Pitchfork

Although many critics are content to rank them alongside second-tier bands such as the Animals and Creation, the Kinks were arguably one of the four great bands of the British Invasion. Maybe they weren't as bold as the Beatles, as contentious as the Stones, or as audacious as the Who. But if you consider true greatness in terms of influence and innovation-- not to mention a little popularity, as the times required-- then the Kinks, namely Ray and Dave Davies, have secured their place atop rock 'n' roll's Mount Olympus.

Consider this: when the Kinks released "You Really Got Me" in 1964, the Beatles were nodding their heads, playing to the ladies; for they had yet to cry "Help!" The Who were still a year away from "My Generation," but in the meantime would come up with "I Can't Explain," which owed Third World-degree debt to "You Really Got Me." And when the Stones weren't still covering R&B songs, they were busy taking cues from the Beatles-- which wouldn't change until the epiphany of the following year's "(I Can't Get No) Satisfaction." At a time when rock 'n' roll was evolving faster than ever before, the Kinks were, for the time being, the loudest (white) rock out there.

So the Kinks' relatively congenial relationship with the traditional BBC was indeed odd, especially considering that the BBC primarily broadcast music by dance bands and orchestras. The relationship started, as one might expect, with "You Really Got Me," as well as three other tracks recorded at London's Playhouse Theatre on September 7, 1964. Usually, the BBC-- referred to in the liner notes, eerily enough, as "the great Corporation"-- would have screened a track such as "You Really Got Me," particularly since rock 'n' roll was in its infancy and was thus considered both an aberration and a threat. But the single tore through the charts so fast that they waived the review process.

Appropriately, this double-disc opens with a quintessentially stiff voice saying, "And now meet the Kinks, five more representatives of the [exaggerated pause] shaggy set. And let's hear that number one, 'You Really Got Me.'" That revelatory track-- astoundingly, just their third single-- follows. The defiant riff, groundbreaking solo and trademark harmonizing and screaming vocals are there, but this classic song is marred by the same limitations that hinder this entire collection-- those being underproduction and sloppy musicianship. After all, most of these tracks are one-and-done takes with only essential overdubs, and they were recorded to BBC's equipment, which was subpar even for its time.

The admittedly extensive liner notes say that this "adds to the charm of the recordings," but they couldn't have backpedaled more had they insisted that the Kinks, despite popular belief, were indeed a strong live act. Wait, they do that, too. And then when you consider the abundant between-song introductions and banter--

"Now, why do you wear your hair so long, lads?"

"I think the girls go for it, man, you know. They used to go for a moustache, but now it's long hair."

"Well, I'm sorry to hear that. I couldn't grow mine long if I tried, so let's change the subject."

-- you've got an album that, despite all its protestations otherwise, seems simply intended for its historical insight. As such, it is worthy indeed. Arranged chronologically, the album provides a fluid musical timeline of the Kinks from their R&B roots ("Cadillac"; "Milk Cow Blues") to their creative peak in the late 60's ("Death of a Clown"; "Village Green Preservation Society") and then on to the unfortunate rock opera grandiosity of the 70's ("Demolition"; "Money Talks"), which renders the second disc disposable. (For all intents and purposes, the collection stops at 1974, as only one song-- 1977's "Get Back in Line"-- dates later.)

Other than a few exceptions-- "Love Me 'til the Sun Shines," for instance-- almost all of these songs are inferior to their album versions (the Kinks were an underrated studio talent). Furthermore, plenty indisputable classics, like "Shangri-La" and "Lola," don't appear here; undoubtedly, some were never broadcast on the BBC, but it's hard to believe so many weren't played during the 24 sessions. And then there's the issue of the last four tracks, which, by inexplicably jumping back in years, disrupt the chronological fluidity of the album.

Thus, BBC Sessions 1964-1977 must be deemed worthwhile for completists only. For those who lived during the Kinks' early rise and their subsequently rocky ride, this album will provide an interesting flashback. And for those of us who didn't, this album is mildly interesting-- once. Yes, the Kinks were a great band that stood out even during the rock 'n' roll explosion of the 60's, but you won't sense much of their brilliance on these recordings.