"Powerman": I like the almost subliminal organ part. I like the singing, although when Ray Davies goes high I wouldn't likely guess that was him. Dave Davies' singing has come a long way. The song is a blueprint for the "boogie rock" a lot of groups would make in the early 1970s. Love that little melismatic "oooh" after "Powerman is driving me insane" before the Dave-sung bridge. Wonderful guitars: I always wonder which parts Ray plays. I dislike reading lyrics before or while listening to songs, so I don't; there are a few bits I couldn't make out but the general message is clear. Side 2 is the better side for sure and the LP is now on my must-own-on-vinyl list. 5/5.
Would've been perfect to hear blaring out of the car radio while cruising around with your friends here in Southern California.
Once again I found myself so being behind on things that I figured I'd wait until the whole album was finished to make my post and to read through everyone else's... Lola is a great album. I do agree with it's critics in some regards that it is a bit of a drop in quality from the Klassic 4 albums that took them to the end of the 60s, but with a new decade the Kinks needed a new sound. And I think that really is where my complaints lie; I really do prefer the baroque mod/psych to country and blues rock. But, as sad as it is, Victoriana was out by 1970... in fact it was more or less out by November of 68 so the boys were very much due to move on. The songwriting on Lola is more or less on par with Arthur I think. There are a lot of great songs on the album and it's cool to hear them attempting such a diverse range of styles. In some ways I am a bit surprised that they went in the direction of roots rock instead of prog (which, imo were your two choices for a British pop group in 1970) considering how ambitious and theatrical Arthur was. Could you imagine a Kinks album in the vein of Nursery Cryme or In the Land of Grey and Pink? I can see how my post is becoming a bit unweildly already, so I'll do my best to keep it brief with the tracks! The Contenders Always seemed a bit of an odd choice for an opener... This Time Tomorrow (which tbf does start side 2) or Top of the Pops would have been more apt imo. Overall I like the song, but I don't think it's anything too special... just a fine rocker. Strangers Dave's masterpiece. Next to Death of a Clown probably my favorite of his. And what incredible lyrics! Musically it is rather simple on the surface, but I think the sparse arrangement works perfectly here. A beautiful track and not only a highlight of the album but of their entire discography. Denmark Street More great lyrics. The Davies brothers always knew how to write great lyrics but I think Lola consistently does it best. Everything on the album is so personal... not to say that Ray's character sketches that dominated their output in the years prior were impersonal, but with songs like this and Strangers especially you know they meant it. After years of comparatively little commercial success how could they not want to write a song like this? Musically I think it's great too of course. Get Back in the Line One of the few songs I don't really care for on the album, though I've certainly warmed up to it. Lyrics are nice enough, but musically it's rather boring I think. Lola A classic for a reason! Unlike many 70s rock hits that get a lot of exposure, I still find myself listening to Lola a lot. I love the huge washes of reverb or whatever effect happens at the end of the song. Real inventive and cool to show that risks can still be taken on smash hits. Top of the Pops Another great rocker. Not as lyrically dense as the rest of the album, and I suppose not as musically complex either, but I never complain about hearing it. The Moneygoround Pretty much Denmark Street part two, not that that's bad of course. I love these sort of vaudeville tracks that are so obviously Kink-y. Few bands were attempting that sort of thing by the early 70s, so I like that the Kinks kept it up and updated the sound in the process. I think the line "Why do they all deserve money from a song they never heard" is so powerful. I know it's a bit naive to think otherwise, but I remember hearing that for the first time and thinking how clever it was. This Time Tomorrow One of my favorites. Possibly my favorite from the album actually. It's up there with Strangers in Lola for sure. Great lyrics, and something everyone can relate to. I really like the "on a spaceship somewhere, sailing across an empty sea" line. I mean that's probably one of the greatest lines ever written... it really underscores the absurdity and uncertainty of the future perfectly. A Long Way From Home I'm a bit embarrassed to say I almost forgot about this one... as I've probably mentioned in previous posts, the Kinks are my favorite band and even at their worst they could do no wrong... this isn't one of my favorites. Something about piano ballads has always bugged me. I'm sure if they did this on acoustic guitars (and I'm sure they have) I'd like it a lot more, but on the album it does nothing for me. Not without it's merits of course, and I'm sure as I read through the previous pages I'll find that it has it's fans. Rats Really fun track, and definitely welcome after the lyrical heaviness of pervious two. I love that sound of the tape starting up at the beginning. Come to think, this one would have made a fine opener too, wouldn't it? Apeman Another highlight. A great mix of fun and seriousness in the lyrics. Musically I think it's great too. I love when bands do calypso songs (although I'll admit I haven't explored as much true calypso myself yet)... reminds me of something Harry Nilsson would do. Powerman I like Powerman a lot. Certainly not filler, and perhaps unjustly overshadowed by some of the more popular tracks on the album. John Gosling's organ prescence really makes the song. Great vocal delivery too. I don't think we're on to Got to Be Free yet, so I'll wait to write that one. Overall, Lola is a great album (although not quite on par with their previous efforts) and I've warmed up to it a lot over the years.
