Released at a time when The Kinks appeared to be on the wane, 1970’s unconventionally-named Lola Versus Powerman and the Moneygoround, Part One brought them back into the public’s conscience largely off the back of perhaps the most celebrated ode to transvestism in pop history.
The album itself failed to chart in the UK, which seems somehow fitting, given that large parts of it are a feast of Ray Davies’ cynicism and bitterness about the music industry and its principal actors – agents, managers, the press.
Top Of The Pops takes us on an entertaining jaunt through the lifecycle of a hit single climbing up the charts, leading to recognition in the streets from screaming fans and interest from the Melody Maker (ask your Dad, kids). This culminates in a momentous phone call from the singer’s agent with the news that the song has gone to number one, resulting in the opportunity to “earn some real money!”. Similarly, Moneygoround laments the complex web of music industry types who each dip their hands into the money earned from a song’s success, leaving Ray initiating litigation with survival his only goal, while Powerman is both defiant and resigned.
Other themes on the album include alienation, paranoia, and despair at modernity. Perhaps the most touching song on the album is Get Back In The Line, based on the Davies’ father’s experience of unionism and the effects it had on him, not to mention those it had on the young Ray seeing his father return home, jobless still. Also memorable are two Dave Davies-penned songs: Strangers, and Rats. The former is somehow both existential and full of human warmth; the latter drips with fear and paranoia, features a class-A addictive intro, and is oddly representative of my own feelings on my infrequent trips to that London. We also have the call of nature which is Apeman.
For me, despite (or indeed because of) its imperfections this album is essential listening for anyone with even a passing interest in The Kinks: it is executed with characteristic humour, and in a way that belies its underlying negativity, showing some of the Davies brothers’ finest moments.