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Rock - Verschenen op 25 oktober 2019 | Sanctuary Records

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When The Kinks Are The Village Green Preservation Society was released in November 1968, the Davies brothers unveiled an album that was out of time. It was a pop masterpiece that was steeped in nostalgia for an Olde England and some thought it was almost backward-looking, though today it is considered one of the most influential records of its time. What’s more, it proved that there’s more to life than just Lennon/McCartney and Jagger/Richards! Following that spectacular record, their fans were wondering what could possibly come next. The idea didn’t come from either of the brother’s creative brains but in fact from the producers of Granada Television who commissioned them for… a rock opera! The plot takes place in post-war England and revolves around Arthur, a carpet-layer who emigrates with his family to Australia as he struggles to find his place in the world. The story was inspired by the Davies brothers’ older sister Rose who moved down under in 1964 with her husband Arthur. Her move left a mark on Ray, who later composed Rosie Won’t You Please Come Home in 1966 for the album Face to Face. In any case, it provided more than enough material for the English songwriter to produce these deliciously crazy and ironic songs. In the end, the film was never shot and so Arthur was released in October 1969 with no visual aid.Almost as brilliant and nostalgic as , the record’s instrumental richness, skillful songwriting and intelligent compositions went to prove once again that The Kinks were just as creative as The Beatles and The Rolling Stones. On Shangri-La, one of their most impressive compositions, the Davies brothers mix pop, rock and blues. Dave’s guitar playing is particularly impressive, revealing both thick riffs (Brainwashed) and intricate ballads (Young and Innocent Days). Unfortunately, the public didn’t exactly lap up the unusual, daring songs of this baroque farandole, instead opting for The Who’s Tommy. Though fortunately, time has been kind to Arthur and today the record is considered a genuine masterpiece. © Marc Zisman/Qobuz
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Rock - Verschenen op 22 november 1968 | Sanctuary Records

Onderscheidingen 4F de Télérama
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Rock - Verschenen op 27 november 1970 | Sanctuary Records

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Rock - Verschenen op 27 november 1970 | Sanctuary Records

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Rock - Verschenen op 17 november 2014 | Sony Music - BMG Rights Management

There was a time when the Kinks had no box sets to their name, but that ended in 2008 when the career-spanning Picture Book appeared. Six years later, there have been two limited-edition boxes -- 2011's The Kinks in Mono, which rounded up CD mono replications of their '60s LPs for Pye, plus 2012's The Kinks at the BBC -- and a host of deluxe editions and other compilations that may wind up dampening the appetite for the five-disc The Anthology 1964-1971, a deep dive into the group's '60s peak. After this steady stream of reissues, it's hard for some Kinks diehards not to cast a wary eye on The Anthology, but this is an exceptional set that eclipses any previous Kinks box. A large part of the success of The Anthology 1964-1971 is due to its tight focus on the Pye years. Such specificity allows for the inclusion of plenty of interesting alternate mixes and studio excerpts -- tracks that appear at first glance to be nothing more than collector bait but don't play that way in context -- but the greater gift of this limited scale is that it allows compiler Andrew Sandoval go into detail as he traces a dramatic arc from the Kinks' raucous early rock & roll through their ornate middle period and ending with Ray Davies' groundbreaking conceptual work of the late '60s. The Anthology takes its time. It takes eight songs to get to "You Really Got Me," which is enough for that galvanizing opening riff, which has been dulled a bit through repetition, to regain its edge. Elsewhere, there are similar nifty tricks of sequencing, particularly as Ray's songwriting starts to come into focus on the second disc, and once the third disc kicks off with "Sunny Afternoon," there is no end to the riches to be heard. This run is one of the greatest in pop music history and it sounds even better here thanks to the inclusion of songs that were scuttled off to B-sides or bootlegs but are firmly part of the Kinks canon ("Good Luck Charm," "Misty Water," "Creeping Jean," "Berkeley Mews," "Where Did My Spring Go," "Lincoln County," "This Man He Weeps Tonight"). Add to this alternate mixes that have some serious kick and original single mixes for the big hits, and it becomes clear that this is the Kinks box that rises above all the others. © Stephen Thomas Erlewine /TiVo
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Rock - Verschenen op 15 september 1967 | Sanctuary Records

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Rock - Verschenen op 2 oktober 1964 | Sanctuary Records

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Rock - Verschenen op 22 november 1968 | BMG Rights Management (UK) Limited

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Rock - Verschenen op 15 december 2008 | Castle Communications

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Rock - Verschenen op 1 augustus 2013 | Sanctuary Records

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Rock - Verschenen op 10 april 1972 | Sanctuary Records

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Rock - Verschenen op 10 oktober 1969 | Sanctuary Records

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When The Kinks Are The Village Green Preservation Society was released in November 1968, the Davies brothers unveiled an album that was out of time. It was a pop masterpiece that was steeped in nostalgia for an Olde England and some thought it was almost backward-looking, though today it is considered one of the most influential records of its time. What’s more, it proved that there’s more to life than just Lennon/McCartney and Jagger/Richards! Following that spectacular record, their fans were wondering what could possibly come next. The idea didn’t come from either of the brother’s creative brains but in fact from the producers of Granada Television who commissioned them for… a rock opera! The plot takes place in post-war England and revolves around Arthur, a carpet-layer who emigrates with his family to Australia as he struggles to find his place in the world. The story was inspired by the Davies brothers’ older sister Rose who moved down under in 1964 with her husband Arthur. Her move left a mark on Ray, who later composed Rosie Won’t You Please Come Home in 1966 for the album Face to Face. In any case, it provided more than enough material for the English songwriter to produce these deliciously crazy and ironic songs. In the end, the film was never shot and so Arthur was released in October 1969 with no visual aid.Almost as brilliant and nostalgic as , the record’s instrumental richness, skillful songwriting and intelligent compositions went to prove once again that The Kinks were just as creative as The Beatles and The Rolling Stones. On Shangri-La, one of their most impressive compositions, the Davies brothers mix pop, rock and blues. Dave’s guitar playing is particularly impressive, revealing both thick riffs (Brainwashed) and intricate ballads (Young and Innocent Days). Unfortunately, the public didn’t exactly lap up the unusual, daring songs of this baroque farandole, instead opting for The Who’s Tommy. Though fortunately, time has been kind to Arthur and today the record is considered a genuine masterpiece. © Marc Zisman/Qobuz
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Rock - Verschenen op 29 september 1997 | Castle Communications

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Rock - Verschenen op 27 november 1970 | Sanctuary Records

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Rock - Verschenen op 27 maart 1989 | Monrose Digital

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Rock - Verschenen op 20 juni 2011 | Castle Communications

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Rock - Verschenen op 3 maart 1965 | Sanctuary Records

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Rock - Verschenen op 26 november 1965 | Sanctuary Records

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Rock - Verschenen op 24 november 1971 | Sanctuary Records

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Rock - Verschenen op 25 augustus 1972 | Sanctuary Records

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