ALBUM REVIEW: The Kinks - Lola Versus Powerman and the Moneygoround, Part One

    By the turn of the decade, The Kinks were a cult group - what albums like Face to Face, Something Else, and especially Village Green and Arthur lacked in sales was at least somewhat made up for by rave reviews and appreciation by nearly every ear that heard it. Even with this newfound cult following, it's safe to assume that The Kinks, and songwriter Ray Davies in particular, was pretty disillusioned with show biz. After getting their tour ban lifted in 1969, they played a few shows (many were canceled due to band members getting sick), and Ray focused on writing new material. The resulting Lola Versus Powerman album is a satirical bite at the music industry, publishing, touring, and the press. Trading their wry British commentary for scathing looks at the music world, Lola knows how to rock better than Village Green and maybe even Arthur, but ultimately isn't nearly as clever as those albums in the writing department. While it still continues a bold winning-streak from the group and was very much a comeback album at the time, it doesn't quick measure up to the two previous tour-de-force records they released.

    Stylistically, Lola Versus Powerman leans heavily into rock, probably more than any Kinks album before it. While Village Green had it's fiery moments and Arthur's guitar riffs and hooks made the album instrumentally, Lola at many points plays like hard rock. Loud, crunching guitar riffs build a fair share of the songs, from the lick at the beginning of "The Contenders" to the fuzzy descending like of "Rats" to the punching power chords of "Top of the Pops," sounding like a spiritual successor to the group's early hits. That isn't to say there isn't any other influences - the blues pushes through on a few songs, as does folk, calypso, and Ray's eternal love of music hall. While this focus probably makes Lola one of the most punching albums in their catalog, it does lack in the musical diversity and variety that was on Village Green, Arthur, and even Something Else. Still, with as many killer riffs as this album has, it can be somewhat forgiven. It all culminates in what is the group's hardest rocking album since 1965's The Kink Kontroversy, certainly an appraisal with some weight.

    Thematically, Lola Versus Powerman is a satirical story about the music industry - from publishers looking for a buck ("Denmark Street") to the fickle nature of hits ("Top of the Pops") to how fame changes a man ("A Long Way From Home"). Now while these moments do result in some down-to-earth moments, notably Dave Davies' magnum opus in "Strangers," much of the album should play in a similar manner to their previous satirical looks at British life, right? Well, kind of. For what it's worth, not only do I find the lyricism of Lola to be far less witty and at points even stupid - really listen to "Apeman" again and tell me it's not a stupid fucking song - but some moments of Lola play too bitter for their own good. As great as the bouncy, honky-tonk energy of "Denmark Street" is, it's also a key example of what I'm talking about. "I hate your music and your hair is too long / but I'll sign you up because I'd hate to be wrong!" Many of the moments that don't directly address the music industry, likewise, play stronger, such as the opening "The Contenders," "Strangers," the goofy hit "Lola," the bright "This Time Tomorrow" and the soaring closer of "Got to Be Free." Moments like "Get Back in Line" or "Powerman" do a fine job of riding the line between the satirical look at the music world without being overly bitter.

    Lola used to be my favorite Kinks album, actually. While I still find it very musically compelling, truth is it isn't as conceptually tight as Arthur and at many points the music industry satire hinders the album by showcasing an overly bitter and disillusioned Ray Davies - simply put, it lacks the humor that was in previous albums. Now that doesn't necessarily make Lola a bad album, and in fact I think many of its ideas work. It's a punching rock album with just enough musical bouncing around to keep things interesting throughout the entire 40-minute runtime, and it certainly has a focus that keeps most of the songs grounded to the record's concept. Ultimately, I think part of it is just that the concept isn't as sharp as the British commentary on previous albums. Nonetheless, it's still a solid addition to an ever-growing catalog of great records from The Kinks.

RATING: ✯✯✯✯✯✯✯✯✯✯

Listen to Lola Versus Powerman and the Moneygoround, Part One.