Depending on who you speak to, chances are you'll be told that Face to Face is a concept album - now while the argument about "first concept album" has become a big ol' circle jerk, I think Face to Face has a comfortable claim to the title of being a concept record. Nearly every song focuses on British culture and social class, and many of the songs hold to this theme and idea far better than Pet Sounds does to its themes of aging or the pseudo-group attempted on Sgt. Pepper's Lonely Hearts Club Band. If nothing else, this consistent theming and execution showcases the rapid maturation of Ray Davies' songwriting; just two years after "You Really Got Me" and he's penned a song as lyrically clever and musically lovely as "Sunny Afternoon," a song so good that it kicked The Beatles' "Paperback Writer" off the charts. Davies' social bite had shown through on a single like "Dedicated Follower," but here it's a shining wit and humor that permeates the ethos of the record, from the rich living and rock energy of "House in the Country" about a wealthy and smug man who doesn't care about how much people dislike him - he's got a big sports car and nice ol' house, after all. "Session Man" is Ray's first swing at music industry commentary about a man who isn't paid to think, just play, and it plays like a song that Ray got a kick out of while writing. Other moments play more somber or thoughtful like the warning against excess of "Most Exclusive Residence for Sale" or the lonely plea of "Rosy Won't You Please Come Home," the latter being about his sister's move to Australia.
Ray Davies also spices up the record with plenty of variety that keeps every moment tightly flowing into the next. While they may have turned towards a softer sound and style, make no mistake - they can still rock. "Party Line" is a galvanizing opener with a punching guitar line and what is Dave's best vocal performance yet - the song suits him. A moment like the upbeat "Dandy" is an jaunty pop number about a bachelor that stands as one of the album's meanest hooks. Good luck getting that "Dandy! Dandy!" hook out of your head in advance. "Rainy Day in June" is a foreboding track about a dark and evil rainstorm, complete with crashing thunder effects. Speaking of the sound effects on this album, they were initially planned to be throughout the entire album - they only ended up on three tracks, but an interesting note nonetheless. "Too Much on My Mind" plays like a reflection on Ray Davies' nervous breakdown, contrasting with the great harmonies and light harpsichord - whether or not it was a reflection on this incident is for Ray Davies to know, I suppose, but it's an interesting comparison to draw. Album closer "I'll Remember" was recorded back during sessions for Kontroversy, and yet it doesn't contrast with the album's themes or sound, ending on a sad note about the end of a relationship with an affirmation that "I'll remember everything you said to me." A somber, yet upbeat way to end a great album.
Sadly, Face to Face was a bit of a commercial disappointment on release, peaking at number 135 on the US charts. Not even an accompanying non-album single in the story of poor living on "Dead End Street" b/w the dirty city life displayed in "Big Black Smoke" could help the album - a bit of a shame, as both songs are a great little accompanying piece to the bigger picture of Face to Face. But of course, time has been kind to The Kinks, and Face to Face is their first excellent record. A matured pop group, with Ray Dvaies' bright-eyed wit and ear for melody on full display throughout a dense work of clever social commentary that makes for one of rock's first concept records. Stylistically cohesive, musically diverse, and quintessentially British through and through, Face to Face is an ideal start to the group's brightest era.
RATING: ✯✯✯✯✯✯✯✯✯✯
Listen to Face to Face.
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