transitioning to the lovely pop song Good Day, followed by Living on a Thin Line, one of Dave Davies best ever songs, and the energetic Sold Me Out. This is one of their strongest opening barrage of songs and album sides of any album. But the greatness continues with highlights such as Massive Reductions, Too Hot, Missing Persons, Summer's Gone. and Going Solo. At this point the band is at the peak of their powers, old pros that know how to write, arrange and perform great rock and pop songs, using all of their accumulated knowledge and expertise. Just a fantastic album.
Best tracks: Living on a Thin Line, Good Day, Do It Again, Too Hot, Summer's Gone, Going Solo, Sold Me Out , Missing Persons.
Rating: 4.5ó4. Lola Versus Powerman and the Moneygoround, Part One (1970)
Another fantastic concept album from the band. this one deals with the trials and tribulations of the music business, something Ray and the band were very familiar with by this point in their career. It's also one of their most boisterous and rocking from this period, and introduces several new elements: This was the first album Dave plays banjo, bringing some folkier elements (that they would later develop more), and also the first album with John Gosling joining the band on keyboards, and he makes some strong contributions. The album opens with a short acoustic country teaser intro before exploding into the high-octane rock of The Contenders, which then leads directly into the acoustic gem Strangers, one of Dave Davies best songs ever. we then get introduced into the business side of music with the music hall ditty Denmark Street and and the poignant Get Back In Line. Then there's the big hit Lola, which serves as the breakthrough single for the protagonist musician of the story here, leading to Top of the Pops and the vaudevillian Moneygoround, where the band learns about all the people that take their cut of money before they see any, with Ray's clever, biting observations. Then comes a couple of sensational songs in the beautiful This Time Tomorrow and the powerful ballad A Long Way From Home. Rats and Powerman provide more straight-up rock firepower down the stretch, and Apeman provides the stylistic counterpart to Lola, before wrapping up with the emotional closer Got to Be Free. A superb album with production and arrangements that are a bit ramshackle and endearingly rough around the edges.
Best Tracks: This Time Tomorrow, Strangers, Lola, A Long Way From Home, Get Back in Line, Got to Be Free, Top of the Pops, Powerman.
Rating: 4.5ó
3. Arthur (Or the Decline and Fall of the British Empire) (1969) Here they follow up one masterpiece with another in this sensational concept album, or rock musical, that follows the life of Arthur, a British carpet-layer and his family, and was inspired by Ray's actual Brother-in law and his marriage to Ray's older sister. Ray prepared a detailed storyline and hoped to turn it into a television play, but that never happened. Arthur's journey provides a rich tableau for Ray's story songs, following his exploits through World War II and beyond to Australia. Although Ray often delves into social commentary, this album may be his most political, with commentaries on various aspects of the war and British politics. But through it all are great songs and a very rocking album, probably their most rock-oriented from this period (which was characterized more by quirky and eccentric pop songs). Opening with the great rocker, Victoria, then the quirky Yes Sir No Sir leading into the powerful ballad Some Mother's Son about the devastating human cost of war. Drivin' provides a pleasing diversionary jaunt and then Brainwashed unleashes a great bass-heavy horn-driven rocker. With Australia, another great melodic rock song, which closes with an extended jam session unlike anything else in the Kinks Discography. Then there's Shangri-La, a pop masterpiece in itself, with multiple sections and lush Brian Wilsonesque production. And then Mr. Churchill Says, another stunner, starting slowly and partially talk sung, until amid air raid sirens, switches into an energetic rocker that totally rules. They go back to Music Hall camp for She Bought a Hat Like Princess Maria, but again, partway through change over to a Spike Jones-style farce. Young and Innocent provides a pretty ballad, and the album wraps up with the bluesy rocker Nothing to Say, followed by the title track, Arthur, a catchy melodic rocker. A unique and sensational album, that gets better and better with repeated listens. Best Tracks: Victoria, Shangri-La, Arthur, Australia, Brainwashed, Mr. Churchill Says, Nothing to Say, Drivin'. Rating: 5ó
2. The Kinks Are the Village Green Preservation Society (1968)
Justly heralded as the Kinks masterpiece (although it was not successful at the time of its release), a fantastic album of 15 short (all but one under 3 min) character study songs that all fit under the concept of the Village Green Preservation Society, dealing with themes of nostalgia, memory, and preservation. Perhaps their most characteristically British of all their albums, as they detail various aspects of British society that should be remembered and preserved, all in a delightfully light, whimsical, and enjoyable way. The album features a wide variety of musical styles and quirky, eccentric lyrics and stories. Starting of with the title track, this theme is articulated as the band lists various 'nice things from the past' that should be preserved, in a jaunty music hall singalong. Following that are various depictions of nostalgia and memories in the stunning onslaught of greatness of side one, with Do You Remember Walter?, Picture Book, Johnny Thunder, Last of the Steam-Powered Trains, Big Sky, and Sitting by the Riverside, in what is probably a sidelong sequence better than any other in their catalog. And side two is nearly as strong, going from one charming song to the next, with Starstruck and People Take Pictures of Each Other as standouts, and songs such as the old-timey All My Friends Were There, the dark and psychedelic Wicked Annabella, and the jazzy calypso Monica highlighting the diversity of sounds and styles. A masterpiece of writing and performing.
Best Tracks: Picture Book, Starstruck, Village Green Preservation Society, Last of the Steam Powered Trains, Do You Remember Walter?, People Take Pictures of Each Other, Sitting By the Riverside, Animal Farm, Johnny Thunder, Big Sky.
Rating: 5ó1. Sleepwalker (1977)
Yes, I recognize that most others don't rank this so high, but if you read my list of favorite all-time albums, you already know that this is my favorite Kinks album. I love every song on here, this is just a delight from start to finish with some of their best melodies and riffs, and most accessible tunes. Just Fantastic. From the energy of the opening track, Life On the Road, the funky Sleepwalker, the endearing Brother, the joy of Juke Box Music to the beautiful melodies and moods of Stormy Sky and Full Moon to the wonderful closer Life Goes On, it's just a wonderful album. So, is this really the BEST Kinks album? Honestly, probably not, but it is my favorite. Yes, there are many other great Kinks albums, some more acclaimed than this one, with more innovative and unique songs (such as
Village Green Preservation Society, Arthur, and
Lola vs. Powerman), but I just love and connect more with this album than any other. Maybe it was the time that it came out and how much I connected with it, but it remains my favorite. This was the first album from that resurgent period (1977-1984), becoming their return to more mainstream rock following their '70's musical theater period, and every one of the songs on this album is fantastic.
Rating: 5óBB’s Rating scale:
1ó – Terrible, torturous to have to listen to
1.5ó - Poor, not worth your time
2 ó – Fair, maybe a couple half-way decent songs, but
sub-par overall
2.5ó – Average, OK, meh, not bad but not that good either
3ó – Good, solid album, several good songs, but not
spectacular. Certainly worthy, but may not be something you come back to very
often
3.5ó – Very good album. Some stellar tracks, very
enjoyable overall
4ó – Great album, filled with great songs, one that you
will want to come back to over and over again
4.5ó – Excellent album, beyond great, superb in every
way, just short of a masterpiece
5ó – A Masterpiece, among the greatest albums of its
type, and has stood the test of time
So, that's my own personal assessment. What about yours? What are your favorite Kinks albums (or not so favorite) and why? Again, just a phenomenal catalog. You can't really go wrong with any of it. Long Live The Kinks!
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