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Track List
01) Waterloo Sunset
02) You Really Got Me
03) Tired of Waiting for You
04) Sunny Afternoon
05) All Day and All of the Night
06) Till the End of the Day
07) Autumn Almanac
08) Days
09) Lola
10) Set Me Free
11) See My Friends (Choral version)
12) Death of a Clown
13) Apeman
14) Dead End Street
15) This Time Tomorrow
16) Strangers
17) You Don't Know My Name
18) Wonderboy
19) Plastic Man
20) Supersonic Rocket Ship
21) Better Things
22) Don't Forget to Dance
23) David Watts (live version)
Cd 2
01) Dedicated Follower of Fashion
02) Come Dancing
03) Where Have All the Good Times Gone (live version)
04) Victoria (live version)
05) Big Black Smoke
06) Yours Truly, Confused N10
07) Working Man's Cafe
08) London Song
09) Fortis Green
10) Postcard From London
11) Muswell Hillbilly
12) Denmark Street
13) Berkely Mews
14) Holloway Jail
15) Lavender Hill
16) Willesden Green
17) Life on the Road
18) End of the Season
19) Next Door Neighbour
20) Did Ya
21) Most Exclusive Residence for Sale
22) Waterloo Sunset (Choral version)
01) Waterloo Sunset
02) You Really Got Me
03) Tired of Waiting for You
04) Sunny Afternoon
05) All Day and All of the Night
06) Till the End of the Day
07) Autumn Almanac
08) Days
09) Lola
10) Set Me Free
11) See My Friends (Choral version)
12) Death of a Clown
13) Apeman
14) Dead End Street
15) This Time Tomorrow
16) Strangers
17) You Don't Know My Name
18) Wonderboy
19) Plastic Man
20) Supersonic Rocket Ship
21) Better Things
22) Don't Forget to Dance
23) David Watts (live version)
Cd 2
01) Dedicated Follower of Fashion
02) Come Dancing
03) Where Have All the Good Times Gone (live version)
04) Victoria (live version)
05) Big Black Smoke
06) Yours Truly, Confused N10
07) Working Man's Cafe
08) London Song
09) Fortis Green
10) Postcard From London
11) Muswell Hillbilly
12) Denmark Street
13) Berkely Mews
14) Holloway Jail
15) Lavender Hill
16) Willesden Green
17) Life on the Road
18) End of the Season
19) Next Door Neighbour
20) Did Ya
21) Most Exclusive Residence for Sale
22) Waterloo Sunset (Choral version)
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3:34
2:22
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3:10
2:54
4:04
2:12
3:41
3:03
3:51
3:23
3:22
3:17
2:36
2:50
3:02
3:30
2:47
4:12
2:06
3:01
4:00
2:14
2:33
2:32
4:19
3:41
4:14
5:43
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3:25
2:55
2:25
4:59
2:58
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4:32
2:45
3:34
Data Complete
60%
Total Rating
60%Total Rating
(0 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2012
Rock
Gritty
Rock/Pop
---
Medium
Compilation
0 copies
Album Description
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In the pantheon of great bands of the British beat boom, the Kinks seem to occupy a perennial fourth place, just off the medal podium. After the all-embracing musicality of the Beatles, the sexy grooves of the Rolling Stones and the art-school power of the Who, the Kinks don’t even qualify for bronze. A comprehensive five-CD box set of their recordings for the BBC from 1964 to 1994 provides plenty of evidence for why this might be. Captured live in session, the Kinks were often a bit of a mess, with variable timekeeping, dodgy tuning, sloppy harmonies, shabby arrangements and sometimes quite atrocious singing, frequently applied to songs whose conceptual and musical ambitions seem beyond all of their abilities, including their own chief songwriter. For every perfectly observed vignette of English life (Sunny Afternoon, Autumn Almanac) and pithily satirical narrative (Village Green Preservation Society, Dead End Kids) there’s a clunking, unwieldy, elaborate novelty song (Supersonic Rocket Ship, Skin & Bone). The band just aren’t brilliant enough to carry off Davies’s duds.
And yet, Davies’s grand ambitions led him to places few songwriters ever get close to, and when everything fell into place, the Kinks produced a slew of records that still seem untouchable, the very pinnacle of pop as art. His gloriously romantic transsexual singalong Lola might just be the greatest pop record ever made, outrageous, subversive and joyfully irresistible.
They may be a band best appreciated on compilation, although Waterloo Sunset isn’t quite the “Very Best Of” that it claims to be, lacking a definitive version of Victoria and substituting substandard latter-day offerings for perfectly crafted Sixties miniatures like I Go To Sleep and Stop Your Sobbing. It’s an extraordinary album none the less, supplemented by an excellent disc of Davies’s London songs. Driving around with it blasting on my car stereo this past week, there are moments when I have felt utterly connected to the city, infused and enthused by Davies’s love of his municipal muse.
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User Comments
Available in:
In the pantheon of great bands of the British beat boom, the Kinks seem to occupy a perennial fourth place, just off the medal podium. After the all-embracing musicality of the Beatles, the sexy grooves of the Rolling Stones and the art-school power of the Who, the Kinks don’t even qualify for bronze. A comprehensive five-CD box set of their recordings for the BBC from 1964 to 1994 provides plenty of evidence for why this might be. Captured live in session, the Kinks were often a bit of a mess, with variable timekeeping, dodgy tuning, sloppy harmonies, shabby arrangements and sometimes quite atrocious singing, frequently applied to songs whose conceptual and musical ambitions seem beyond all of their abilities, including their own chief songwriter. For every perfectly observed vignette of English life (Sunny Afternoon, Autumn Almanac) and pithily satirical narrative (Village Green Preservation Society, Dead End Kids) there’s a clunking, unwieldy, elaborate novelty song (Supersonic Rocket Ship, Skin & Bone). The band just aren’t brilliant enough to carry off Davies’s duds.
And yet, Davies’s grand ambitions led him to places few songwriters ever get close to, and when everything fell into place, the Kinks produced a slew of records that still seem untouchable, the very pinnacle of pop as art. His gloriously romantic transsexual singalong Lola might just be the greatest pop record ever made, outrageous, subversive and joyfully irresistible.
They may be a band best appreciated on compilation, although Waterloo Sunset isn’t quite the “Very Best Of” that it claims to be, lacking a definitive version of Victoria and substituting substandard latter-day offerings for perfectly crafted Sixties miniatures like I Go To Sleep and Stop Your Sobbing. It’s an extraordinary album none the less, supplemented by an excellent disc of Davies’s London songs. Driving around with it blasting on my car stereo this past week, there are moments when I have felt utterly connected to the city, infused and enthused by Davies’s love of his municipal muse.
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