More of The Kinks

EXCELLENT SOUND ON BOTH SIDES, A+++ for the first and A++ for the second — I don’t remember ever hearing a better copy! This is the first copy to make it to the site in over three years, and there were only a small handful to hit the site before that. It’s hard to find clean early Kinks pressings, and it’s much tougher to find ones like this that actually sound good!

Now this obviously ain’t the best sounding album in the world, but this copy sure sounds better than the ones we played it against. The sound is lively, clean, transparent and natural. Most importantly, it sounds CORRECT.

What do Hot Stampers give you for lo-fi music like this? Less distortion, more ambience, clearer transients, and more weight to the bottom end. On a top copy like this one you get more energy, more dynamics and more presence to the vocals. It certainly doesn’t turn this music into an Audiophile Demo Disc, but if you love the Kinks like we do you’re going to get a lot out of this copy. We sure did!

The overall sound is clean, clear, open, and transparent. The piano actually has a little bit of weight — something missing from most other copies. Side one has wonderful energy and presence with lots of texture to the instruments. Side two is super transparent and surprisingly rich and full. You’re going to have a very hard time finding a copy that sounds as good as this one!

TRACK LISTING

Side One

Introduction 
The Contenders
Strangers 
Denmark Street 
Get Back in Line 
Lola 
Top of the Pops
The Moneygoround

Side Two

This Time Tomorrow
A Long Way From Home 
Rats 
Apeman 
Powerman 
Got to Be Free

AMG Review

… a loose concept album about Ray Davies’ own psychosis and bitter feelings toward the music industry… it’s one of his strongest set of songs… If his wit wasn’t sharp, the entire project would be insufferable, but the album is as funny as it is angry. Furthermore, he balances his bile with three of his best melancholy ballads: “This Time Tomorrow,” “A Long Way From Home,” and the anti-welfare and union “Get Back in Line,” which captures working-class angst better than any other rock song. These songs provide the spine for a wildly unfocused but nonetheless dazzling tour de force that reveals Ray’s artistic strengths and endearing character flaws in equal measure.