The Kinks – The Village Green Preservation Society (1968) (Special Deluxe Edition 2004)

FrontCover1.jpgThe Kinks Are the Village Green Preservation Society is the sixth studio album by the English rock group the Kinks, released in November 1968. It was the last album by the original quartet (Ray Davies, Dave Davies, Pete Quaife, Mick Avory), as bassist Pete Quaife left the group in early 1969. A collection of vignettes of English life,[3] The Kinks Are the Village Green Preservation Society was assembled from songs written and recorded over the previous two years.

Although the record is widely considered one of the most influential and important works by the Kinks, it failed to chart upon release, selling about 100,000 copies. In 2003 the album was ranked number 255 on Rolling Stone magazine’s list of the 500 greatest albums of all time. (by wikipedia)

Ray Davies’ sentimental, nostalgic streak emerged on Something Else, but it developed into a manifesto on The Village Green Preservation Society, a concept album lamenting the passing of old-fashioned English traditions. As the opening title song says, the Kinks — meaning Ray himself, in this case — were for preserving “draught beer and virginity,” and throughout the rest of the album, he creates a series of stories, sketches, and characters about a picturesque England that never really was. It’s a lovely, gentle album, evoking a small British country town, and drawing the listener into its lazy rhythms and sensibilities.

The Kinks

Although there is an undercurrent of regret running throughout the album, Davies’ fondness for the past is warm, making the album feel like a sweet, hazy dream. And considering the subdued performances and the detailed instrumentations, it’s not surprising that the record feels more like a Ray Davies solo project than a Kinks album. The bluesy shuffle of “Last of the Steam-Powered Trains” is the closest the album comes to rock & roll, and Dave Davies’ cameo on the menacing “Wicked Annabella” comes as surprise, since the album is so calm. But calm doesn’t mean tame or bland — there are endless layers of musical and lyrical innovation on The Village Green Preservation Society, and its defiantly British sensibilities became the foundation of generations of British guitar pop. (by Stephen Thomas Erlewine)


Mick Avory (drums, percussion)
Dave Davies (guitar, background vocals, lead vocals on “Wicked Annabella”)
Ray Davies (vocals, guitar, keyboards, harmonica, saxophone, trumpet, trombone, accordion, oboe, flute)
Pete Quaife (bass, baclground vocals)
Rasa Davies (background vocals)
Nicky Hopkins (keyboards, mellotron)



CD 1:
01. The Village Green Preservation Society 2.45
02. Do You Remember Walter? 2.23
03. Picture Book 2:34
04. Johnny Thunder 2.28
05. Last Of The Steam-Powered Trains 4.03
06. Big Sky 2.49
07. Sitting By The Riverside 2.21
08. Animal Farm 2.57
09. Village Green 2.08
10. Starstruck 2.18
11. Phenomenal Cat (spelled “Phenominal Cat” on the LP sleeve) 2.34
12. All Of My Friends Were There 2.23
13. Wicked Annabella 2.40
14. Monica 2.13
15. People Take Pictures Of Each Other 2.10
16. Mr. Songbird (from 12 Track Edition) 2.24
17. Days (stereo mix from original 12-track edition released in France, Norway and Sweden) 2.53
18. Do You Remember Walter? (stereo mix from original 12-track edition released in France, Norway and Sweden) 2.25
19. People Take Pictures Of Each Other (stereo mix from original 12-track edition released in France, Norway and Sweden) 2.24


CD 2:
01. The Village Green Preservation Society 2.45
02. Do You Remember Walter? 2.23
03. Picture Book 2:34
04. Johnny Thunder 2.28
05. Last Of The Steam-Powered Trains 4.03
06. Big Sky 2.49
07. Sitting By The Riverside 2.21
08. Animal Farm 2.57
09. Village Green 2.08
10. Starstruck 2.18
11. Phenomenal Cat (spelled “Phenominal Cat” on the LP sleeve) 2.34
12. All Of My Friends Were There 2.23
13. Wicked Annabella 2.40
14. Monica 2.13
15. People Take Pictures Of Each Other 2.10
16. Days (single mix, mono) 2.55
17. Mr. Songbird (mono mix) 2.25
18. Polly (single mix, mono) 2.51
19. Wonderboy (single mix, mono) 2.49
20. Berkeley News (single mix, mono) 2.36
21. Village Green (with alternate doubled vocals) 2.13


