The Kinks are known as the best least known pop band for a reason- they are talented, consistent with their excellent material, and capable of writing one memorable song after another. This band really sounds like they were born to write wonderful catchy pop songs, and they succeed quite well. Since the reputation of the Kinks has gone up in recent years as one of the finest pop bands of the 60's, so has the popularity of their albums. Back in the 60's, people didn't listen to these albums as much as people do today, such as this one, Arthur (or the Decline and Fall of the British Empire).
May 21, 2008Called an opera, a concept album, a TV score, the reality is that 'Arthur' is a daringly ambitious album that proved that the Ray Davies and his band were able to remain at the level of the three previous masterpieces starting with 1966's 'Face to Face'. Even more focused on "concept" than the 'Village Green Preservation Society' album, they pull it off by producing a tremendous range of material, from guitar-based riff rock like "Brainwashed" unheard on their previous several records to elaborate sonic suites on "Australia" and the unforgettable "Shangri-la". Indeed, though more of Dave's stinging lead guitar is evident throughout than on the trinity of previous songwriting epics, there are many songs that show effective use of horn arrangements, chorales, and strong production. The songs are uniformly catchy and the subject matter of past British Empire glory, World War II, and middle class concerns are brought home with some of the Kinks' all-time classics, including "Victoria", "Shangri-La" and lesser known but excellent songs, "Drivin", "Nothing to Say", and two beautiful ballads, "Young and Innocent Days" and "Some Mother's Son". The former sounds like a song from an LP 15 years later than this one; the latter, about a battlefield loss, is a great example of Ray's ability to paint a picture with lyrics. This LP was a critical success, and has stood the test of time as a musical work. It is an uncompromising triumph of British rock music from 1969 that has been and will remain among the best of the Kinks' albums and vibrant for decades to come.
April 23, 2008 |  | Arthur - another jewel in the Kinks crown |  |
It was finding Face To Face in the bargain rack at Woolworth's in 1969 that started it for me. Sure, I'd heard and loved the early singles...even had a few of them. But what to make of this LP? I never expected to find it, and I certainly didn't know anything about it. Lola was still to come, and the Kinks hadn't had a hit stateside in over 3 years. But, hey, at $1.99, I really didn't have much to lose. My instincts told me that I'd made quite a find, but the proof was when I took it home and put it on my new Coronado stereo (ceramic cartridge and all, remember those?). I knew from the first ("Hello...who is that speaking please?") notes of Party Line that I'd indeed found the bargain of my (then) short life. It never let up; one jem after another. I particularly loved Rainy Day In June and Holiday In Waikiki. I was an instant convert. So began the hunt for "the rest of the story", but it wasn't easy. Even a trip to Kansas City didn't uncover new Kinks LPs. But over a year later, lo and behold, digging through an 8-track bargain bin, I hit the jackpot. There were both Arthur and Lola vs. Powerman and the Apes, and again that price of $1.99. I remember turning all my friends on to the Kinks.
I liked Arthur and Lola vs.... even better than Face To Face, largely because they sounded so much better (don't forget that ceramic cartridge), and they rocked a lot harder. 1966 was feeling pretty quaint in 1971. I thought, in terms of "high concept", that Arthur made Tommy look pathetic. Ray's observations were so poignant, and the songs hung together so well. I thought then and still think today that it was a work of genius. Ray was a bit of a cynical curmudgeon when he was the tender age of 25, and I liked it.
However you choose to enjoy this album, it works. It is a literary marvel, but it also rocks and has great melodies and band arrangements. John Dalton and John Gosling really added a lot.
A definite dessert island disc for me.
February 26, 2008I know this isn't a spaghetti western but this Sanctuary version of "Arthur" is definitely worth more than the readily available Reprise version that's been around for years.
Having owned both copies I can tell you first hand that this version has a much clearer and richer sound. Not only is the mix louder but the bass is deeper and above all it doesn't sound muddy like the older reprise version. On top of all that, you get great bonus tracks like "Plastic Man" , "King Kong", two great songs that were meant to be on a Dave Davies solo album (This Man He Weeps Tonight, Mindless Child Of Motherhood) and some mono mixes of some album cuts.
OK, enough of the technical stuff, this album alone is a classic but then you get some great bonus tracks as well. This in my opinion is the Kinks best album, don't get me wrong I also love Village Green Preservation Society but this album has more kick to it. It features all members on top of their game. Ray is at his absolute best with his writing and voice, "Shangri La" is an under appreciated gem of his. Dave gets to kick his guitar on to high gear and his song "Brainwashed" is one of many highlights on this album. Mick Avory displays great drumming all throughout but for me his highlight has to be on "She's Bought A Hat Like Princess Marina" and John Dalton makes his full time debut on the bass playing a melodic bass line that McCartney would love on "Victoria".
As you've probably read before this album had the bad fortune of being compared to Tommy at the time of it's release but what people didn't know was that this album was recorded before Tommy.
I could go on and on about this album but I'd only be stopping you from getting it sooner.
February 22, 2008| | | Your kingdom to command... | |
'Arthur' was part of a failed attempted at producing a television program with a rock soundtrack, the failure being that there was no show when all was said and done. Ray Davies most definitley held up his end and produced yet another stellar introspective work to follow up on his 'Village Green' project of the previous year. 'Arthur' had much more commercial success than the previous record, despite the fact that the plug was pulled on the show. I see 'Arthur' as the antithesis of 'Village Green' where it bemoans the decline of life in Britain where as the latter celebrated it. 'Arthur' contains some of the best Kinks songs of the era including leadoff thumper "Victoria", the title track, and the immortal "Shangri-la". "Mr. Churchill Says", "Yes Sir, No Sir" , and "Some Mother's Son" ridicule the futility of war and Britain's particpation in WW's I and II. "Australia" revisits the feel of exile and symbolizes the saga of Davies' sister Rosie and her emmigration to that far off land, which is also one of the few real psychedlic songs the Kinks ever did (the ending is anyway). "Princess Marina" and "Nothing to Say" are very humerous and highlight the struggles of working class Britons, much like "Shangri-la". A once great nation was falling back into recession and with any society, not everyone flourished during the "good times". Arthur and his family seem to represent that type of family and that is what Ray Davies always did best in his songscapes. 'Arthur' shouldn't be compared to 'Tommy', the other rock opera of 1969, because it is based in reality and history which I guess was too much for some people to deal with.
February 22, 2008More reviews at Amazon.com ...
