The Kinks Album: “Face to Face [UK Bonus Tracks]”

Between the years 1965-69 (but especially between 66-67) four

UK bands were crowned the royalty of rock: The Beatles, The Rolling Stones, The Kinks and The Who. Of these four, The Kinks

would decline and fade the quickest--especially in the United States--by no fault of their own. Released at the tail end of

their chart success in the US (Sunny Afternoon had made #14 there in the summer of '66, and topped the UK charts), "Face To Face" was the album which simultaneously put them in the same artistic league as their three peers while destroying any further chance of commercial success.

"Aftermath", "Revolver", "A Quick One", "Between The Buttons", "Sgt.Pepper" and "The Who Sell Out" represented a stunning growth and maturity in UK album style during this time, and "Face To Face" (along with its successor "Something Else") is no exception. It was 1966 when the LP became more than just a collection of songs, and The Kinks were pioneers in the field, making "Face To Face" a song cycle outlining the UK class system with exquisite detail. Ray Davies' original plan for the album was to link all of the songs without the customary three-second gap (an idea which predated "Pepper"), so sure was he that he had created something of thematic unity. Although he didn't get what he wanted, "Face To Face" remains a landmark in the group's career, a time when their music began to take on greater instrumental color and their lyrics reflected the singer's own personal obsessions (this, of course, characterized albums like "Aftermath" and "Revolver" as well). Harpsichords, horns, sound effects and other odd additions paint a lucid aural sheen of the crazed party lines, Hawaiian holidays, rainy days in June, elitist upper class snobs and forgotten session men who people Davies' world; many of the lyrics were written after he had suffered a nervous breakdown in the spring of '66 and specifically reflect that state of mind ("Too Much On My Mind", the hauntingly dark and ethereal "Rainy Day In June").

Over and above all else, however, "Face To Face" is a portrait

In short, "Face To Face" is an essential purchase, in spite of a few filler tracks (which were actually leftovers from the '65 "Kink Kontroversy" sessions, such as "I'll Remember") that don't seem to fit in its overall scope. The expanded CD import includes many essential bonus tracks which fit the mood of the era, including the scorching b-side "I'm Not Like Everybody Else" and the cautionary lower-class tales "Dead End Street" and "Big Black Smoke", both of which are augmented by the same growing attention to lyrical and instrumental detail that marked the album.

Admittedly the Kinks got even better after this one. Check out "Something Else". You will thank me later. But that does not detract from the fact that this is one wonderful album. It is one of Metamorpho's "secret finds" that can now, finally, be revealed to a wider audience. I bought this in it's original incarnation as an L.P. Is Metamorpho dating himself? Don't tell.

What comes to mind here is Ray Davies incredible talent at songwriting and the wonderful pop-hook. All in glory. All ever-reaching onward. Think they had the inimitable Nicky Hopkins playing on this. What a wise choice. It is a transition album, for sure. Davies is exploring new areas of pop nuance - away from the charged chords of "You Really Got Me" and "All Day and All of the Night". Two early rockers. Actually, I preferred the understated but subtle chord changes of "Tired Of Waiting for You". That sort of thing is more evident here- although he still gives the rockers their just due.

Love the beginning of "Party Line". Nowhere in rock is there a beginning like this. But, sound bits were coming into vogue as witnessed by that summers "Pet Sounds" and the forthcoming Beatles' "Sgt. Pepper". This gives you some idea of the genius of Ray Davies. Real depth in some tunes. Still like the subtle "Fancy". They only see what's in their own 'fancy'. Isn't it true? Don't we only see what we want to? So clever of Ray to get this into a song. I love tunes you have to think about. Ray is a songwriter that has levels you must explore. But there are also those tunes there to amuse and entertain. But, a sure-fire genius nevertheless.

He channeled Metamorpho with "Too Much On My Mind". I am sure many of you have gone through this. Also, the forces that be are always conniving to take away the pleasures of life, i.e; "A big fat mama, tryin' to break me", in a 'Sunny Afternoon'. Davies is the little man, the everyman, and his songs always reflect the plight of the common man.

If you like pop - and especially circa mid 60's, this little known but highly regarded work is for you. Metamorpho has so deemed. And may the color of the cover match the color of all your dreams. Considerable - INDEED!

The eternal tickster - Metamoprho :)

After more than a handful or so great singles, the Kinks produce their first great album. FACE TO FACE displays the Kinks in an experimental mode and clearly the band was ready for the growth demonstrated by this album and the classics that followed.

"Party Line" starts things off with a hard rock feel--its almost of a goodbye kiss to their previous sound(which matured so well on Kontroversy the previous year). While there are a few clunkers mixed in with this set, almost every song has a redeeming virtue whether it be an unexplored type of arrangement(Session Man), or strong social commentary(Dandy).

The bonus tracks are particulary noteworthy featuring such minor Kinks classics are I'm not like everybody else, Big Black Smoke and Mister Pleasant, as well as, the anthem Dead End Street. Of the two unreleased tracks, Mr. Reporter(from an abandoned EP on professions), has a distinct Dylanesque feel to it. Dave's vocal is stronger than his previous vocal performances. The melody, while it doesn't break any new ground, has an interesting counterpoint in the horn arrangement(which points to the horn arrangements on Arthur and Village Green). Little Women, an unfinished track, showed great potential but, sadly, was abandoned before any vocals were added.

Altogether a worthy addition to any Kinks collection and certainly one of the 6 or 7 best Kinks albums.

This album showed that the Kinks were headed down a new creative path.The only rocker is the opening track which is awesome. "Party Line" is a funny song. Then there's "Rosie Won't You Please Come Home" which is the sound most of the album has. "Dandy" is a funny jab at Dave's party going lifestyle from his brother Ray. "Holiday in Waikiki" is skippable and seems to be ripping off "Last Train To Clarksville" by The Monkees and "19th Nervous Breakdown" by the Rolling Stones. But, it seems to only be me who thinks this.The album also has "Sunny Afternoon" which is one of the Kinks most famous songs. It's also the album's best.There's also one bonus track that I quite like: "Dead End Street" which is a cynical song. It's probably the only bonus track that I felt was essential. Although this album isn't as essential as other Kinks discs (I'd give it 4 1/2 stars if I could), it is still essential and worth the money.

1966 found the Kinks firmly in the river of creative flowering and discovery that was bursting out all over in rock then. In giving up their early power chord formula, they sound curiously like the mid-sixties Rolling Stones, Monkees, Lovin' Spoonful and others of the time, though it's hard to figure out who was influencing whom here. At any rate, there is a sense of summery excitment about this early concept album, and it's good sixties fun. "Sunny Afternoon" sounds much better in context here than it ever did on its own as a single. The bonus tracks are worthwhile too, particularly the haunting mellotron instrumental track called "Little Women."