CD 3 (Rarities):
01. Village Green (with orchestra overdub, previously unreleased) 2.22
02. Misty Water (stereo) 3.05
03. Berkeley Mews (stereo) 2:40
04. Easy Come, There You Went (stereo, previously unreleased) 2.25
05. Polly (stereo) 2:52
06. Animal Farm (alternate stereo mix, previously unreleased) 3.02
07. Phenomenal Cat (mono instrumental, previously unreleased) 2.50
08. Johnny Thunder (stereo remix from the original multi-track tapes, previously unreleased) 2.36
09. Did You See His Name (mono mix, previously unreleased) 2.00
10. Mick Avory’s Underpants (previously unreleased) 2.19
11. Lavender Hill 2.56
12. Rosemary Rose 1.44
13. Wonderboy 2.44
14. Spotty Grotty Anna 2.07
15. Where Did My Spring Go 2.11
16. Groovy Movies 2:34
17. Creeping Jean (previously unreleased longer stereo mix, with some minor overdubbing missing) 3.12
18. King Kong 3.26
19. Misty Water (mono, previously unreleased) 3.12
20. Do You Remember Walter (BBC session remix, previously unreleased) 2.17
21. Animal Farm (BBC session remix, previously unreleased) 2.56
22. Days (BBC session remix, previously unreleased) 3.02

All songs written by Rax Davies, except “Creeping Jean” which was written by Dave Davies





The Kinks – Paranoia & Destroyer (1988)

TheKinksFrontCover1Jim Rodford, a founding member of Argent and bassist for the Kinks and the Zombies, died last Saturday at the age of 76.

Rodford’s cousin and longtime band mate Rod Argent confirmed Rodford’s death on the Zombies’ Facebook page, with Argent adding that Rodford died Saturday following “a fall on the stairs.”

“Jim was not only a magnificent bass player, but also from the first inextricably bound to the story of The Zombies. An enormous enabler for us,” Argent wrote in his long tribute to Rodford. “To the end, Jim’s life was dedicated to music. He was unfailingly committed to local music – an ever present member of the local scene in St.Albans, where he had spent his whole life.”

The Kinks, who recruited Rodford following bassist John Dalton’s permanent exit from the band in 1978, also paid tribute to Rodford on Twitter. “It is with deep sadness that we have learned that Jim Rodford passed away – he toured and recorded with the Kinks for many years and will be greatly missed. He was much loved by all of us,” the band wrote.

Jim Rodford02

Rodford spent 18 years as the Kinks’ bassist, performing on every album from 1979’s Low Budget to 1993’s Phobia, the band’s final LP before their breakup three years later.

As Argent wrote in his tribute to his cousin, Rodford was the first musician Argent attempted to add to his then-fledgling Zombies, but the bassist ultimately turned down the job since he was already a member of the popular British band the Bluetones. However, Rodford was instrumental in the development of the Zombies, lending the group the Bluetones’ equipment, orchestrating the Zombies’ early shows and “passing judgment” on their breakout 1964 single “She’s Not There,” penned by Argent.

Rodford also served as bassist in the Mike Cotton Sound before the Zombies’ initial breakup in 1967; two years later, Argent would finally unite with his cousin to co-found Argent alongside drummer Bob Henrit and singer/guitarist Russ Ballard. Rodford would appear on all seven Argent albums – including the band’s best-known song “Hold Your Head Up” – before that band dissolved in 1976.

Jim Rodford03.jpg

Two years later, Rodford embarked on his nearly two-decade-long tenure with the Kinks. Dave Davies tweeted of Rodford Saturday, “I’m devastated Jim’s sudden loss I’m too broken up to put words together it’s such a shock I always thought Jim would live forever in true rock and roll fashion – strange – great friend great musician great man – he was an integral part of the Kinks later years.”

Rodford also played bass in the Kast Off Kinks, a group made up of Kinks expats like Mick Avory and Ian Gibbons, beginning in the late 2000s.

Over 40 years after he was first asked, Rodford finally joined the Zombies when Argent and singer Colin Blunstone revived the band in 2004; Rodford and his son, drummer Steve Rodford, remained members of the Zombies’ touring unit until the bassist’s death. Rodford also appeared on the group’s 2015 comeback LP Still Got That Hunger.

