Ray Davies Albums (5)
'The Kinks Choral Collection'
Release Date 4/14/2009
Tracks 15
Label Uni Classics Jazz UK
See Album Tracklist and Review
What The Critics Say
Orchestral and choral arrangements of rock songs have been a curious subgenre ever since the mid-'60s when Andrew Loog Oldham arranged The Rolling Stones Songbook for syrupy strings, but The Kinks Choral Collection stands apart from the pack for the simple reason that it's not the project of some associate or admirer, but rather chief Kink Ray Davies. His very presence as arranger and lead vocal means The Kinks Choral Collection isn't nearly as stuffy and middlebrow as so many of these orchestral rock albums; he manages to inject some semblance of rock & roll by pushing the songs forward with guitar, and letting the rhythms swing instead of plod. This looseness is the first big surprise of the album. The second is its unrepentant but quite possibly accidental silliness, how many of the major guitar riffs are transposed for choir, an audacious idea in concept that's simply goofy in practice. These choral chants hamper the hardest rocking songs here -- "You Really Got Me," "All Day and All of the Night," "Victoria" -- and they're mercifully absent from the slower tunes, songs that benefit from the gentle layered harmonies. In comparison to most orchestral and choral rock albums, these arrangements are subtle and sensitive, providing a nice counterpart for the surprising dose of rock & roll, both things that make The Kinks Choral Collection one of the better entries in this curious subgenre -- and while that's somewhat faint praise, it's praise all the same. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Ray Davies took his time crafting his first full-fledged solo album Other People's Lives, delivering it in 2006 -- a full 13 years after his last collection of original material, the Kinks' final album Phobia. Such a long gestation period seemed justified, as the album was an exquisitely written set of short stories that benefited from such exacting attention to detail, yet the length of time between Phobia and Other People's Lives also suggested that Davies would not be returning with his second solo album anytime soon. As it turns out, that wasn't the case: Davies hammered out his second album, Working Man's Café, with a speed recalling the '60s and '70s, when new Kinks albums arrived every year. Appropriately for its quick turn-around, Working Man's Café is a looser, edgier record than its predecessor -- there's polish, but the guitars and rhythms jump, there's a vitality to the performances and the songs themselves bristle with contemporary headlines, bearing references to the vanishing middle class, internet isolation, and New Orleans, the site of both Hurricane Katrina and where Davies was shot and hospitalized after defending a female friend from a mugger. Ever the contrarian, Davies doesn't dwell on his own troubles, they're weaved into part of a tapestry of vignettes of a world gone awry -- a common theme in his work perhaps (this is someone who pined for the village green in the midst of the psychedelic revolution), but such ornery nostalgia has fueled much of Davies best work, as it does here. Far from being an angry, impassioned screed against a world gone wrong (turn to Neil Young's Living with War for that), Davies writes with his signature wry, cynical eye, balancing his weary resignation with a sly wit. The songs have more bite than those on Other People's Lives, as do the performances, which makes Working Man's Café more immediate than its predecessor, yet it benefits from repeated plays as well, as those subsequent spins reveal that these 12 songs are as finally honed as those on Other People's Lives. And having these two albums arrive so quickly is proof that Ray Davies is back as a working songwriter, which is something to be celebrated. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Most artists don't wait until they're nearly 62 to deliver their first official solo album, but Ray Davies has never been predictable. As a matter of fact, Davies is the quintessential rock contrarian, doggedly following his path, sometimes to the detriment of his own art or career. This obstinate nature extends to the very sound of his solo debut Other People's Lives, a shiny, simmered-in-the-studio album where each song creeps on just a little longer than necessary. This 2006 effort sounds roughly 16 years out of time -- sonically, it could comfortably function as the follow-up to 1989's UK Jive -- and its slickness may keep some listeners at a distance, particularly if they're craving a stripped-down, back-to-basics comeback along the lines of Dylan's Love and Theft or the Stones' A Bigger Bang. But such a bare-bones effort isn't in Davies's nature -- ever since the early '70s, he's kept things clean and glistening on the surface while being prickly underneath. This may not suit the tastes of fans pining for a return to Village Green, but behind that smooth production are