Village Green Preservation Society Kinks
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Village Green Preservation Society Kinks
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The Village Green Preservation Society
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The Village Green Preservation Society by The Kinks 15 videos
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The Village Green Preservation Society Covers
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This iconic Kinks song did not sell well on its release as a single.
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$18 delivery September 26 - October 12 . Details
Comment: A few minor marks. Plays mint. Very clean. Satisfaction guaranteed!
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The Kinks Format: Audio CD
4.7 out of 5 stars
515 ratings
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The Kinks Are The Village Green Preservation Society
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Is Discontinued By Manufacturer
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No Product Dimensions
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4.84 x 5.59 x 0.47 inches; 3.25 Ounces Manufacturer
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Reprise / Wea Date First Available
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December 12, 2006 Label
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Reprise / Wea ASIN
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B000002KOI Number of discs
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1
4.7 out of 5 stars
515 ratings
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The Kinks Are The Village Green Preservation Society (referred to as VGPS from here on) is the musical equivalent of the perfect trip to Disneyland. Warm and sunny weather with cool breezes, barely any crowds, no lines, the best seats to every parade or attraction, Dole Pineapple Floats are on the house, FastPass machines are turned off cuz you don't need them, walk-on-in-with-no-reservations dinner at Chef Mickey's... wait where was I? Oh yeah. VGPS. The Kinks's most heralded album. A rock classic. A peerless 60s album in style, tone, and attitude. A gentle iconoclastic work from a premiere songwriter. Village Green is just one of those albums that defies description. The feel of it alone elevates it to one of the Top 5 greatest albums of the 60s... maybe of all time. It's a concept album in the best sense of the word... no big loud stupid storyline, no bloated conceits, no lumbering bombast, just a warm dedication to the simple pleasures of English pastoral living set to timeless music. The Disneyland analogy holds for me simply because Ray Davies was evoking warmth and nostalgia for a times and traditions that always look magical in the rearview mirror. In a single album he created slices of British life with universal appeal, a reflexive album that circles back on itself; it's not just wistful reminiscing. It's a journey in which the book of the past is opened, enjoyed, but has to be closed at the end. Even if you want to listen to the album all over again. I usually do. For example take "Starstruck", a bouncy, catchy piece of pop with lush string undertones. The character sadly warns another to not leave the comfort of British pastoral life in favor of the excitement, high falutin culture and debauchery of the Big City. Which is exactly what the singer of folksy, minor-chord "Village Green" did, by leaving his beloved Daisy behind to make his way in the world, only to return home to find her married to the local grocer. You can almost imagine him returning home, with his long-lost girl married and happy, while also yearning to know what happened his long-lost mate in "Do You Remember Walter?". All of three of those songs are linked by nostalgia, but there's no real story here. It's all feeling, yearning, warmth, regret, whimsy, fancy, and even a bit of "enough of this rubbish" at the end. Kicking off with the title track, VGPS sets its tone immediately. "Preserving the old ways from being abused / Protecting the new ways for me and for you. / What more can we do?" The various societies introduce themselves throughout the song, celebrating the little pieces of rustic life that charm, delight, befuddle, bemuse, etc. Musically it's a peach of a tune, infectious as all hell. It leads into the aforementioned "Walter", which in turn opens up the reflective, nostalgic "Picture Book". Yup, I gotta thank Hewlett-Packard now, because if they hadn't so prominently featured "Picture Book" in a marketing campaign, I never would have bought the album and fallen in love with it. It's just a great song, with a killer hook and cheeky vocals (and lyrics). It has its own reflexive connection with the last track on the album, but I'll get to that one in a little bit. "Johnny Thunder" is the village sociopath, or misfit, or loner. One that apparently lives with his Mum, who considers him a darn good boy. The song is so commanding, with the punchiness of its main riff accentuating each verse. The superb "Last of The Steam Powered Train"s is equally as austere and powerful, a "hat's off" to a noble breed of travel now confined ot the local museum. I picture the faster rocking instrumental section that builds in the last third of the