Argent continued in his tribute to Rodford, “Jim was a wonderful person, loved by everybody. When Colin [Blunstone] and I, shocked and hardly able to talk, shared the news this morning, Colin said ‘I’ve never heard anyone say a bad word about him…’ He will be unbelievably missed. Goodnight and God Bless dear friend.” (by Rolling Stone)

And here´s a rare and brilliant Kinks Radio Show (recorded for the legendary Westwood One label) …

Jim Rodford04

Recorded live At The Fox Theatre, St. Louis, Missouri, 14 April 1988
(Excellent FM broadcast)


Alternate front+back cover

Dave Davies (guitar, vocals)
Ray Davies (vocals, guitar)
Ian Gibbons (keyboards)
BobHenrit (drums)
Jim Rodford (bass, vocals)

Jim Rodford05

01. Destroyer 5.26
02. Low Budget 5.46
03. Apeman 5.12
04. Sleepwalker 2.48
05. Art Lover 7.50
06. Come Dancing 4.06
07. Sleepwalker  4.04
08. Welcome To Sleezy Town 7.56
09. Think Visual 3.33
10. Living On A Thin Line 4.27
11. A Well Respected Man 1.58
12. It (She Wants It) 9.23
13. Guilty 4.40
13. All Day And All Of The Night
14. You Really Got Me 3.56
15. Celluloid Heroes 5.46
16. Lola 9.35

All songs written by Ray Davies, except “Living On A Thin Line” and “Guilty” which was written by Dave Davies
Jim Rodford06

And here´s the best live version of “All Day And All Of The Night” (featuring Jim Rodford):



Jim Rodford07

James Walter Rodford (7 July 1941 – 20 January 2018)

The Kinks – The Kink Kontroversy (1965)


The Kink Kontroversy is the third studio album by English rock band The Kinks, released on 26 November 1965. It is a transitional work, with elements of both the earlier Kinks’ styles (heavily blues-influenced songs such as “Milk Cow Blues”, and variations on the band’s hits from 1964-65 such as “Till the End of the Day”) and early indications of the future direction of Ray Davies’ songwriting styles (“The World Keeps Going Round” and “I’m On an Island”).The Kink Kontroversy is the third studio album by English rock band The Kinks, released on 26 November 1965. It is a transitional work, with elements of both the earlier Kinks’ styles (heavily blues-influenced songs such as “Milk Cow Blues”, and variations on the band’s hits from 1964-65 such as “Till the End of the Day”) and early indications of the future direction of Ray Davies’ songwriting styles (“The World Keeps Going Round” and “I’m On an Island”).

The album’s title is a mocking reference to the notorious reputation the band had developed over the previous year, including onstage fights and concert riots in Europe, which led to a ban on the group’s concerts in the US.

American singer Bobby Rydell covered “When I See That Girl of Mine”, which was released as a single in the US a full month before the Kinks’ version was made public.

The single “Till the End of the Day” was a major hit, reaching #8 in the UK and #50 in the US, spending eight weeks or more in each chart. (by wikipedia)


The Kinks came into their own as album artists — and Ray Davies fully matured as a songwriter — with The Kink Kontroversy, which bridged their raw early British Invasion sound with more sophisticated lyrics and thoughtful production. There are still powerful ravers like the hit “Til the End of the Day” (utilizing yet another “You Really Got Me”-type riff) and the abrasive, Dave Davies-sung cover of “Milk Cow Blues,” but tracks like the calypso pastiche “I’m on an Island,” where Ray sings of isolation with a forlorn yet merry bite, were far more indicative of their future direction. Other great songs on this underrated album include the uneasy nostalgia of “Where Have All the Good Times Gone?,” the plaintive, almost fatalistic ballads “Ring the Bells” and “The World Keeps Going Round,” and the Dave Davies-sung declaration of independence “I Am Free.” (by Richie Unterberger)

In other words: Won´t you tell me … where have all the good times gone …

The Kinks … one of the finest groups from the classic beat period in the Sixites !


