Customer Reviews

The Kink Kontroversy

5 star:		(6)
4 star:		(6)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

I love this album. I originally bought it in the mid-60s when it came out, featuring the last of the Kinks' power-chord singles, "Till The End of the Day." I immediately loved "Milk Cow Blues," and it became my favorite cut on the album. But Kontroversy has many gems, "I'm On An Island," "I Am Free," , and "I Gotta Get The First Plane Home" are all fun and nifty tunes. It isn't, however, their best effort during the initial stage of their career. Kink Kinkdom easily outshines it probably because it has stronger material.

Actually, Kontroversy is an intersting release because it is almost a step back for Ray Davies' writing style. In Kinkdom and Kinda Kinks, Ray had explored social issues with some depth. Although the American albums were mix-matches of several British releases, Kontroversy was released in the U.S. and British in very similar set-ups. By the time Kontroversy had been released, Ray had written and released "Well Respected Man" and "See My Friends," both not only completely different sounds for the Kinks, but lyrically very interesting. So, why did Ray revert to catchy pop tunes?

Nonetheless, I really enjoy listening to Kink Kontroversy, and I find it to be a fun way to get back to the 60's. Lots of power, lots of power chording, and lots of catchy lyrics. It was definitely the last time The Kinks would release such an album, and it serves us all well, even today.

Although the Kinks are most popularly associated with the riff-rock numbers of their early repertoire, and while afficionados endlessly praise the later albums, "Kontroversey" finds the Kinks in a fruitful mid-period. Much like the Beatles 'Rubber Soul' from roughly the same time, the emphasis here is on solidly constructed, folk influenced pop. In case we forget the Kinks are a rock band, however, they dish up plenty of sneering garage-punk on "Till the End of the Day" and "Where have all the Good Times Gone"; but even these numbers reveal a more reflective, plaintive aspect to Ray's lyrics that permeates the mellower tunes on the album; "Ring the Bells" and "The World Keeps Going Round" have an almost Byrds-like grace to them, while revealing Ray's keen skills as an arranger.
The Kinks approach to rock and roll throughout the sixties was always the most working-class, and intensely British when compared to thier peers, and while that individuality does shine here, this is probably one of their most accesible albums.
The production and remastering only make it more so, as "Kontroversey" does not suffer the somewhat tinny quality of most of the Kinks re-issues from this decade.
This is not the Kinks most revolutionary stuff - check out "Village Green" or "Something Else" if you like this album and want to hear more complex songwriting and adventerous arrangments; check out "Kinks Kontroversey" if you want proof that simplicity is sometimes just as effective.

The Kinks Kontroversy marks the end of the first hard rocking era of the Kinks; the follow-up album would be produced by Ray Davies himself.

The album is mostly songs in the well-known Kinks-style. All songs except one are selfpenned, and though it is a mixture of rockers and and softer songs, this is probably on of the most hard sounding Kinks albums, which of course has a lot to do with Shel Talmy`s production style.

Apart from Estes`"Milk Cow Blues", which I find unnecessary and pretty uninteresting, there are not weak songs here. The single "Till the End of the Day" which was the first Kinks single I bought back in the 60`s, is another "You Really Got Me"- rip off; but it`s the best of them all. The B-side "I`m on an Island" is another highlight.

There are several indications of the more sophisticated songwriting that was to come. Songs like "Dedicated Follower of Fashion" (bonus-track) and "Where Have All Good Times Gone" show that Ray Davies had already developed as a songwiter both lyrically and musically. The great ballad "Ring the Bells" also shows Davies softer side.

My favourites are "Till the End of the Day", "Ring the Bells", "I`m On an Island", "I Am Free" and "You Can`t Win".

