KINKS PART 1 LOLA VERSUS POWERMAN AND THE MONEYGOROUND-PYE NSPL.18359 1970
£
26
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Description
KINKS PART 1 LOLA VERSUS POWERMAN AND THE MONEYGOROUND TYPE SINGLE LP - STEREO LABEL/PRESSING INFO
PYE 1ST PRESS BLUE LABEL WITH MATRIX NUMBERS: NSPL 18359A-1 * T & NSPL 18359 B-3 * T
CATALOGUE NUMBER NSPL 18359 YEAR OF RELEASE 1970 COUNTRY OF RELEASE U.K. SLEEVE TYPE GATEFOLD -UNLAMINATED WITH LYRICS ON INNER BOARDS INSERTS/EXTRAS NONE GRADING/CONDITION DISC(s)EXCELLENT+ ( CLEAN record with VERY LIGHT playwear and LIGHT surface marks- PLAYS WELL WITH A GREAT REPRODUCTION)
LABELSEXCELLENT ( CLEAN labels with NO rips tears user stickers LIGHT spindleusage and LIGHT storage and handling wear)
SLEEVEVERY GOOD+ ( NOT a disaster area by any means but has just too many little bits wrong to be any better, firstly at some point 3 small pieces of tape were applied to the top and bottom, the reason as far as I can see was to seal the gatefold, which I don't really understand as the inner boards are clean and unmarked, and who would want to make a single out of a gatefold anyway ? -these bits of tape have been removed along the way and apart from leaving a bit of brown residue have pulled some surface finish away in 2 places, and you can couple that with some general grubbiness to the white card and pitting along the top of the spine which has removed bits of lettering, but apart from that, what have the romans ever given us, sorry I drift away sometimes, its what happens when you listen to records and type at the same time, ok I'm back, so overall as I said its not the greatest sleeve you will ever see but I've seen a lot worse, and its a great record you should listen to it at some time)
N/A
DETAILS"Lola" gave the Kinks an unexpected hit and its crisp, muscular sound, pitched halfway between acoustic folk and hard rock, provided a new style for the band. However, the song only hinted at what its accompanying album Lola Versus the Powerman and the Moneygoround, Part One was all about.
It didn't matter that Ray Davies just had his first hit in years -- he had suffered greatly at the hands of the music industry and he wanted to tell the story in song. Hence, Lola -- a loose concept album about Ray Davies' own psychosis and bitter feelings toward the music industry. Davies never really delivers a cohesive story, but the record holds together because it's one of his strongest set of songs.
Dave Davies contributes the lovely "Strangers" and the appropriately paranoid "Rats," but this is truly Ray' show, as he lashes out at ex-managers (the boisterous vaudevillian "The Moneygoround"), publishers ("Denmark Street"), TV and music journalists (the hard-hitting "Top of the Pops"), label executives ("Powerman"), and, hell, just society in general ("Apeman," "Got to Be Free").
If his wit wasn't sharp, the entire project would be insufferable, but the album is as funny as it is angry. Furthermore, he balances his bile with three of his best melancholy ballads: "This Time Tomorrow," "A Long Way From Home," and the anti-welfare and union "Get Back in Line," which captures working-class angst better than any other rock song.
These songs provide the spine for a wildly unfocused but nonetheless dazzling tour de force that reveals Ray's artistic strengths and endearing character flaws in equal measure.
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