Mick Avory (drums on 01., 02. + 09., percussion)
Dave Davies (guitar, vocals on 01., 05., 11., 12.)
Ray Davies (vocals, guitar, harmonica)
Pete Quaife (bass, background vocals)
Clem Cattini (drums, 03. + 08., 10. – 12.)
Rasa Davies (background vocals)
Nicky Hopkins (keyboards)
Shel Talmy (guitar on 10.)


01. Milk Cow Blues (Estes) 3.45
02. Ring The Bells (R.Davies) 2.22
03. Gotta Get the First Plane Home (R.Davies) 1.50
04. When I See That Girl Of Mine (R.Davies) 2.13
05. I Am Free (D.Davies) 2.32
06. Till The End Of The Day (R.Davies) 2.22
07. The World Keeps Going Round (R.Davies) 2.37
08. I’m On An Island (R.Davies) 2.19
09. Where Have All The Good Times Gone (R.Davies) 2.54
10. It’s Too Late (R.Davies) 2.37
11. What’s In Store For Me (R.Davies) 2.07
12. You Can’t Win (R.Davies) 2.43
13. Dedicated Follower Of Fashion (R.Davies) 3.05
14. Sittin’ On My Sofa (R.Davies) 3.08
15. When I See That Girl Of Mine (demo version) (R.Davies) 2.02
16. Dedicated Follower Of Fashion (alternate stereo take) 3.01 (R.Davies) 3:01



Peter Seeger – Kinks – The Complete CD Catalogue (1991)

KinksCDCatalogue01AThis is another rare item from my fanzine collection.

This is a German fanzine (so  the introduction is written in German !) and it´s a Kinks CD only discography (including bootlegs) from the year 1991.

The Kinks ? No introduction necessary !

I can´t find any informations about this discography in the web, so I guess, it´s a very, very rare collectors edition.

I met the author, Peter Seeger (yes, this is his real name, not a fake !) many times and he was a real music and record lover and, of course a real great Kinks fan. And a real nice guy !

Okay, enjoy this little crazy fanzine … brought to you by this little crazy blog.

Here some preview pics:




The Kinks – One For The Road (1980)

FrontCover1After fifteen years, founding Kinks members Ray and Dave Davies boast a nearly unique record of sustained combat in the guitar army. Like their peers in the Who and the Rolling Stones, they know that such longevity only makes them more vulnerable. All three bands must constantly face down their seniority — what if you gave a grand rock gesture and nobody came? — because they’re perched so visibly in the pantheon.

One for the Road — a cleaned-up, carefully sequenced culling of live Kinks performances from six American cities and Zurich, Switzerland — succeeds in sounding like a single night’s work. It argues that experience can keep you alive in the trenches — as long as you keep moving. Using few overdubs and a minimum of talky transitions between cuts, the Kinks show their smarts by being very straightforward.

TheKinksLive01Ray Davies could be pretty fashionable now, but it’d be the kind of fashionableness he excoriates here in “Prince of the Punks.” He’s not the sort who’d mention that artists as au courant as the Pretenders (“Stop Your Sobbing”), the Jam (“David Watts”) and David Bowie (“Where Have All the Good Times Gone”) have all covered compositions that the Kinks reclaim on this double LP. Why bother, when you’ve already begun the album by pinning everybody’s ears back with 103 seconds of string-popping instrumental intensity known the world over as “You Really Got Me”?

BackCover1Sputtering feedback left and right. Dave Davies rips the wadding off “You Really Got Me” to uncover a snake charmer’s melody line under the crunchingly familiar riff. Throughout the record, the Kinks vivisect their own classics to make them sound fresh. “Till the End of the Day,” for example, gets a ska treatment that seems to rise organically from the original.

One for the Road isn’t anything like The “Live” Kinks, a 1968 LP that had the blood-sloppy grandeur of an lggy Pop bootleg and was accurately pegged by critic Nik Cohn as “amphetamine rage.” It’s not like 1972’s Everybody’s in Showbiz either. At that time, Ray Davies was such a brokenhearted clown that he filled the in-concert half of the disc with Noel Coward-style posturings and suffocating campiness. Happily, the new album’s bywords are control and momentum. One for the Road doesn’t catalog Davies’ psychic maladies (though “National Health” pivots on the starkly downbeat lines. “Valium helps me for a while But somehow Valium always seems to bring me down”). Instead, it’s a shake-yer-booty record whose connective tissue is Mick Avory’s earnest, rock-steady drumming.

