The Cavalier daily :: Wednesday, November 5, 1969 :: University of Virginia Library

Nowadays it has become
fashionable for a reviewer to
preface his critique of a Kinks
album with a fervent announcement
declaring that he has always
remained a staunch Kinks fan.
Perhaps this is because the only
ones who review their records are
Kinks fans. An equally feasible
theory is that these are the same
reviewers who in the past ignored
the Kinks and who are now
developing an awareness of how
good the group really is. In short,
they are embarrassed at their
omission. Whatever the case, I
cannot follow suit. I have never
been a Kinks fan. I enjoyed "You
Really Got Me" and "All Day and
All of the Night." I was amused by
"A Well Respected Man." As is
commonly the case I liked their
records but not enough to buy
them. I am not sure whether I will
become a Kinks lover but I know
that I am an "Arthur" fan.

"Arthur" or "The Decline and
Fall of the British Empire" is a
collection of songs to be used as the
soundtrack for a British television
special. It is relatively unimportant
how the disc serves as a soundtrack.
What is important is how well the
music stands on its own. The
answer is ... steadfastly.

"Arthur" is rock music in its
most stompingly pure sense, Every
song has its own throbbing energy.
Dave Davies' raunchy guitar drives
every song home to the feet and
hips of its listeners. "Arthur" is no
"schlock opera" like The Who's
"Tommy," this year's most overrated
album, even if the Who does
release yet another single (Thank
you, Gordon).

Then you have Ray Davies'
voice, a distinct musical instrument
itself, yet very much a part of the
total exciting sound. His lazy,
sarcastic voice intensifies such cuts
as "Some Mother's Son" which
bitterly condemns the cold calculating
evil of war, and "Mr.
Churchill Says." Yet this same
voice lends a carefree air to other
equally serious songs such as
"Shangri-La," an incisive comment
on British middle-class life, and
"Australia," a satire on "the sun
never sets" idea. No one else could
make the song "Drivin' " as happy
as Davies.

The arrangement is flawless. The
brass are kept in line, providing a
suitable background for Dave
Davies guitar virtuosity. Then all
of a sudden they jump out (along
with a rollicking kazoo) in "She
Bought a Hat like Princess Marina."
They and the lyrics provide a
ragtime atmosphere in which Ray
Davies can successfully have fun
with the objects of his satire. The
arrangement is important in that it
sets a happy and exuberant mood
(and Arthur is one of the happiest
albums you will hear).

The final song of the album,
"Arthur," is a masterpiece of a
rocking finale. You can just see the
group laughing and singing to an
audience which is on its feet
tapping their feet and clapping their
hands. It is the kind of song which
you walk around whistling and
singing. It is a fitting ending to an
album which should prove to
Richard Goldstein that rock is not
dead.

Whether the Kinks can follow
"Arthur" with something just as
important to the rock scene today
is open to speculation. Whether I
become a Kinks fan or not is
equally questionable and rather
unimportant at that. What matters
is the fact that "Arthur" is an
album which will in the future still
be remembered and recognized for
its importance while "Tommy" can
only be brushed aside with "Good
Try" written on its cover.