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Arthur or the Decline and Fall of the British Empire Import

5.0 von 5 Sternen 3 Kundenrezensionen

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Audio-CD, Import, 22. September 2003
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Titelverzeichnis

Disk: 1

  1. Victoria
  2. Yes Sir, No Sir
  3. Some Mother's Son
  4. Drivin'
  5. Brainwashed
  6. Australia
  7. Shangri-La
  8. Mr. Churchill says
  9. She's Bought A Hat Like Princess Marina
  10. Young And Innocent Days
  11. Nothing To Say
  12. Arthur
  13. Plastic Man (Mono)
  14. King Kong (Mono)
  15. Drivin' (Mono)
  16. Mindless Child Of Motherhood (Mono)
  17. This Man He Weeps Tonight (Mono)
  18. Plastic Man (Stereo)
  19. Mindless Child Of Motherhood (Stereo)
  20. This Man He Weeps Tonight (Stereo)
  21. She's Bought A Hat Like Princess Marina (Mono)
  22. Mr. Shoemakers Daughter (Unreleased)

Produktbeschreibungen

.Label: Essential.Published: 1998

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Von Jack-in-the-Green TOP 1000 REZENSENT am 10. Januar 2003
Format: Audio CD
Mit Arthur haben die Kinks ihre Leidenschaft, gegen den Strom zu schwimmen und keine Hits zu produzieren auf eine grossartige Spitze getrieben.
Als Mystizismus und King-Arthur-Kult zu blühen beginnen, schreiben sie 1969 ein Album über Arthur - aber nicht über den legendären König, sondern einen über einen netten Spiessbürger aus einer Londoner Vorstadt und seine Verbundenheit mit der vergangenen Grösse des Britischen Königreiches.
Zusammen mit der "Village Green Preservation Society" bildet "Arthur" für mich den absoluten Höhepunkt der kink'schen Kreativität.
Das Originalalbum umfasst die ersten 12 Track der CD (von "Victoria" bis "Arthur"). Eigentlich kann man von 20 Liedern sprechen, da fast jeder Song aus 2 kunstvoll verwobenen Melodien besteht. Während die Beatles mit "Lady Madonna" bereits das Ende der fein gesponnenen und subtil arrangierten Songs der 60'er eingeleitet hatten, steigern die Kinks den Einsatz "altmodischer" Instrumente zB. mit einem Cembalo.
Das Album skizziert in 40 Minuten den Niedergang des British Empire : Von Viktoria - der letzten Königin des Weltreiches - spannen sie den Bogen hin zu dem kleinen Backstein-Reihenhaus in London, das Arthur hochtrabend "Shangri-La" nennt.
Wie bei Ray Davies üblich fügt er Schnappschüsse zu einem Bilderbogen zusammen : der Tod eines Soldaten im Ersten Weltkrieg ("Some Mothers Sun"), die Gleichschaltung der Bevölkerung durch Propaganda ("Brainwashed") usw.
Mir ist das Album nicht sofort ins Ohr gegangen (die meisten Songs sind sehr hintergründig) - aber das genaue Hinhören hat sich gelohnt.
Lesen Sie weiter... ›
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Von Ein Kunde am 28. April 2001
Format: Audio CD
Gewohnt humorvoll bearbeitet der geniale Ray Davies hier wieder Autobiographisches und Englisches überhaupt. Lächerliche Eitelkeit, liebenswerte Häuslichkeit, seltsamer Nationalstolz, unausgegorener Freiheitsdrang, all das wird in diesem Konzeptalbum ironisch auf die Schippe genommen. Arthur, der Held dieses unaufgeregten Albums, ist der durchschnittlich englische Mittelklassemann mit dem stolzen Namen. Musikalisch ragen Hits wie Victoria oder Shangri-La heraus, aber auch der Rest ist durchaus hörenswert.
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Format: Audio CD
Ich bin mir nicht sicher. Aber mit dieser Scheibe scheint wohl der Begriff "Konzeptalbum" zumindest gefestigt worden zu sein. Ein Meilenstein und absoluter Kult.
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Die hilfreichsten Kundenrezensionen auf Amazon.com (beta) (Kann Kundenrezensionen aus dem "Early Reviewer Rewards"-Programm beinhalten)

