The Contenders/Strangers/Denmark Street/Get Back In Line/Lola/Top Of The Pops/The Moneygoround/This Time Tomorrow/A Long Way From Home/Rats/Apeman/Powerman/Got To Be Free
The final album from The Kinks creative period sees the group voicing their disenchantment with the music business. Includes the UK top five hits Lola and Apeman, the former reaching No. 9 in the States (US:35)
"Even if The Kinks were already past their creative apex at the time this music was recorded, they were still one of the best pop/rock bands and songwriting talents on the British scene and this music lost nothing of its quality and vitality over time. The songs from this album, which were released as singles, remain in the collective memory of the 1960s/1970s generation as an integral part of their life's soundtrack."
"This is a concept album with a critical focus on the music industry. But the important thing is that it contains a wealth of fine songs. In addition to the two classic hits Lola and Apeman you will find the very beautiful Get Back In The Line, which was a regular on the group's repertoire in the 1970s. Also, This Time Tomorrow and the ballad A Long Way From Home are personal favourites. Among the more thematic songs The Moneygoround is both funny and biting. Dave Davies delivers one of his very best songs, Strangers, which both musically and lyrically is simply great."
"A pretty consistent release by The Kinks - perhaps not as strong as some of their earlier efforts but there is still an enjoyable wittiness to their songwriting. I didn't care so much for the concept of this release, but you don't need to because the songs are worth your time regardless. The singing seems a lot rougher around the edges and their kitsch melodies that seems ever present has grown a little tiresome by now, particularly on tracks like Denmark Street and The Moneygoround. But it's the singles which truly impress. Lola was their first hit for some time and revitalised the band - it's awesome. I also absolutely love Apeman, perhaps the strongest song on the album."
"The Kinks return to some of the harder rocking that made them in the first place. I guess that makes them pretty good at anticipating the 70s, which is funny for a band that prided itself on anachronism for albums like Village Green and Arthur. They still mix in the vaudeville/music-hall sound, but the guitar rock is a lot tougher. It's a loose concept album about the horrors of becoming a rock star, more specifically about how everyone stole Ray Davies's money. In general, the album starts naive and idealistic and gradually gets more cynical."
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