song, back into the verses, as a dream sequence in which said train is flashbacking on its previous glory days. "Big Sky" -- however you want to interpret it, as a "Let Go, Let God" sentiment, or a more secular "Don't Sweat The Small Stuff" affirmation -- is another winning rocker, alternating between shimmering 12-string acoustic picking and thicker, deeper riffing, as if a stark musical expression of the troubled earthbound mortals and the immortal, ethereal heavens. If I'm not too crazy about "Down By The Riverside" as an individual song, it still makes for a decent album cut, almost a breather of sorts as a moment of contemplation as the gentle river flows by. It almost has a Parisian vibe. It leads into the beautiful shimmer of "Animal Farm". The world is big and wild and half-insane indeed; the "real animals" have got it right. Ray would get a TON more cynical about the subject matter two albums from now with the radio classic "Apeman". But let's not get THAT ahead of ourselves. "Animal Farm" is one of the best songs on album full of best songs. The double-reeded woodwinds and harpsichords anchor the somewhat melancholic but hopeful "Village Green". I mean he does end up having tea with Daisy and laughing over happy memories at the end of the song! We discussed "Starstruck" earlier, and how that ties in with "Village Green". Daisy warned the singer that he was truly in love with her, and if he left he'd end up losing her. She was right. Oh well. Now I must admit I love "Phenomenal Cat", as ridiculous as it is. We're in fairy tale storybook time, and if the creepy gnome la-la-la voice is a bit overboard -- a BIT -- it's almost forgiveable during this brief exploration of whimsy and childhood. But if Phenomenal Cat is Fantasyland, "Wicked Annabella" is pure HAUNTED MANSION baby. It's been written that the creepy rocker feels out of place musically with the rest of the album. It's a departure, no question, but it's SUPPOSED to be. Dave takes over vocal duties, and he does a great job playing up the song's creepiness, about the local town witch. Probably some old lady who lives by herself that all the local kids are afraid of, and she's accumulated her share of local legends throughout the years. Musically maybe it's different from the rest of the album, but thematically it fits in PERFECTLY. Sandwiched between those two bits of fantasy is "All Of My Friends Were There", a music hall bit of piffle in which our narrator relates a moment of on-stage embarassment, which was only helped by having good friends around to take some of the sting off of the occurrence, and how next time he had to speak publically, he was good-to-go. Reminds me of something Dick Van Dyke might have sung in "Mary Poppins", that kind of silly bouncy feel. It's a cute song, but little more. Far more interesting to me is the Latin-flavored "Monica", a breezy piece of Iberian-flavored awesomeness. Obviously the narrator of our tale found a spicy piece of Spanish tail in his travels abroad, and even back home in the Village Green he's still enraptured by her charms. Another great song, catchy and toe-tapping, almost like a warm tropical breeze. The album ends with "People Take Pictures Of Each Other". It's not a particularly strong ending. If you're expecting something akin to "A Day In The Life" or "You Can't Always Get What You Want", you're inevitably walking away disappointed. There's no epic closer. What there is, though, is a closing of the book, an end to our visit to the Village Green... at least for now. Again we flash back to Picture Book back towards the beginning of VGPS... where looking back into our past was swell, shimmering, fun, silly, and awesome. Here it's faster-paced, hurried, and perhaps a bit over the whole return to the past. We need pictures to prove things actually happened. OK, the narrator agrees, they happened. But the past wasn't always that great. Don't show me any more please. I wanna head back out to find Monica. The local girl who married the grocer isn't doing it for me anymore. It's nice to look back, it's nice to return to traditional life every once in awhile, but it's also time to move on. Our journey is complete. For now. It's difficult to imagine how VGPS could have been made any better. I suppose the production values could have been a bit more substantial; there's an "thinness" to the album which haunted many early Kinks LP. Nonetheless, VGPS as an album is a singular experience, and a wondrous album experience at that. Many complaints tilted towards the album is that it's a bit top-heavy; that the "best" songs tend to appear in the first half and by the end it wears out its welcome and gets a bit grating. I disagree with that assessment entirely. As thematic storytelling, VGPS is a cohesive whole. As music, it's almost entirely delightful from start to finish. Even the lesser songs are reasonable, and the great songs are plentiful. VGPS is a personal album, a decisively non-commercial album, and as it stood apart from the prevailing musical trends of the day -- to put it in perspective, it dropped on the very same day as The White Album -- it achieved an air of timelessness. It's a nostalgic celebration of a parallel-universe past that never really existed, yet one that remains just as real to everyone who spends time lazying about the Village Green.