Amazon.com: 5.0 von 5 Sternen 17 Rezensionen
5 von 5 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen not even its shortcomings ruin it 12. März 2004
Von Benny_Carefully - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
There's not much more to say that hasn't already been said. On this album the Kinks were about as good as the Beatles, and definitely as good as the Who. It may be the only classic rock album out there that has the distinction of being the score to a musical that never got made. It wasn't even meant to be a rock opera that stood on its own as an album, like "Tommy" or "The Wall", it was meant to be a soundtrack, so there aren't songs on it that try to explain the story- so as a result, the story is even harder to figure out than the story on those two albums, and it's not the Kinks' fault. With that in mind, every song rocks and has great lyrics, even though "Yes Sir No Sir" "Mr Churchill Says" and "Nothing to Say" have similar chord progressions. Like a whole lot of the Kinks' songs, you can start singing along because the music is so catchy, and then it hits you, "wow, these lyrics are really about something." People describe lots of albums as sort of time machines to other eras, but this is one you can truly say that about. And I'm not saying it evokes the sixties, it evokes 100 years of British history- or at least Ray Davies' version of it. His lyrics are not very poetic and complex like anything by the likes of Bob Dylan, Lou Reed, or Robert Hunter, but the subject matter of his songs is just as deep, and you always know exactly what he's talking about.

I have to reply to what one reviewer said about "Australia" being too long and too sixties- the four minute instrumental break really needs to be there as a transition between "Australia" and "Shangri-La."
Only complaint- and it's not much of a complaint- is that it could have better remastering. Sometimes the vocals get drowned out by the band, and on some songs the horns and strings get drowned out by everything. Anyhow, if you can wait until the next remaster version comes out, do that, but if you just have to hear it now, get this version of it.
2 von 2 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Kinks Arthur 15. Dezember 2003
Von Irvin A Hansen - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
The current digitally remastered CD, with the bonus tracks, sounds great; it does justice, I believe, to one of the landmark albums of the late sixties. I can't suppress a recurring feeling of ambivalence, however, towards this band. It began for me when I went to see them play at the Santa Monica Civic Auditorium in the course of one of their "return to America" tours. I was looking forward to an evening of nostalgia, with a precise rendering of those "classic" "British Invasion" hits, for which I remembered them best. I hadn't listened to the interim albums. I wasn't prepared for what followed. Chaos seemed to reign on stage and throughout the auditorium. The performance seemed sloppy and disjointed (see John Mendelsohn's liner notes for "Kink Kronikles"). I remember leaving the short concert confused and disappointed. I couldn't believe they were the same band. Listening to the "Arthur" LP for the first time after that night, I felt reasonably certain that something had seriously gone wrong for the Kinks...Luckily the musical odyssey didn't stop for me there. As I gradually acquainted myself with the albums I missed, I began to reappraise the value of this seminal 60's band. A new perspective on "Arthur" emerged. From the driving opening cut "Victoria," to Arthur's last hurrah on track 12, I began to appreciate this album for its rich social commentary on Empire, instinct, war and conformity, the problems of political power, economic inequality, "brainwashing," and the mortal coil of old age and death. Yet beside the "darker implications" below the surface structure of songs such as "Yes Sir/No Sir," the maudlin and melodramatic, "Some Mother's Son," the trap of gross materialism in "Shangri-La," the psychedelic trip to "Australia," and the face of meaninglessness in "Nothing to Say," the Kinks delightfully conclude their opus with evident compassion for the brave protagonist, anti-hero, and every man, Arthur Morgan: "Somebody loves you, don't you know it?" Putting myself in Arthur's place, I'm not sure whether I know it or not, or whether I believe the Kinks when they sing "Somebody loves you, don't you know it?" Are they sincere or cynical? You decide. The bonus tracks, "Plastic Man," and "Mindless Child of Motherhood," seem to fit into the social commentary projected by "Arthur," as do "King Kong," and "The Man He Weeps Tonight," to some extent, even "Mr. Shoemaker's Daughter."
8 von 9 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen One of the great almost-unheard albums; great bonus tracks 16. Februar 2003
Von Ein Kunde - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
This is definitely one of the Kinks finest albums (just a notch below "The Village Green Preservation Society"), and it is even one of the best albums of 1969, holding its own against the fine albums of the Beatles, the Rolling Stones, the Who, the Velvet Underground and others from that same year.

