The Kinks - Arthur

HELL-BENT ON LIFTING WAR-TORN SPIRITS

Arthur deserves the spotlight Village Green often garners. While the latter is an adequate bevy of prosperous Sunshine Pop, with hits like 'Big Sky' and 'Starstruck' to boot, its lack of concrete concepts and defiant prose suffer under the imposing omnipotence of Arthur. Here, the concept reigns supreme, essentially unraveling the biography of Arthur Morgan and his acceptance (or lack thereof) of austere England post-World War I. Told as some grand tale of adversity and repentance, it soon becomes apparent - at least to me - that Arthur's success lies in the fact that, in reality, this story represents scads of English folk gripping with neoteric upheaval and the dubitable thoughts that arise in wake, not one single man. 'Some Mother's Son' isn't the tragic tale of a mother grieving the loss of her son, it's all mothers grieving, alone, yet in troves. 'Mr. Churchill Says' isn't some private talk with Morgan, it's his declaration of war to a country still in recovery. And 'She's Bought A Hat Like Princess Marina,' well, fanaticization ran rampant amongst those living below the poverty line. Needless to say, Arthur succeeds due to its relatability, despite musing the desires and pitfalls of a single, troubled man.

Oh, and the music. Right. The music's stellar. With hooks directly linked to the track titles, catching sight of names like 'Victoria,' 'Australia,' or 'Shangri-La' instantly recall those infectious and utterly-charismatic moments presented by Ray Davies. Though it does nothing fancy, 'Victoria' is quintessential Pop Rock flying out the gats like a bat outta Hell. It perfectly mixes The Kinks' old-fashioned Rock N' Roll, with its muddy sound and crunchy guitars, with verses that tantalize and riffs that slice the fray. As for 'Australia' and 'Shangri-La,' I had some grand commendation planned on how each, clairvoyantly-so, forecast the imminent Progressive Rock movement, especially the former's bold, elongated second half. Only before realizing that King Crimson's In The Court Of The Crimson King released on the exact same day. October 10th, 1969. Damn. Still, 'Shangri-La's' general maximalism, and its unexpected twist halfway through, with the driving force of Rock music decades to come, sets the tone with an assertive landmark.

However, it is not my favorite song. That goes to closer 'Arthur,' a track that disguises an intervention as a celebration, with an unforgettable riff, drum fills, and hippie grooves that culminates in a classic, Beatles-esque coda. "Arthur we read you and understand you / Arthur we like you and want to help you." Something so somber has never been flaunted with such campfire levity. It's a conundrum that I'd look further into, if not for the fact that late 60's Rock Operas were rife with such nonchalance. Still, communal chants, contradictions, concept round-ups, catchy choruses, 'Arthur' hits like a gale wind of carousal. A celebration, in fact, of the English people's perseverance in the face of destruction.