5 overlooked tracks from The Kinks’ theatrical era
One of rock’s most beloved groups, The Kinks went through several distinct phases during their original run, 1963-96. Their earliest albums and singles carved out an R&B-flavored sound that would influence garage- and punk rock. In the late ‘60s they made thematically unified albums with a distinctly British character. Their late ‘70s “arena rock” era saw The Kinks become a stadium attraction, proving that a ‘60s band could age gracefully while creating catchy and compelling music.
But an overlooked period of The Kinks’ work is the music they made in the early 1970s. Sprawling and ambitious, that period is referred to by critics and fans alike as the Kinks’ theatrical period. While the core four-man lineup remained, the Davies brothers expanded the band to include extra singers, brass players and more. Involved and densely-plotted conceptual albums were the order of the day, and equally over-the-top live shows were created to promote the new music. That period did little for The Kinks’ commercial fortunes, but some great songs came out of the period.
In celebration of the 50th anniversary of the release of one of those records, 1974’s Preservation Act 2, here’s a look at five overlooked gems from The Kinks’ theatrical phase. (By the way, rumors persist that Ray and Dave Davies have finally agreed to reactivate the group for the 21st century; we shall see.)
“Celluloid Heroes” from Everybody’s in Show-Biz (1972)
A hybrid album in the mold of Pink Floyd’s Ummagumma, The Kinks’ 11th album featured an LP of studio tracks and second record documenting highlights from the band’s two-night run in March ‘72 at New York City’s Carnegie Hall. Ray Davies’ sentimental side is showcased on this song, a bittersweet look at fame. It would be one of many Ray Davies songs exploring a similar theme. “Celluloid Heroes” is also a highlight of The Kinks’ 1980 double-live set, One for the Road; the band arguably bettered the arrangement.
“One of the Survivors” from Preservation Act 1 (1973)
While the music on the sprawling, three-LP Preservation (released as a 1973 single LP and a double LP the following year) is a varied lot that features several songs that venture far from The Kinks’ rock and roll roots, “One of the Survivors” is a slice of tradition. In fact, it sounds more like Loaded-era Velvet Underground than, say, “You Really Got Me.” But it provides a bridge to the band’s later successes like “(Wish I Could Fly Like) Superman.”
“Money Talks” from Preservation Act 2 (1974)
Wander deep into the theatricality of Preservation Act 2 and you’ll find this minor classic. “Money Talks” hints at the character of later Kinks greats like “Destroyer.” The beefy brass section and chorus of female vocalists might surprise listeners familiar primarily with the band’s ‘60s output, but Ray Davies’ always-incisive lyrical work helps the tune rise above some of the, er, showier moments on Preservation Act 2.
“Everybody’s a Star (Starmaker)” from Soap Opera (1975)
Originally conceived as a stage presentation for television, Soap Opera was The Kinks’ 14th studio release. While the album received some of the most unfavorable reviews of the band’s career, no Kinks album is a complete disaster. Here, the crunchy guitar chords mix nicely with horns as Ray Davies sings a tune about the travails of a life on the stage. With its Beatles-referencing bass line, the song became a centerpiece of the band’s live show.
“The Hard Way” from Schoolboys in Disgrace (1975)
For The Kinks’ 16th studio release, songwriter Ray Davies dug even deeper into rock and roll history, crafting songs in doo-wop and 1950s pop styles. But nestled among those varied tunes – and another conceptual story line – is “The Hard Way,” a power-chording rocker that (unlike most songs from this eras) found its way into The Kinks’ live set when they experienced their extended creative and commercial renaissance in the late ‘70s and 1980s.
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