a set of songs that reveal that Davies has returned to form as a rich, idiosyncratic pop songwriter. As he states in his wonderful liner notes -- where he details the recording circumstances for each cut, plus the album at large -- Other People's Lives is no concept album, but there are themes that hold it together. Davies tackles mortality and, one of his favorite themes, domesticity, head-on here, and his wit and wry critical eye remain intact. As an album, Other People's Lives may occasionally lag in momentum, but song for song, this is his strongest set of material since Low Budget, but a better comparison may be Misfits. Like that 1978 gem, this record doesn't rock hard and has a distinct writerly bent, as Davies presents a collection of narratives and character sketches that play like short stories. If there's a sense of creeping mortality here, there's also little fear (and there's no rumination over his shooting in New Orleans, either, since all the material was written before that incident). There's humor, irony, earned sentimentality and knowing, careful observations, all wrapped up in meticulously crafted words and music. There are hints of the Kinks -- "Is There Life After Breakfast?" lopes along like an outtake from Everybody's in Show-Biz, the absurd "Stand Up Comic" recalls the vaudevillian hard rock of the late '70s -- but there's nothing written as a conscious emulation of his past; instead, he's returning to his strengths and finding new wrinkles within his signature style. And if there are no flat-out knockouts here, there's not a bad song here, either, and each tune seems stronger with repeated plays. Most of all, Ray Davies sounds engaged as a writer and musician in a way that he hasn't in years, and that doesn't just make for a strong comeback, but it makes listeners realize what they've all missed since he's been away for 13 years (or perhaps longer, given the disconnect on latter-day Kinks records). Here's hoping that Other People's Lives kicks off a latter-day renaissance for the singer/songwriter, since it's proof that while many try to emulate him, there's no substitute for the crankiest, funniest songwriter in pop. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
The only album ever credited to Kinks singer/songwriter/guitarist Ray Davies contains "music from the motion picture": Return to Waterloo is a film written and directed by Davies depicting the daydreams (and nightmares) of a commuter taking a one-hour train trip from the London suburbs to Waterloo train station. The format allows Davies to write a series of story-songs, including "Going Solo" and "Missing Persons," both of which refer to the commuter's daughter, who has left home, "Sold Me Out" and "Not Far Away," punk rock rave-ups expressing the anger of the young people on the train, and "Expectations," a Davies reflection on one of his favorite subjects, the decline and fall of the British Empire. In other words, this is a good Kinks album. And, in fact, three of the songs had appeared on the last Kinks album, 1984's Word of Mouth. But Return to Waterloo is credited to Davies, and the musician list includes all the members of the Kinks except guitarist Dave Davies, which may be the reason for the solo billing. In any case, the billing didn't help sales much, and the film's limited distribution (which seems to have been limited to a TV showing or two and release on home video) didn't promote the soundtrack, either. The album failed to chart and went out of print the year after its release. ~ William Ruhlmann, All Music Guide
What The Critics Say
The "storyteller" concept was ideal for aging singer/songwriters, letting them run through their back catalog and illuminate the origins of their best-known songs with stories and anecdotes. Ray Davies essentially invented the concept on his promotional tour for his semi-fictional memoir X-Ray, and his concerts were so successful, they eventually provided the basis for the VH1 series Storyteller. It also led to Storyteller, his first solo album since the soundtrack to Return to Waterloo. Like that album, it has a sound very similar to the Kinks -- which shouldn't be surprising, since Davies was the musical force behind the band -- but it's considerably more engaging than Return to Waterloo. Much of the record is devoted to Kinks' classics, all of which are fleshed out by Davies' clever, revealing stories, and many of which are taken from X-Ray. There are also a number of fine new or previously unreleased songs, like "Storyteller," "Art School Babe," "Back in the Front Room," "It's Alright," "The Ballad of Julie Finkle," and "London Song," which is the only song on the collection recorded live in the studio, not in concert. Certainly, the narrative element of Storyteller makes it of interest primarily to hardcore Kinks fans, but by 1998, the only type of Kinks fan that existed was hardcore, and they'll find the album filled with delights, both expected and unexpected. ~ Stephen Thomas Erlewine, All Music Guide
