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The Great Lost Kinks Album
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The Great Lost Kinks Album
The Great Lost Kinks Album is a compilation album by the English rock band the Kinks. Released in the United States in January 1973, it features material recorded by the group between 1966 and 1970 that had mostly gone unreleased. The compilation served to satisfy Reprise Records after executives determined that the Kinks contractually owed them one more album, despite the band's departure from the label in 1971.
The Great Lost Kinks Album offered the debut of many previously unreleased tracks, while others had only been released as non-album singles. Most of its songs date to the sessions for the 1968 album The Kinks Are the Village Green Preservation Society and were delivered by Ray Davies to Reprise in July 1969 out of a contractual obligation. Musician John Mendelsohn wrote liner notes for the album which extensively derided Davies' contemporary songwriting in comparison to his late 1960s work. Both contemporary and retrospective critics have generally described the compilation as uneven. Several suggested that its joining of strong and weak tracks meant it would only appeal to devoted Kinks fans.
The album's sales were driven by fans of the band's late 1960s work, peaking at No. 145 on Billboard's Top LP's & Tape chart, additionally reaching No. 78 and No. 74 on Cash Box and Record World's charts, respectively. The Kinks had no involvement in the album's preparation and Davies only learned of its existence after its release. He initiated legal action against Reprise over the album, resulting in its 1975 deletion from the label's catalogue, though it remained popular among Kinks fans into the 2000s for its inclusion of rare and otherwise unobtainable tracks. Several of its songs were later made available as bonus tracks on the 2004 CD reissue of Village Green.
On 2 July 1969, Ray Davies and manager Robert Wace delivered numerous tracks to Reprise Records's offices. Most of them were for the Kinks' 1969 studio album, Arthur, as well as a potential Dave Davies solo album. They delivered an extra reel of twelve songs, marked as "spare tracks" and not assigned a master tape number, indicating they were likely not planned for an immediate release. Author Doug Hinman suggests the additional songs' delivery was likely due to a contractual obligation that the Kinks provide the label a set number of songs over a scheduled period. Ray Davies later expressed he was hesitant to deliver them because he did not feel they were up to standard and wanted to include a note explaining, "please, we're just fulfilling our contract, just put it in a vault somewhere."
In 1971, the Kinks' seven-year contract with Reprise was set to expire. Disappointed with several clauses in the band's contract, Davies opted to instead sign the band with RCA Records. The same year, Reprise rejected the Percy soundtrack album for US release, finding it lacked commercial potential in the American market. Because they did not release Percy, executives at Reprise determined that the Kinks contractually owed the label one more album.
The Kinks recently began recording on RCA Records. How is it possible for them to have a "new" album on Reprise? Well ... Reprise apparently has a number of old songs the Kinks recorded and never released. ... They're doing the same thing with tapes Jimi Hendrix made: the recordings weren't good enough before, but now that that's all Reprise has, they're suddenly all right.
In 1972, without Davies' knowledge or approval, Reprise began assembling a compilation album of mostly unreleased Kinks material. The label's working title for the project was Son of Kink Kronikles, a reference to the company's March 1972 compilation The Kink Kronikles. In the early 1970s, compilation albums collecting previously unreleased material had become increasingly common among record labels seeking to undermine bootleg recordings. Reprise later re-titled the project The Great Lost Kinks Album, a reference to the Kinks' unreleased 1968 album, Four More Respected Gentlemen, though the content of the two was mostly unrelated.
Of the twelve "spare tracks" delivered to Reprise in 1969, three – "This Is Where I Belong", "King Kong" and "Berkeley Mews" – were dropped after having been already included on The Kink Kronikles. The instrumental "Easy Come, There You Went" was also dropped. Songs added included "Misty Water", recorded in May 1968 and originally planned for release on Four More Respected Gentlemen; "I'm Not Like Everybody Else", the non-album B-side to the 1966 single "Sunny Afternoon"; "The Way Love Used to Be", a ballad from the Percy soundtrack album; and "There Is No Life Without Love", "Groovy Movies" and "This Man He Weeps Tonight" from the unreleased Dave Davies solo album. The album's fourteen tracks range chronologically from "I'm Not Like Everybody Else" to "The Way Love Used to Be", recorded in May 1966 and October 1970, respectively. Most of the songs were recording during the sessions for the 1968 album The Kinks Are the Village Green Preservation Society. Almost all of the songs were recorded in the basement studios at Pye Records's London offices; "When I Turn Out the Living Room Light" was recorded at Riverside Studios, West London, and "The Way Love Used to Be" at Morgan Studios, North West London. Ray Davies produced every track, except for "I'm Not Like Everybody Else", which is credited to Shel Talmy.