5 stars? Certainly! This is where a really interesting and important transition for the good of all rockdomhood began. Think about the album that preceeded this one. As you do, realize that after "Milk Cow Blues," this album takes a "you-can-never-go-home-again" direction. Even the song titles tell you that there are important changes happening in the Ray Davies school of song writing. "You Can't Win," "What's in Store for Me," "The World Keeps Going 'Round," "Where Have All the Good Times Gone," "I'm on an Island." Yes, his writing was becoming more introspective and socially concious. Didn't Brian Wilson's writing take the same path and earn him critical acclaim? Of course, the obvious big influence is present. Bob Dylan ("Where Have All the Good Times Gone," "I Am Free") was having a huge impact on almost EVERYONE at that time, from the Beatles to Mr. French! So, why not the Kinks? And in those two songs the influence is indeed felt.
Did you ever notice that on Kink compilation albums this is the album in which the bulk of the material is overlooked? I've never understood this. On this album, Ray's writing had progressed considerably, and their playing had tightened up quite a bit. For proof of this statement, feel the groove of "When I See That Girl of Mine," and "Gotta Get the First Plane Home." And notice how solid Quaife and Avory are on "The World Keeps Going 'Round."
Their next album seemed indeed to be light years away from this one, just as this seemed far removed from "Kinda Kinks." Yet there are important indicators here that signaled the greater things to come. It's content is by no means lame and need not hover in shame when played against their better work. If the Kinks had disbanded at this point, tons of people would revere this album as a sign of what could have been and this could have possibly become a classic. Thank goodness that didn't happen though! It occupies a unique place in the Kinks recorded legacy, and when judged on it's own you have to agree that this is a five star album.

The kinks KONTROVERSY is a cd that goes back to the simpler style of rock n roll. it isnt over produced. it doesnt have flashy guitar slingin' or crazy pyscodelic cha cha. it just rocks. "till the end of the day" is a underrated classic.."the world keeps going round" has a cool sense of insight_times will ger hard..the rain will fall youll feel mighty low..but the world keeps going round" how simple is that! and true. This cd like the vast other Kinks cds never get recognised as GREAT OR GOTTA HAVE! well folks this is a must have!! and it does have some catchy songs and some raw production of the mid sixties! retro bands anyone!?

I bought this one as a teenager the day it came out, and played the grooves off of it, as I did ever other Kinks LP until 1970. The difference with 'Kontroversy' is that the non-single cuts, which were for the most part quickly tossed together afterthoughts on the first two LPs, show real development of Ray Davies into the songwriter who would further blossom on the three masterpieces to follow. The lyrics are introspective on 'I'm on an Island' and take a look at society on 'Where Have All the Good Times Gone'. This is a rock'n'roll record-in the cover of 'Milk Cow Blues', 'You Can't Win', and 'It's Too Late', the latter pounding hard with acoustic guitar and keyboards rather than the overdriven electric guitar of the early singles, and repeated to lesser effect on the churning 'Til the End of the Day'. This album shows a band in transition, and while there are a couple of cuts that are forgettable the growth in songwriting and more complex arrangements is a sign of great things to come.

This recording is a bridge between The Kinks' R & B roots ("Milk Cow Blues": the only cover song on this LP) and more sophisticated lyrics and thoughtful production ("The World Keeps Going Round", the uneasy nostalgia of "Where Have All The Good Times Gone"). It is also a period piece from 1965 (just listen to the tones of the guitars) which is part of its' appeal.
These were the days when record labels would rush a band to put out the next album before the band fell out of fad. Yet this LP contains "I'm On An Island" (was this the calypso pre-cursor to "Apeman"?), "Til the End of the Day", "I Am Free", plus the songs mentioned above: all terrific pop songs. Keep in mind The Kinks had already recorded "Who Will Be the Next In Line" (one of my favorite overlooked songs),"Well Respected Man","See My Friends", "I'm Not Like Everybody Else" all in the same year as this LP. Yet Ray still manages to turn in some great well crafted pop-songs for "Kinks Kontroversy": a master pop songwriter. And "Kinks Kontroversy" doesn't sound like a rush job (like "Kinda Kinks"). Except for one or two songs which sound slightly like filler, this is a great album.
The Kinks' next album would be "Face to Face" and there was no going backwards for this group from then on.

The Kinks transition from straight rock/pop/r&b into Ray Davies' classic pop-writing genius. Actually this is the final album of the former Kinks style as there is still plenty of rock/pop/r&b. But this album is soooo great from start to finish, a severe improvement over 'Kinda Kinks'. I'm not going to describe each track. I'll just say that it made me a Kinks fan. "Til the End of the Day" still rips and everything else is just so terrific. The pop of the Beatles, the rock of the Who, a little Stonesy blues swagger, but not much. This is also pretty 'brainy' rock n roll as well, with Ray and Dave Davies being a bit more introspective. Who else would have had the guts to come out and say our folks were right?! Indeed "Where Have All the Good Times Gone"? But also this is the Castle/Sanctuary reissue. For some reason it only has four bonus tracks as opposed to the customary 11 or 12 from the others.

