Face to Face

Product Information

The Kinks Face to Face". Acclaimed Music. Archived from the original on 8 July 2017 . Retrieved 23 December 2016. Things aren’t quite so clear cut in the case of the recent reissues of the early catalog by The Kinks, where the price-value ratio may be a consideration for some collectors. At least it has been a consideration for me.

Nyman, Jake (2005). Suomi soi 4: Suuri suomalainen listakirja (in Finnish) (1sted.). Helsinki: Tammi. p.207. ISBN 951-31-2503-3. For some artists those decisions can be relatively easy to make. Take, for example, The Beatles’ fine series of Monaural reissues on vinyl which were created to very high standards that some think equal the rare UK originals and some cases might even surpass (both in terms of fidelity and physical production aesthetics, part of what you are paying for in a reissue). Those were a “no brainer” for most Beatle fans (as opposed to the Stereo reissues which were disappointing to many due to various corners which were cut…) The album was included in the book 1001 Albums You Must Hear Before You Die. [28] Unreleased songs [ edit ]

Statistics

Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge. IF YOU ARE not a Kinks fan, you are either a) uninformed, or b) not a Kinks fan. If it's the latter, there's nothing you can do about it. The Kinks, rather like Johnny Hart's B.C. or the novels of Kurt Vonnegut, are absolutely indefensible (and unassailable). I can't tell you why they're great: there are no standards by which the Kinks can be judged. Ray Davies' music has nothing to do with almost anything else. It's in a category unto itself, and if you don't like it, well, there you are. From what I understand from the Internet, these new Kinks reissues were mastered by Kevin Gray, renown as one of the best disc mastering engineers working today. Accordingly, the music has a nice clear high end and offers what I assume are the UK mixes (drier mixes, no reverb added). There IS more definition, somewhat fuller bass, clarity and such… In lay terms, Shel Talmy had a his own sonic imprint applied to recordings made with The Kinks (and The Who for that matter) which was very different compared to, say, how George Martin presented The Beatles. These Kinks recordings were also not made in one of the great studios of the world like The Beatles’ albums were at Abbey Road.

And, yeah, at the end of the day I realize that you can’t play the album cover so the important thing ultimately is how the albums sound. I get that. Sunny Afternoon’ deserves a special mention as it shows what The Kinks did best. It’s the play-off between softer verses and harder choruses, the balance between retrospection and contemporary British issues (“The taxman’s taken all my dough”), and the general air of genuineness and relatability that made it a deserving #1 and one of The Kinks’ best and most defining songs. All recording information, by permission, from "You Really Got Me - An Illustrated World Discography of the Kinks 1964 - 1993" by Doug Hinman with Jason Brabazon ISBN 0-9641005-0-9 Tony Dunsbee (1 March 2015). Gathered from Coincidence: A Singular History of Sixties' Pop. M-Y Books Ltd. p.452. ISBN 978-1-909908-33-8. Irvin, Jim; McLear, Colin, eds. (2003). The Mojo Collection: The Ultimate Music Companion. Edinburgh: Canongate Books. ISBN 978-1-84195-438-7– via the Internet Archive.

The Kinks’ early recordings were made for play on AM radio by the great early-60s producer Shel Talmy, so they are inherently a bit thin sounding to begin with… One listens to early Kinks records primarily for the songs’ greatness, not as audiophile benchmarks. Tim Neely (28 June 2007). Goldmine Price Guide to 45 RPM Records. Krause Publications. p.582. ISBN 978-0-89689-461-7.