Even “Celluloid Heroes” is transformed from the plodding set piece it’d become onstage into a finely felt recital with a tough new guitar intro capped by poignant synthesizer trills. “Stop Your Sobbing” picks up on the Pretenders’ Phil Spector-like stylings by including an unmistakable cop from “Then He Kissed Me.”

Booklet-2AKinks concerts, once the chanciest of propositions, now have the friskiness and precision of One for the Road as a model with which to be compared.

Perhaps the single biggest factor in the resurgence of the Kinks as a hot live act has been Dave Davies. Except for a period during the early Seventies when he sulked on stacked heels while older brother Ray camped it up, Dave has always been the epitome of a ripped-pants, skin-it-back, roadhouse Johnny B. Goode. On his first solo album, AFLI-3603, Dave Davies finally gets a chance to see where his own extravagant tastes might lead him. His wryness has often threatened to turn brutal, so naming the LP after its catalog number (with a blown-up universal pricing code replacing the artist’s portrait on the front cover) is an entirely characteristic bit of social comment.

Dave Davies’ lyrics reveal a man contrary and anarchic to a degree that would probably have shaken up 1976’s most antipro-grammatic punk. He matches a hip-socking Eddie Cochran guitar style to the barbaric vocal yawp of Little Richard. It’d take a long time to explain the pulse acceleration that hits me when Dave drops a couple of random power chords into his torrid treatment of “Nothin’ More to Lose”: “Well if we’re all so clever and technology rules/Why is it we’re so scared/I got a rocking psychosis/And my juke box has blown a fuse.”

Booklet-6AThough this Dave Davies-dominated disc (besides producing, he plays most of the instruments throughout) boasts the trebly echo and buzz-bomb dynamics of heavy metal, it’s really the cat-in-heat, rockabilly hiccuping that Dave displays in songs like “Move Over” that makes AFLI-3603 so distinctive in its honest frenzy.

The Kinks have gone over the top once more — Dave, particularly, sticking his neck out — and gained ground when they could have been left holding their entrails. Does this make 1980, at last, the band’s big fiscal year? After fifteen years of konspicuous Kinks kourage. I’d have to say that it doesn’t really matter. (by Fred Schruers, Rolling Stone)

Mick Avory (drums)
Dave Davies (guitar, background vocals)
Ray Davies (vocals, guitar)
Ian Gibbons (keyboards, background vocals)
Jim Rodford (bass, background vocals)
Mick Newell (keyboards)

01. Opening 1.43
02. The Hard Way 2.42
03. Catch Me Now I’m Falling 4.49
04. Where Have All the Good Times Gone 2.16
05. Introduction to Lola 0.44.
06. Lola 4.57
07. Pressure 1.31
08. All Day And All Of The Night 3.45
09. 20th Century Man 6.17
10. Misfits3.38
11. Prince Of The Punks  3.48
12. Stop Your Sobbing 2.31
13. Low Budget 6.04
14. Attitude 3.52
15. (Wish I Could Fly Like) Superman 6.28
16. National Health 4.08
17. Till The End Of The Day 2.42
18. Celluloid Heroes 7.22
19. You Really Got Me 3.35
20. Victoria 2.34
21. David Watts 2.04

All song written by Ray Davies


The Kinks – Misfits (1978)

FrontCover1The Kinks became arena rockers with Sleepwalker, and its follow-up, Misfits, follows in the same vein, but it’s a considerable improvement on its predecessor. Ray Davies has learned how to write within the confines of the arena rock formula, and Misfits is one of rock & roll’s great mid-life crisis albums, finding Davies considering whether he should even go on performing. “Misfits,” a classic outsider rallying cry, and “Rock and Roll Fantasy” provide the two touchstones for the album — Davies admits that he and the Kinks will never be embraced by the rock & roll mainstream, but after Elvis’ death, he’s not even sure if rock & roll is something for mature adults to do. Over the course of Misfits, he finds answers to the question, both in his lyrics and through the band’s muscular music. Eventually, he discovers that it is worth his time, but the search itself is superbly affecting — even songs like the musichall shuffle “Hay Fever,” which appear as filler at first, have an idiosyncratic quirk that make them cut deeper. Although Ray would return to camp on their next album, Misfits is a moving record that manages to convey deep emotions while rocking hard. The Kinks hadn’t made a record this good since Muswell Hillbillies. —Stephen Thomas Erlewine, Rovi