Maybe I am just nostalgic for this album. My Dad was stationed in Germany when this came out, and I remember all the high school bands playing "Milk Cow Blues" and "Til the End of the Day" at the dances. The rhythm lick of "Milk Cow Blues" was especially difficult. You were way cool if you mastered it (I never did).

I suppose like all transition works this one is unsatisfying at some levels, but it does rock hard. The bar-chord progression of "Til the End of the Day" and "Where Have All the Good Times Gone" (nostalgia for the old days as we wish they were which would find full flower on "Arthur" four years later) is married to more thoughtful lyrics than before. This is the second album to feature Dave's writing ("I Am Free"). Ray's bouncy "I'm on an Island," which would get a more calypso treatment live on the "Live at Kelvin Hall" album in 1967, revisits the isolation theme that would pop up so often in Ray's writing ("See My Friends," "Waterloo Sunset," and "Searching" being outstanding exemplars). Dave's voice is expecially effective on "What's in Store for Me." "You Can't Win" is basically the Kinks "Wall of Sound" style at its best, even though the song itself isn't much. Basically, the Kinks are saying good-bye to their older style and embracing the more mature style and material of "Face to Face" and "Something Else." "What's In Store for Me" reminds me of the same questioning of the kind of person the singer will be as a man contained in the Beach Boys' "When I Grow Up." Dave's high harmony on "It's to Late" presages the harmony system the Kinks used from "Arthur" on to the end (Ray singing lead and Dave signing an octave or so above sometimes on the melody sometimes on a harmony line).

Unlike what one of the reviews said, Shel Talmy would continue to produce the Kinks for two more years. His slightly tinny sound would continue through "Face to Face" the next year. "I'm Not Like Everybody Else" would not appear until the B-side of "Sunny Afternoon" in 1966 (check out the whacking great live version of "Everybody Else" on the Kinks' last album "To the Bone" (1997) this time with Ray singing and Dave wailing on the guitar).

The extra tracks don't add much to the canon, though I am very glad to finally see "Sitting on My Sofa" and "Dedicated Follower of Fashion" (check out Ray's solo version of the latter on "To the Bone") remastered on CD. I am still waiting for "Act Nice and Gentle" (B-side to "Waterloo Sunset").

If you are a fan of '60's rock, you'll like this. It contains the Kinks' last R & B cover (fittingly, the first track) and continues the venture into social commentary begun with "Well Respected Man." Compact at about 38 minutes, it packs a lot of punch into that time period.

The Kinks' 3rd album released in November of 1965 was as many of the previous reviews have said the end of one era for the band. It was without a doubt the most mature record the band had put out to date but was not as strong as their later lps of the decade. "Milk Cow Blues" definitely seems to make a statement as "this is the last classic R&B cover we'll ever do", but it is a great kickoff to the album and sees the brothers Davies trading vocals over some pretty raucous noise for 1965! Most important songs include "Til the End of the Day", a latter day early Kinks classic which has much similarity with "You Really Got Me" and "All Day"; "I'm on an Island" which many have stated as the beginning of the introspective Ray Davies though I think he did this on much of 'Kinda Kinks' as well; "Where Have All the Good Times Gone" which moans away the nostalgia of still a very young man (only 21!). I really enjoy the last three tunes: "It's Too Late, "What's in Store for Me" and "You Can't Win" especially the last with its menacing stomp and biting lead guitar. Ray and Dave seem to sing more harmony on this record than on either of the previous two and it works. "Dedicated Follower of Fashion", included here as a bonus track would begin Ray's career as a social critic, inspired by a rather pompous individual at a party according to legend. 'The Kink Kontroversy' was not a hit in the States and barely got a release here but the Kinks were fast becoming a albums band who seemed to shun potential success of singles for the artistic genius of Raymond Douglas Davies.