|地区：||United Kingdom 英国|
|风格：||硬摇滚 Hard Rock, 摇滚 Rock & Roll, 流行摇滚 Pop Rock|
The Kinks来自英格兰，是英国流行摇滚的奠基人之一，活跃于6、70年代，曲风兼顾迷幻/流行/摇滚。他们和Beatles、The Who还有Rolling Stone乐队并称英国摇滚乐坛“Big Four”，一起掀起了所谓British Invasion，风靡世界乐坛。
和许多流行摇滚乐队一样，The Kinks最大的悲哀就是和Beatles处于同一时代而且曲风相似，所以就算对摇滚再不了解的人也知道披头四或甲壳虫，却不太有人知道还有The Kinks这号人物。不过他们的音乐确实是很优秀的，大概是英国的Big Four里最有必要为大家再认识的乐队。
1963年，The Kinks在英格兰成立。1964年，他们以单曲《You Really Got Me》和《All Day And All Of The Night》开创了重金属摇滚这一新的乐种，富有激情，充满叛逆，深深地撞击着人们被世俗、争斗所牢牢禁锢的心灵。仅仅4年时间，他们便拥有了3首全英冠军单曲，同时这些单曲全部成功打入了美国的Top 10。
1970年他们的专辑《Lala Versus Powerman And The Money-Go-Around，Part 1》在英美两地取得了巨大的成功。而乐队中后期在美国取得的成绩要好于他们的家乡英国。从1964年至今，The Kinks发行了数不清的EP和专辑，可谓非常高产。作为一支流行摇滚乐队，早期他们的音乐更多融入了蓝调的成分，而70年代中期后他们的音乐显得更加硬朗和激烈，非常符合美国听众的口味。在2002年The Kinks又发行了一张精选《The Ultimate Collection》，全面记录了他们驰骋乐坛几十年的辉煌。翻唱。
Although they werent as boldly innovative as the Beatles or as popular as the Rolling Stones or the Who, the Kinks were one of the most influential bands of the British Invasion. Like most bands of their era, the Kinks began as an R&B/blues outfit. Within four years, the band had become the most staunchly English of all their contemporaries, drawing heavily from British music hall and traditional pop, as well as incorporating elements of country, folk, and blues.
Throughout their long, varied career, the core of the Kinks remained Ray (b. June 21, 1944) and Dave Davies (b. February 3, 1947), who were born and raised in Muswell Hill, London. In their teens, the brothers began playing skiffle and rock & roll. Soon, the brothers recruited a schoolmate of Rays, Peter Quaife, to play with them; like the Davies brothers, Quaife played guitar, but he switched to bass. By the summer of 1963, the group had decided to call itself the Ravens and had recruited a new drummer, Mickey Willet. Eventually, their demo tape reached Shel Talmy, an American record producer who was under contract to Pye Records. Talmy helped the band land a contract with Pye in 1964. Before signing to the label, the Ravens replaced drummer Willet with Mick Avory.
The Ravens recorded their debut single, a cover of Little Richards Long Tall Sally, in January 1964. Before the single was released, the group changed their name to the Kinks. Long Tall Sally was released in February of 1964 and it failed to chart, as did their second single, You Still Want Me. The bands third single, You Really Got Me, was much noisier and dynamic, featuring a savage, fuzz-toned two-chord riff and a frenzied solo from Dave Davies. Not only was the final version the blueprint for the Kinks early sound, but scores of groups used the heavy, power chords as a foundation. You Really Got Me reached number one within a month of its release; released on Reprise in the U.S., the single climbed into the Top Ten. All Day and All of the Night, the groups fourth single, was released late in 1964 and it rose all the way to number two; in America, it hit number seven. During this time, the band also produced two full-length albums and several EPs.
Not only was the group recording at a breakneck pace, they were touring relentlessly, as well, which caused much tension within the band. At the conclusion of their summer 1965 American tour, the Kinks were banned from re-entering the United States by the American government for unspecified reasons. For four years, the Kinks were prohibited from returning to the U.S., which not only meant that the group was deprived of the worlds largest music market, but that they were effectively cut off from the musical and social upheavals of the late 60s. Consequently, Ray Davies songwriting grew more introspective and nostalgic, relying more on overtly English musical influences such as music hall, country, and English folk, than the rest of his British contemporaries. The Kinks next album, The Kinks Kontroversy, demonstrated the progression in Davies songwriting. Sunny Afternoon was one of Davies wry social satires and the song was the biggest hit of the summer of 1966 in the U.K., reaching number one. Sunny Afternoon was a teaser for the bands great leap forward, Face to Face, a record that featured a vast array of musical styles. In May of 1967, they returned with Waterloo Sunset, a ballad that reached number two in the U.K. in the spring of 1967. Released in the fall of 1967, Something Else continued the progressions of Face to Face. Despite the Kinks musical growth, their chart performance was beginning to stagnate. Following the lackluster performance of Something Else, the Kinks rushed out a new single, Autumn Almanac, which became another big U.K. hit for the band. Released in the spring of 1968, the Kinks Wonderboy was the bands first single not to crack the Top Ten since You Really Got Me. They recovered somewhat with Days, but the bands commercial decline was evident by the lack of success of The Village Green Preservation Society.
Released in the fall of 1968, Village Green Preservation Society was the culmination of Ray Davies increasingly nostalgic tendencies. While the album was unsuccessful, it was well-received by critics, particularly in the U.S.
