We Are the Vinyl Kinks Appreciation Society...

Tonight's treat is The Kinks Are the Village Green Preservation Society.

This is truly one of the greatest albums, and sadly, currently difficult to find in the U.S.  The Kinks were at their most innovative, best musical form, and lyrically best.  While the rest of the world was pondering how awful Vietnam was, the Kinks in 1968 were singing songs about strawberry jam, fading friendships, and overweight felines.  They are probably one of the most understated groups in rock and roll history--perhaps victims of their own success with singles such as "You Really Got Me" and "Lola."  Not that these were bad songs, mind you, just that they were hardly representative of the depth and breadth of the group--no mean feat considering that "You Really Got Me" practically shaped every song to come thereafter.  The Village Green Preservation Society has a certain symmetry to it, songs that could easily get confused ("Picture Book" vs. "People Take Pictures of Each Other"; "The Village Green Preservation Society" vs. "Village Green"), except that these variations are so profoundly different in structure and attitude.  The vinyl listen (mono) is notable in that the bass pops so clearly in each song, and the woodwinds and strings don't crowd the vocals.

One last note about the Kinks.  I especially love how they play happy songs in minor keys and sad songs in major keys--they don't just play with your heartstrings, they manipulate them.  That merry-sounding song you've been jangling and dancing to turns out to be about everything crumbling apart once you listen to the lyrics ("Come Dancing", "Death of a Clown", etc.).

Meanwhile, across the Atlantic Ocean, The Velvet Underground and Nico reveals what was going on in the streets of New York in 1967--drugs, kinky sex, and a profound disregard for any rules about melody, pitch, or time.  Music was a "scene," something that was going on while you were getting your rocks off.  Poor Lou Reed--given shock treatment as a youth to "cure" him of bisexuality, then turned to heroin.  It's kind of remarkable that anything he did ever went heard and recognized.  There's a cliche that this album didn't sell many copies, but everyone who bought one formed a band.  Perhaps there is some truth to that, but more importantly, this album is a testament to some truly dark and real stuff.  "Heroin" says about as much as Naked Lunch.  Lou's death hit me kind of hard last year, and it's weird.  Maybe he and I were more kindred spirits than I would have thought.  Or maybe he just had that effect on everyone.

Also: it's worth mentioning that without Rachel, I probably wouldn't have considered getting or listening to this album.  Thank you!