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Muswell Hillbillies

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The album was not a commercial success (it failed to chart in the United Kingdom and peaked at #100 in the U.S. [10]), and its sales were a disappointment following the success of Lola the previous year. Stereo Review magazine called the poor-selling record "album of the year" in 1972 (even though it was released on 24 November 1971). In the 1984 Rolling Stone Album Guide, Rolling Stone editors gave the album five stars out of five and called it Davies' "signature statement" as a songwriter. In a retrospective review for AllMusic, Stephen Thomas Erlewine called the album a wide-ranging collection of Ray Davies compositions which focus on the tensions and frustrations of modern life. [2] Re-releases [ edit ]

Muswell Hillbillies’ and ‘Everybody’s In Show-Biz’ original albums remastered in gatefold wallets, with original artwork. The album introduces a number of working class figures and the stresses with which they must contend. It did not sell well but received critical acclaim and lasting fan appreciation. But my only concern is, do two albums combined justify this? I’ll let you decide. Still, well put together and lots to enjoy.

Released in 1971, The Kinks' 10th studio album Muswell Hillbillies featured pictures shot in The Archway Tavern. The band reissue a deluxe edition on September 9 remastered from original tapes, with rare photos and new remixes (Image: Marketing Mix/BMG Rights Management) The Kinks at the Roskilde Festival in Denmark on June 30, 1972. Left to Right: John Dalton, Ray Davies, Dave Davies, John Gosling (Image: 1972 Jorgen Angel) Everybody’s In Show-Biz – Everybody’s A Star’ 2016 gatefold deluxe 3LP, remastered from original master tapes, colour vinyl.

Whatever the trends and changes in direction, these are two excellent albums with excellently crafted songs, overlooked criminally at the time. Now with a new record company and a new image, I could bring some of the old wild western spirit into my music."A contract with Pye records in 1964, saw them top the charts with You Really Got Me. Other hits followed including Sunny Afternoon, Days, Dead End Street, and Lola.

Promoting his recent Americanaproject in an insightful interview with The Quietus, Ray Davies sums up his uncomfortable politics succinctly: “I haven’t found a political party that adequately expresses how I feel about the world. My dad was a working-class socialist, but as a person . . . I just don’t want people in shops to have to sell their businesses. I don’t know what that makes me.” In these lines, one hears clear echoes of the 1968 song “Village Green”, in which the singer laments, “I miss the village green / and all the simple people.” In the body politic, Davies was far more interested in the body than the politic. But come 1971, were the Kinks still relevant? Well, yes. Not just because of their legacy, but 71’s Muswell Hillbillies was an excellent and widely acclaimed album. Sold sod all at the time, but a damn fine release all the same. The following year’s Everybody’s In Show Business maybe a little less so, as it saw a change in the song writing direction, which would become more theatrical and vaudevillian.Saunders, Mike (3 February 1972). "The Kinks: Muswell Hillbillies". Rolling Stone. No.RS 101. Straight Arrow. ISSN 0035-791X. Archived from the original on 24 January 2008. Josephes, Jason (24 August 2004). "The Kinks: Muswell Hillbillies". Pitchfork Media . Retrieved 9 November 2011. Everybody’s In Show-Biz opener Here Comes Another Day is a definite shift, a bigger production with keyboards and brass. Likewise You Don’t Know My Name is a bright and uplifting song with layers, piano and lot of additional touches. a b c d e Stephen Thomas Erlewine. "The Kinks: Muswell Hillbillies> Review" at AllMusic. Retrieved 9 November 2011. The album opens with the nightmarish “20th Century Man”, which could just as easily be called “21st Century Man”. The opening lines set the tone for the rest of the album while also giving the record a unique timeliness: “This is the age of machinery / A mechanical nightmare.” Like Kafka did 50 years before him, Ray Davies locates the primary threat to liberty not in a particular political ideology but in the mechanization of life, transforming people into cogs for the machinery.

Ray went on to study at Hornsey College of Art, but kept the band going with gigs at local pubs like the Clissold Arms and the Archway Tavern – which features on the Muswell Hillbillies album cover. They also played Hornsey Town Hall on Valentine’s Day 1963. This enigmatic quality has served their legacy well. By ignoring fashions and trends, the Kinks forged a body of work that is an enduring paradox: so out-of-step with its time it’s timeless. The quirky, theatrical, and oh-so British Kinks albums of the late 1960s and early 1970s remain much more contemporary and interesting than much of the popular music from their contemporaries.Stolder, Steven. "Muswell Hillbillies". MusicVIP.com. Archived from the original on 15 July 2011 . Retrieved 5 December 2009. No character, just uniformity. They're trying to build a computerised community," but vows that "they'll never make a zombie out of me."

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