In a way, I can't believe that there are still some new copies of this release floating around out there, but then I remember why I'm so disgusted with this release, then find myself wondering how Mobile Fidelity was able to continue pawning them off-ESPECIALLY at such a rediculous price!!! Allow me to explain:
Mobile Fidelity Sound Lab went into great detail in their accompanying album inserts explaining how each album (later, compact disc) was prepared for release. They stated that if the actual master reduction tapes could not be used, then any intention of releasing that particular album was scrapped.
If you own a copy of this album, and if you know anything about the production thechniques employed by Shel Talmy on the Kinks' behalf, (I'm sure that Pye records was responsible too) then you know that "You Really Got Me" was recorded in something far less than resembling perfect conditions. In fact, the version of the song that Talmy produced was never released. Ray Davies HATED it, calling it "Spectorian" due to Talmy's over-liberal use of the reverb knob on the final mix, and going so far as to insist that if it were released that way, he would never pick up a guitar again!
So, Pye records gave them enough money to book three hours at a tiny studio to record the song again. Who produced is a matter of debate. What IS certain is that Ray WAS shouting at Dave to play his heart out during the guitar solo because if their attempt at re-recording the song failed, Pye would have (quoting Ray Davies) "Pulled our fingernails out."
He came out of the studio that day a happy man. The version we all know and love was in the can...in MONO! Yes, you read right...MONO! No reverb in one channel and dry in the other, no bass on one side and treble on the other. Pure, unadulterated MONO! And this continued to be the case until Reprise records decided to issue a stereo version of "You Really Got Me" on their equivalent of "Kinks," naming the album after the hit single.
Since the "You Really Got Me" single was recorded at a different session and a cheaper studio than the subsequent album they would record, the song appeared in MONO on the British version of the stereo album because that was (and still is) the only way the song existed. However, when Reprise records released the stereo version of the "You Really Got Me" LP, the song was in FAKE stereo. In fact, it was in one of the most hard-to-bear-in-headphones forms of FAKE stereo that has ever been hatched! One channel was left dry, while the other channel was flooded with ungodly amounts of reverb, creating a completely unnatural sound. Then, as though to dump salt into the gaping wound they had made, Reprise released stereo counterparts to the next five albums, "Kinks Size," "Kinda Kinks," "Kinkdom," "Greatest Hits," and "Kontroversy," all with the same hideous tinkering.
Imagine my surprise as I sat down to listen to Mobile Fidelity's version of The Kinks' first two albums. "You Really Got Me" has, yes, you guessed it, a dry MONO mix in one channel and ton upon ton of reverb in the other. So much for using the original mix-down tapes, huh?!
Don't get me wrong! I enjoy hearing music in beautiful, glorious stereo if it is mixed that way; music with true separation of instruments or voices. In fact, if some of the early rock classics exist in true, honest to goodness stereo, this is the way I prefer to hear them. Obviously, (and with the exception of their first album) The Kinks' music (at least through the better part of 1966) either was not recorded on equipment technologically conducive to creating a decent stereo mix-down tape, or Talmy's production methods were such that a stereo mix would have been unlistenable. Much of "Face to Face" lends creedence to this possibility. At any rate, if the recording methods employed make it impossible to create a decent stereo mix-down, or if a stereo mix-down doesn't exist, then a company is better off to leave well enough alone and release it in it's original state...MONO. With the exception of the now defunct Mobile Fidelity, and possibly a few others, this did indeed become the trend in the '80's and has continued right down to today.
So, in summing up, this disc contains two albums, "Kinks," and "Kinda Kinks." For the bulk of the first album, "Kinks," they used either Talmy's original Pye mix-down tapes or the stereo versions sent to Reprise. Being that they used the nasty, nasty rechanneled version of "You Really Got Me" that was probably created by Reprise, I tend to opt for the latter.
As for "Kinda Kinks," this album has always sounded bad! A real shame too, as the songs and performances (except for Avory hitting the rim of his snare drum quite by accident immediately after Ray sings the line "People say," on "You Shouldn't Be Sad") are fantastic! So, it's hard to say what source material they used.
One thing is certain, as far as sound quality is concerned, any versions of these albums currently available equal or surpass this disc. Save your money! Avoid this release!!!
One more final note: The mono release of "Kinks" is superior to the stereo version, due simply to the fact that the only stereo here is perhaps a harmonica or vocal in one channel, with maybe a tambourine or handclaps in the other. The stereo version isn't worth killing to hear.
Right-O, the first album is "original master recording" I believe from Mobile Fidelity (now out of the busines I believe).
The sound on this CD is absolutely tremendous. But beware, only the material from the 1st LP is in stereo. 'Kinda Kinks' is monophonic, and thus lacks alot in terms of the zest we find on the first.
the kinks are the best, and this album has all the good stuff. all the mod stuff. my fave song is "just can't go to sleep." listen to it and you'll know why. makes me wish i grew up in the 60's