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The Great Lost Kinks Album
The Great Lost Kinks Album is a compilation album by the English rock band the Kinks. Released in the United States in January 1973, it features material recorded by the group between 1966 and 1970 that had mostly gone unreleased. The compilation served to satisfy Reprise Records after executives determined that the Kinks contractually owed them one more album, despite the band's departure from the label in 1971.
The Great Lost Kinks Album offered the debut of many previously unreleased tracks, while others had only been released as non-album singles. Most of its songs date to the sessions for the 1968 album The Kinks Are the Village Green Preservation Society and were delivered by Ray Davies to Reprise in July 1969 out of a contractual obligation. Musician John Mendelsohn wrote liner notes for the album which extensively derided Davies' contemporary songwriting in comparison to his late 1960s work. Both contemporary and retrospective critics have generally described the compilation as uneven. Several suggested that its joining of strong and weak tracks meant it would only appeal to devoted Kinks fans.
The album's sales were driven by fans of the band's late 1960s work, peaking at No. 145 on Billboard's Top LP's & Tape chart, additionally reaching No. 78 and No. 74 on Cash Box and Record World's charts, respectively. The Kinks had no involvement in the album's preparation and Davies only learned of its existence after its release. He initiated legal action against Reprise over the album, resulting in its 1975 deletion from the label's catalogue, though it remained popular among Kinks fans into the 2000s for its inclusion of rare and otherwise unobtainable tracks. Several of its songs were later made available as bonus tracks on the 2004 CD reissue of Village Green.
On 2 July 1969, Ray Davies and manager Robert Wace delivered numerous tracks to Reprise Records's offices. Most of them were for the Kinks' 1969 studio album, Arthur, as well as a potential Dave Davies solo album. They delivered an extra reel of twelve songs, marked as "spare tracks" and not assigned a master tape number, indicating they were likely not planned for an immediate release. Author Doug Hinman suggests the additional songs' delivery was likely due to a contractual obligation that the Kinks provide the label a set number of songs over a scheduled period. Ray Davies later expressed he was hesitant to deliver them because he did not feel they were up to standard and wanted to include a note explaining, "please, we're just fulfilling our contract, just put it in a vault somewhere."
In 1971, the Kinks' seven-year contract with Reprise was set to expire. Disappointed with several clauses in the band's contract, Davies opted to instead sign the band with RCA Records. The same year, Reprise rejected the Percy soundtrack album for US release, finding it lacked commercial potential in the American market. Because they did not release Percy, executives at Reprise determined that the Kinks contractually owed the label one more album.
The Kinks recently began recording on RCA Records. How is it possible for them to have a "new" album on Reprise? Well ... Reprise apparently has a number of old songs the Kinks recorded and never released. ... They're doing the same thing with tapes Jimi Hendrix made: the recordings weren't good enough before, but now that that's all Reprise has, they're suddenly all right.
In 1972, without Davies' knowledge or approval, Reprise began assembling a compilation album of mostly unreleased Kinks material. The label's working title for the project was Son of Kink Kronikles, a reference to the company's March 1972 compilation The Kink Kronikles. In the early 1970s, compilation albums collecting previously unreleased material had become increasingly common among record labels seeking to undermine bootleg recordings. Reprise later re-titled the project The Great Lost Kinks Album, a reference to the Kinks' unreleased 1968 album, Four More Respected Gentlemen, though the content of the two was mostly unrelated.
Of the twelve "spare tracks" delivered to Reprise in 1969, three – "This Is Where I Belong", "King Kong" and "Berkeley Mews" – were dropped after having been already included on The Kink Kronikles. The instrumental "Easy Come, There You Went" was also dropped. Songs added included "Misty Water", recorded in May 1968 and originally planned for release on Four More Respected Gentlemen; "I'm Not Like Everybody Else", the non-album B-side to the 1966 single "Sunny Afternoon"; "The Way Love Used to Be", a ballad from the Percy soundtrack album; and "There Is No Life Without Love", "Groovy Movies" and "This Man He Weeps Tonight" from the unreleased Dave Davies solo album. The album's fourteen tracks range chronologically from "I'm Not Like Everybody Else" to "The Way Love Used to Be", recorded in May 1966 and October 1970, respectively. Most of the songs were recording during the sessions for the 1968 album The Kinks Are the Village Green Preservation Society. Almost all of the songs were recorded in the basement studios at Pye Records's London offices; "When I Turn Out the Living Room Light" was recorded at Riverside Studios, West London, and "The Way Love Used to Be" at Morgan Studios, North West London. Ray Davies produced every track, except for "I'm Not Like Everybody Else", which is credited to Shel Talmy.