Oh, I understand! I frequently find myself editing my posts up to the 30 minute limit..I am obsessive that way. And then I usually still wish I could change something!
I'm a terrible typist, and I try and get in and correct all the posts before time's up, but rarely fix it all.... There are groans and there are forehead slaps, quite frequently lol
People have '69 GTOs on their mind these days. Avid Fischman, on another thread, said that his father owned one. I think more people should have '69 GTOs in their minds, as well as the Kinks, instead of the sludge that currently occupying their minds. Anyway, comparisons with the Pretties are pretty apt. Also, another admirer of "You Are My Sunshine", as well as a fellow user of the sun in his songs, is Brian Wilson, who used it as part of the famous SMiLe album:
Avid Invisible Man, I've seen these piccys before. They are from the Van Nuys Blvd. cruising scene circa 1972. The first picture, the one w/the '67 Mustang GT w/the Keystone mags, is very.... Were you a participant back then?
It is a huge pet peeve of mine when I see my big fingers mistyped or autocorrect changed a word to make it wrong and it's too late to fix it. Native San Diegan, born in 1974. Based on my preferences I've been told it should have been 1874, 1944, or 1954.
Live at Fillmore West November 13th 1970 1. Opening (Mr. Wonderful) 2. Till The End Of The Day 3. Last of the Steam-Powered Trains 4. Big Sky 5. Brainwashed 6. Strangers 7. A Long Way From Home 8. Harry Rag 9. Act Nice and Gentle 10. Sunny Afternoon 11. Waterloo Sunset 12. Lola 13. Top of the Pops (cut) This is the guys with a loose, and jam-like set from 1970.
The Kinks live at Pierce College, Northridge, CA 21 November 1970. 00:00 Intro 00:37 Till The End Of The Day 02:50 Last Of The Steam Powered Trains 10:22 Brainwashed 14:35 See My Friends 20:20 You're looking Fine 26:15 Strangers 30:32 Act Nice And Gentle 31:12 Waterloo Sunset 35:14 Lola 40:25 Big Sky 44:40 Arthur 47:40 Top Of The Pops 51:52 You Really Got Me 54:00 All Day And All Of The Night 56:13 Milk Cow Blues - One Night 01:05:20 Victoria From a couple of weeks later
Interesting they were playing ‘Mr Wonderful’ this early on. Also interesting they were playing ‘Act Nice And Gentle’ in the set around this time: I think I forgot to note that back when we discussed it: many at the time observed it was a precursor of their Muswell Hillbillies sound and here they are reviving it just before that album would be conceived.
There are all sorts of cool bits and pieces on kinkdakinks.net ... I like this review from a show at the Philharmonic Hall in April 71, just prior to our next album, so I'm going to say it is in our timeline here. https://www.kindakinks.net/misc/articles/comingout.html Coming Out At Philharmonic Hall The Kinks, who as every aging rock'n'roller knows, rank among the Beatles and the Stones in the pantheon of English pop stars, the Kinks who have been so top of it ever since the beginning without ever becoming superstars, the same Kinks who gave us "You Really Got Me", "Tired of Waiting", "Set Me Free", "Dedicated Follower of Fashion", "A Well Respected Man", "All Day and All of the Night," "Plastic Man", "Lola" and more recently "Apeman", those very same Kinks rocked the Philharmonic Hall last week with a one-night stand so pregnant with meaning it should have been filmed or taped for posterity. It was the kind of performance you would expect from Judy Garland , Hank Williams or Brian Jones. Only this time it was Raymond Douglas Davies, the guiding genius behind the Kinks, who showed us how some of us react to the Strum and Drang of contemporary civilization. It was more than a rock performance - more of a psycho-drama and a bit like a coming out party. Ray Davies, who shares lead vocals with his brother Dave, did the coming out, although it looked for a few moments as if he might also come apart in the process. Ray is the group's heavy talent, the man responsible for most of their songs, and the co-author of a memorable television drama (not seen in this country) about a suburbanite named Arthur Morgan, the score of which was written by Ray and performed by the group. It became one of their best albums, "Arthur." Waving his arms and wiggling his ass, Ray fluttered on stage to the delight of the audience, wearing a velvet suit and bow tie, horn rimmed glasses and pursed lips. He cooed into the microphone and carried on like a music hall performer trying to do Mick Jagger, Oscar Wilde, Ondine, and Ernie Kovacs Percy Dovetonsils all at the same time. It was very campy and it knocked out most of the audience, except for a few people with puzzled grins who didn't quite know how to react. Half-way through the first number it became obvious that Davies was very, very high on something more euphoric than audience feedback. In fact, he was having trouble standing up. He managed to never miss a note, however, until midway through the third song, "Ape Man", which the audience joined in singing. Ray seemed deeply moved by the audience's response as they sang "I don't feel safe in this world no more / I don't wanna die in a nuclear war / I want to sail away to a distant shore / And make like an Apeman." Then he tottered and began falling backwards. The audience realized it wasn't a gag when he reeled back, his eyes closed, picking up