Peter Quaife soon grew tired of the bands lack of success, and he left the band by the end of the year, being replaced by John Dalton. In early 1969, the American ban upon the Kinks was lifted, leaving the band free to tour the U.S. for the first time in four years. Before they began the tour, the Kinks released Arthur (or the Decline and Fall of the British Empire). Like its two predecessors, Arthur contained distinctly British lyrical and musical themes, but it was a modest success. As they were recording the follow-up to Arthur, the Kinks expanded their lineup to include keyboardist John Gosling. The first appearance of Gosling on a Kinks record was Lola. Featuring a harder rock foundation than their last few singles, Lola was a Top Ten hit in both the U.K. and the U.S. Released in the fall of 1970, Lola Versus Powerman and the Money-Go-Round, Part One was their most successful record since the mid-60s in both the U.S. and U.K., helping the band become concert favorites in the U.S.
The bands contract with Pye/Reprise expired in early 1971, leaving the Kinks free to pursue a new record contract. By the end of 1971, the Kinks had secured a five-album deal with RCA Records, which brought them a million dollar advance. Released in late 1971, Muswell Hillbillies, the groups first album for RCA, marked a return to the nostalgia of the Kinks late-60s albums, only with more pronounced country and music hall influences. The album failed to be the commercial blockbuster RCA had hoped for. A few months after the release of Muswell Hillbillies, Reprise released a double-album compilation called The Kink Kronikles, which outsold their RCA debut. Everybodys in Showbiz (1973), a double0record set consisting of one album of studio tracks and another of live material, was a disappointment in the U.K., although the album was more successful in the U.S.
In 1973, Ray Davies composed a full-blown rock opera called Preservation. When the first installment of the opera finally appeared in late 1973, it was harshly criticized and given a cold reception from the public. Act 2 appeared in the summer of 1974; the sequel received worse treatment than its predecessor. Davies began another musical, Starmaker, for the BBC; the project eventually metamorphosed into Soap Opera, which was released in the spring of 1975. Despite poor reviews, Soap Opera was a more commercially successful record than its predecessor. In 1976, the Kinks recorded Davies third straight rock opera, Schoolboys in Disgrace, which rocked harder than any album they released on RCA.
During 1976, the Kinks left RCA and signed with Arista Records. On Arista, the band refashioned themselves as a hard rock band. Bassist John Dalton left the group near the completion of their debut Arista album; he was replaced by Andy Pyle. Sleepwalker, the Kinks first album for Arista, became a major hit in the U.S. As the band was completing the follow-up to Sleepwalker, Pyle left the group and was replaced by the returning Dalton. Misfits, the bands second Arista album, was also a U.S. success. After a British tour, Dalton left the band again, along with keyboardist John Gosling; bassist Jim Rodford and keyboardist Gordon Edwards filled the vacancies. Soon, the band was playing arenas in the United States. Even though punk rockers like the Jam and the Pretenders were covering Kinks songs in the late 70s, the group was becoming more blatantly commercial with each release, culminating in the heavy rock of Low Budget (1979), which became the groups biggest American success, peaking at number 11. The Kinks next album, Give the People What They Want, appeared in late 1981; the record peaked at number 15 and went gold. For most of 1982, the band was on tour. In spring of 1983, Come Dancing became the groups biggest American hit since Tired of Waiting for You, thanks to the videos repeated exposure on MTV; in the U.S., the song peaked at number six, in the U.K. it climbed to number 12. State of Confusion followed the release of Come Dancing, and it was another success, peaking at number 12 in the U.S. For the remainder of 1983, Ray Davies worked on a film project, Return to Waterloo, which caused considerable tension between himself and his brother. Instead of breaking up, the Kinks merely reshuffled their lineup, but there was a major casualty: Mick Avory, the bands drummer for 20 years, was fired and replaced by Bob Henrit. As Ray finished post-production duties on Return to Waterloo, he wrote the next Kinks album, Word of Mouth. Released in late 1984, the album was similar in tone to the last few Kinks records, but it was a commercial disappointment and began a period of decline for the band; they never released another record that cracked the Top 40.
Word of Mouth was the last album they would record for Arista Records. In early 1986, the band signed with MCA Records in the U.S., London in the U.K. Think Visual, their first album for their new label, was released in late 1986. It was a mild success but there were no hit singles from the record. The following year, the Kinks released another live album, appropriately titled The Road, which spent a brief time on the charts. Two years later, the Kinks released their last studio record for MCA, UK Jive. During 1989, keyboardist Ian Gibbons left the band. The Kinks were inducted into the Rock & Roll Hall of Fame in 1990, but the induction did not help revive their career. In 1991, a compilation of their MCA records, Lost & Found (1986-1989), appeared, signalling that their contract with the label had expired. Later in the year, the band signed with Columbia Records and released an EP called Did Ya, which didnt chart. The Kinks first album for Columbia, Phobia, arrived in 1993 to fair reviews but poor sales. By this time, only Ray and Dave Davies remained from the original lineup. In 1994, the band was dropped from Columbia Records, leaving the group to release the live To the Bone on an independent label in the U.K.; the band was left without a record label in the U.S.
Despite a lack of commercial success, the bands public profile began to rise in 1995, as the group was hailed as an influence on several of the most popular British bands of the decade, including Blur and Oasis. Ray Davies was soon on popular television shows again, acting as these bands godfather and promoting his autobiography, X-Ray, which was published in early 1995 in the U.K. Dave Davies autobiography, Kink, was published in the spring of 1996.
|03||All Day And All of The Night The Kinks||407208|
|04||You Really Got Me||345164|
|05||All Day And All of The Night||158649|
|08||Sunny Afternoon The Kinks||109297|
|09||You Really Got Me The Kinks||102114|