It's probably sacrilege for many Kinks fans, but I'm one that "discovered" the Kinks during their 80's comeback with albums like "Give The People What They Want," "State of Confusion", "Low Budget" and the live "One For The Road". And those are still some of my very favorite Kinks albums, but I loved them so much that from there I went backwards through their catalog of 70's material to explore more. I unfortunately found diminishing returns though so stopped with 1971's "Muswell Hillbillies" and just never got to their 60's albums. I did pick up their "Greatest Hits" cd to get the seminal singles of 1964-66, but that left a gaping 1967-1970 hole in my KINKS collection for a good decade or two. The problem with that is that as I talked to more and more Kinks fans that had been there since the beginning, I learned that most of them considered the albums from the late 60's to be their very best of any decade. So I recently decided to explore at least one of the late 60's albums and lucky for me, I picked "Village Green" first. For an album that primary singer/songwriter Ray Davies crafted to be a lament for people/places/things of the past, this is a surpringly upbeat collection of songs (musically anyway). Davies was also determined that this album would be an end to the record company induced, never-ending quest for the next hit single, but it's still full of mesmerizing melodies that grabbed me right away and also includes perhaps the most under-rated single in the entire Kinks discography, but more on that in a moment. The blues-based "Last of the Steam Power Trains" with it's Howlin' Wolf "Smokestack Lighting" influenced groove initially grabbed me, and being followed by such a light and playful track as "Sitting By The Riverside" really highlights the diversity of songs here, and yet they all flow together. But after repeated listens, "Last of the Steam Powered Trains" slid down my list of favorites as song after song got stuck in my head and became my new favorite song on this album... Lyrically, Ray has never been sharper, observing that "This world is big and wild and half insane," as he pines for simpler things in "Animal Farm". And "Starstruck" delivers one of the best and catchiest Kinks songs ever, one that would fit right in with their landmark singles from 1964-66. It did chart at #12 in the Netherlands, but elsewhere was mostly overlooked (as was the Village Green album as a whole) when first released, which makes it one of their most under-rated singles ever in my book. It's just that good, and I'll take it over what is generally regarded as their best single of 1968, the classic "Days" (which is included on this set as a bonus track). And "Phenomenal Cat" deserves special mention as it's the most bizarre song I think I've heard on any Kinks album and yet is painfully addicting: a song about a fat cat who likes to travel and (apparently) can do a little singing as well. It's just one of those songs you need to hear as is this entire album. Quite simply, if you like the KINKS and/or 60's rock/pop, you need this album! I'd heard albums like this one and "Face to Face" and "Arthur" spoke of so highly but was for some reason hesitant to pick them up, but "Village Green" has made me a Kinks believer all over again. A few notes on the production and bonus tracks: first, on the production, I personally found it a litttle jarring. As it's a deluxe and remastered title, I was expecting crisp but full sound comparable to some of the other albums by top groups from 1968 such as "Axis: Bold as Love" by Jimi Hendrix or The Beatles' "White Album", etc., but overall the production here is pretty thin and the drums in particular sound tinny and trashy, almost like they could have been recorded in a garage. Not a plus by any means, but once I got past it, I did find that the songs MORE than rose above this limitation. Since my initial listen of this album is the Deluxe remastered version, I'm not sure how it would compare to any previous releases, but I have to think this is the best sounding version of this fine album. Either way, it's hardly a warm and inviting sound, but again, the songs more than rise above it, so don't let the production stop you from giving this album a chance. And I might get some disagreement here, but I found the wealth of bonus materials a bit daunting to the point of almost being a detriment. Apart from the "Days" single (which is not on the album proper, but is included as a bonus track) and one or two other bonus tracks like "King Kong", I found most of the bonus tracks to be drowning out my enjoyment of the album itself, ie, too much to explore at once: there are 62 tracks across 3 discs and even when you remove the various versions of the songs that repeat, there are still 30+ unique songs here which more than doubles the number of songs on the original album, with most of them not being real standout cuts. I eventually just put those aside and focused on the original 15 tracks to feature on the album and that got me addicted pretty quickly. Which is fortunate because I'd nearly pegged this album as a much weaker collection than it is simply because it was (nearly) drowning in the sheer quantity and relative mediocrity of the bonus tracks. Don't get me wrong, there are some keeper bonus tracks, but of the best 20 songs here, 12-13 or so of the top 15 would come from the original album, so my recommendation is to do what I did and take in at least a few repeats of the original album before diving into the wealth of bonus materials. Lastly, I'm not much of an audiophile so don't have a strong preference for the stereo or mono mix of the albums (disc one is stereo, disc two is mono, with each having a few bonus tracks, and then disc 3 is all bonus materials). It is nice to have both versions here, though again, if this music is new to you, my recommendation is to pick one version of the original album and take it in several times to get a feel before comparing stereo vs. mono or going on to explore the bonus tracks. This album is too good to risk letting the sheer volume of material here or any differences between the ste
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