The ablum does have a few flaws, of course. It was the longest album the Kinks had made up until that point (clocking in at just under 50 minutes), and some of the songs could have been shorter by a bit: "Yes Sir, No Sir" and "Mr. Churchill Says," for instance, and especially "Australia," which ends with an unnecessary jam that now sounds extremely dated. But overall, the album is well-constructed. "Victoria" and "Arthur" are great rockers. Amazing slower songs include "Young and Innocent Days" and the anti-war "Some Mother's Son."

Musically, this was Ray Davies' finest effort. Though he had displayed his ability to write catchy, even beautiful, pop songs for several albums before this one, "Arthur" displayed a greater level of sophistication in his songwriting. For example, he contrasts English folk with '60s-style rock more cleverly than he had done before. This contrast is particularly evident within the span of five minutes in "Shangi-La," one of this album's highlights. Meanwhile, his lyrics are better on the whole this time around. On other Kinks albums, songs with great lyrics are often interspersed between sweet pop songs that sound great, but have really dumb words to them. Here, Davies sticks to the theme, singing of an increasingly complicated English life filled with generational differences, the turmoils associated with growing old and the difficulties faced by the working class. Though that theme lends itself to overly serious lyrics, they're delivered (for the most part) without heavy-handedness, and there's still a bit of humor to be found here and there.

The long and the short of it: every rock collection should own this album.

Also, this particular issue is all the more essential because it includes great bonus tracks like "Plastic Man" and "Mindless Child of Motherhood." The remaserted sound is great, too. It's certainly worth tracking down.
5.0 von 5 Sternen Great album, great price 15. Dezember 2012
Von Ron Kocher - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
Loaded with great songs, loved it, no complaints, would order again, almost up there with Village Green Preservation Society in their catalog.
2 von 2 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Arthur or the Continuing Progression and Rise of the Kinks....... 22. Juni 2010
Von John H. McCarthy - Veröffentlicht auf Amazon.com
Format: Audio CD
I don't have to reiterate the quality and craft of this album, or this particular version (Castle/Essential ESM CD 511), many other reviewers here do that proud, but like a few of them I feel compelled to praise and honour their MUSICIANSHIP. And by that I mean their actually playing, as opposed to the timeless compositions by (mostly) Ray Davies. I actually purchased this album somewhere near it's original release because I remember that my copy came with the "cut-out" sheet of Queen Victoria. Although in my teens at the time, I already had that music "jones", and had read a fawning review somewhere. Already a Kinks fan, it was a "no-brainer", and I probably had already heard the single "Victoria" on my transistor radio as well. Ever since, I have considered "ARTHUR" my favorite Kinks album, besides the usual timeless songwriting, their playing, to quote a cliche more relevant back then, "Blew my mind"! The rhythm section of drummer Mick Avory and "new boy" John Dalton were rock-solid and complimentary in every song, but it was the guitars of the Davies brothers, especially Dave of course, that REALLY blew my mind. Listen to acoustics and electrics mesh in "Victoria", sing and twine in "Shangri-La", the slide work in "Mr. Churchill Says", and the driving leads in both of my favorite cuts, "Australia" and "Arthur" and try to deny you're in pure guitar nirvana! And the use of mostly acoustic rhythm guitars provide consistency throughout, helping to glue the concept. I would be remiss without mentioning the enjoyable keyboards, credited to Ray Davies only but I would suspect probably helmed by past compadre Nicky Hopkins here and there. Whether the use of harpsichord in a number of songs including "Princess Marina" and "Young And Innocent Days" that adds to the nostalgia theme, or the driving piano underpinning Dave and Ray's riffing in "Australia", these contributions, although not as numerous, mustn't be overlooked. Pull out your copy now, and listen with a renewed appreciation, if you don't have one, what are you waiting for???
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