Mick Avory (drums)
Dave Davies (guitar, vocals on 09.)
Ray Davies (vocals, guitar, piano, synthesizer)
John Gosling (keyboards, synthesizer)
Andy Pyle (bass)
John Beecham (trombone on 07.)
Clem Cattini (drum overdubs)
Mike Cotton (trumpet on 07.)
John Dalton (bass on 05.)
Zaine Griff (bass overdubs)
Ron Lawrence (bass on 03., 04 + 10.)
Nick Newall (clarinet on 07.)
Nick Trevisick – drums on 04., 09. + 10.)

01. Misfits (R.Davies) 4.40
02. Hay Fever (R.Davies) 3.21
03. Live Life (R.Davies) 3.09
04. A Rock ‘N’ Roll Fantasy (R.Davies) 4.58
05. In A Foreign Land (R.Davies) 3.02
06. Permanent Waves (R.Davies) 3.48
07. Black Messiah (R.Davies) 3.23
08. Out Of The Wardrobe (R.Davies) 3.35
09. Trust Your Heart (D.Davies) 4.10
10. Get Up (R.Davies) 3.19


The Kinks – Live At The Hippodrome – The Complete Concert (1974)

KinksFrontCover1Pete Townshend wasn’t the only songwriter in Swingin’ London to find that his lofty ideas couldn’t be properly expressed within the confines of a three-minute pop song; across town in Muswell Hill, Ray Davies was busy plotting an entire career devoted to albums about the rise and fall of the British Empire.

By appearances one of the more polite bands to emerge from England, The Kinks still managed to get themselves banned from performing on U.S. soil for most of the ’60s, while the likes of The Who and the Stones were left to freely devastate dressing rooms, cars and hotel television sets from sea to shining sea. Though commercially crippling, this exile helped Ray foster a unique appreciation for his homeland, which he illustrated on increasingly daring and strange albums, beginning with The Village Green Preservation Society and continuing through a series of concept albums in the early ’70s. It was an uneasy journey from the traditional rock ‘n’ roll storytelling of the former to the confusingly elaborate music hall operas of the latter, and one that would even find the author, one night along the way, attempting to retire from music completely in front of several thousand people during a performance at London’s White City, shortly before being rushed to the hospital.

Ray Davies seems well composed, however, during this appearance at the Hippodrome following the release of Preservation: Act 2, the second part of one of his impossibly ambitious and ultimately doomed rock operas. Mercifully, Ray doesn’t try too hard to explain the context of the songs in relation to the larger story they represent; like all great artists, he lets the work speak for itself. The set is comprised of several songs from the Preservation opera, as well a handful of more well-received classics, like “Victoria” and “Dedicated Follower of Fashion.”

Some artists are victims of their own creativity; each work grows more complex in concept and execution until their burden is more than any one man can bear. Ray Davies is such an artist, and while he has suffered for his art (sometimes quite publicly), he also managed to create one of the most astonishingly original and literate bodies of work in all of popular music. (by Wolfgang s Vault)

Mick Avory (drums)
John Dalton (bass)
Dave Davies (guitar, vocals)
Ray Davies (vocals, guitar)
John Gosling (keyboards)
Claire Hamill (background vocals)
Pamela Travis (background vocals)
The Mike Cotton Sound:
John Beecham (trombone)
Laurie Brown (trumpet)
Alan Browns (saxophone, clarinet)

Alternate frontcovers:

01. Victoria 3.29
02. Here Comes Yet Another Day 4.37
03. Mr. Wonderful 0.45
04. Money Talks 4.15
05. Dedicated Follower Of Fashion 4.02
06. Mirror Of Love 4.20
07. Celluloid Heroes 5.23
08. You Really Got Me/All Day And All Of The Night 4.14
09. DJ Alan Black talks about ‘Pereservation Act 2’
10. Daylight 3.35
11. Here Comes Flash 3.18
12. Demolition 4.29
13. He’s Evil 4.37
14. Lola 4.53
15. Outro 0.35
16. Skin & Bone 5.46

All songs written by Ray Davies