momentum as he backed up, closer and closer to a 12-foot high bank of speakers and amps. Brother Dave stepped aside, letting him pass, and Ray plunged into the speakers. He and the equipment went down in a great electronic squawk. An instant bummer. Everybody thought it was all over. People have come to expect the worst. Especially at rock concerts. Ray went down, but not out. People ran from backstage and some of the audience clambered up to help and anguished stares turned to relieved moans as Davie's voice wafted over the PA system, singing "la-la-la la-la I'm an Apeman......" Too much. "Listen" Ray said after the last chorus, "let's forget what this world did to us and just enjoy ourselves." The audience clapped for that. What else can you do? Davies stayed on his feet for the remainder of the set, picking and singing through a string of oldies introducing the band and camping around, imitating Johnny Cash and lapsing into a rendering of "You Are My Sunshine." The audience sang along but quit after one chorus. It was up and down like that right to the end, when a medley of blasts from the pasts brought the remainder of the audience to their feet and prompted the stoking of many, many joints. A few people started coming up on stage now to shake hands with the band. Davies told everyone he loved them and the feeling was mutual and then the Kinks went off. But they came back. For a rock'em, sock'em finale that brought the house down the aisles and up on stage, where they trampled Davie's guitar and milled around acting insane, while speakers thundered and cracked as cords were pulled from guitars and microphones were toppled. Quite a scene. A detachment of New York's finest finally appeared out of nowhere and shooed everyone off stage, and we all staggered home, minds blown again. I was tempted to go backstage and give Raymond Douglas Davies a pep talk on responsibility, etc., but I shrugged it off. Later on I was told that when he came down Raymond Douglas agreed it was a bum trip and that he had some regrets. I hope so, I mean, there are enough bad trips going down these days. I don't have to go to a rock concert to find one. Richard Nusser The Village Voice - April 8, 1971 How cool it would be to have more concert material on video .....
And here is an alternative view on what I assume was the same show THE KINKS DRAW AN UNRULY CROWD The British vocal group, the Kinks, played Tuesday night at Philharmonic Hall before an enthusiastic and somewhat aggressive audience. The Kinks are an above-average band given to polite and pleasant songs about love or, a frequent theme, the bankruptcy of middle class British life. Occasionally they produce a song of note, such as "Sunny Afternoon" or "Lola", but their Philharmonic Hall appearance allowed no great showcase for this material. The instruments were loud and a bit muddy, the vocals were unintelligible. Ray Davie's voice could hardly be appreciated, but Dave Davies often produced guitar lines of some imagination. In all, it was a pleasant affair musically, but the audience made it a bit sordid. Several dozen people clumped toward the front of the audience and insisted on standing throughout the show, smoking marijuana and turning to shout obscenities at anyone who asked them to be seated. By the end of the show, several dozen people had crept onstage, a few of them playing with the vocal amplification speakers. At the concert's end, several hundred crowded onstage and forced the group off. The sound of crunched microphones could be heard. One man walked up the main aisle spitting into the seats. The Kinks shared the bill with Trapeze, another British band. Mike Jahn The New York Times, April 1, 1971
After spending all that time putting together the sixties chart positions, I see that there is a very good concise list of chart positions for a lot of countries here, for those interested.
I don’t see any connection at all? Hmm? I just looked at the critical reception for Arthur and Lola. Arthur: US raves; UK tepid. Lola: UK raves; US less so though generally favorable. I believe these are real-time receptions so don’t know whether that’s your reference point or if you’re talking about a more recent reevaluation?
I’m listening to Powerman again and thought, of all things, that the very beginning intro; before the rapid-fire riff, sounds like something the fake film band Strange Fruit (in the film Still Crazy) would play. Sorry, really out of left field but that intro, I swear, sounds like part of the film soundtrack. Of course, the film came out way after Powerman so maybe that Foreigner guy (who wrote or co-wrote the Still Crazy songs) was a Kinks fan!
Been years since I saw that film, but I remember their anthem ‘The Flame Still Burns’ sounding a bit like the 1986 Kinks single ‘Lost And Found’ (though the bigger picture is likely that both are somewhat derivative of Holland Dozier Holland’s ‘The Same Old Song’)!
When I was playing it this morning I was thinking more of The Pretty Things, but I asked my Kinks loving friend what she thought it sounded like and she mentioned Aerosmith. I had to agree. I’m not a fan, but as @mark winstanley said It does sound like a style they were attempting on their first few records.
Powerman One good thing about coming to the song discussion late is that everything useful has already been said.
