There’s a lot of debate about which Kinks album was the best. For my own part, I’d recommend Lola vs. Powerman and the Moneygoround Part 1. And if it isn’t their best album, it’s certainly one of their most underrated, with not only hits like “Lola” and “Apeman,” but underrated gems like “Strangers,” “This Time Tomorrow,” and “Get Back in Line.” It’s a loosely-organised concept album about Ray Davies’ frustrations with the record industry, something that gets more poignant the more time goes on.
And its 50th Anniversary is coming up, with multiple editions, ranging from a Deluxe edition with three CDs including: “Original album new remaster from original HD master tapes, singles (stereo and mono mixes), B-sides, alternate original mixes, new medleys with Ray & Dave Davies spoken word commentary, new Ray Davies remixes & original session out-takes, previously unreleased session & live tape audio, instrumental & acoustic versions, previously unreleased demos & BBC material,” a 60-page book, and two 7″ singles of the “Apeman” and “Lola” singles; a two-disc CD version, and single disc LP and CD versions. You can find more information and pre-order them here before they get released on December 11.
Quoth Ray Davies: “The album is a celebration of artistic freedom (including my own) and the right for anyone to be gender free if one wishes. The secret is to be a good and trusting person and friend.”
While I haven’t been able to find expanded track listings, the band did release this Ray Davies-supervised remix of “Any Time” entitled “The Follower / Any Time 2020”, incorporating elements of several other tracks, with a new monologue related to the pandemic:
Quoth Ray Davies: “[The isolation caused by the pandemic and its lockdowns] can give people time to re-evaluate the world and re-assess their lives. Music can comfort the lonely, transcend time and it’s not the future or the past, yesterday, today or tomorrow. It’s anytime. I saw a way of making this unreleased 1970s track connect to an audience in 2020. I also saw a way of showing that music can time-travel, that memory is instantaneous and therefore can join us in the ‘now’. I put this together as something surreal then realised that it was really happening. The song has found its place — after its 50th Birthday!”