The Kinks ( B13 )

Before the end of 1971, the Kinks signed a five-album deal with RCA Records and received a million-dollar advance, which helped fund the construction of their own recording studio, Konk. Their debut for RCA, Muswell Hillbillies, was replete with the influence of music hall and traditional American musical styles, including country and bluegrass. It is often hailed as their last great record, though it was not as successful as its predecessors. It was named after Muswell Hill, where the Davies brothers were brought up, and contained songs focusing on working-class life and, again, the Davies' childhood. Muswell Hillbillies, despite positive reviews and high expectations, peaked at number 48 on the Record World chart and number 100 on the Billboard chart. It was followed in 1972 by a double album, Everybody's in Show-Biz, which consisted of both studio tracks and live numbers recorded during a two-night stand at Carnegie Hall. The record featured the ballad "Celluloid Heroes" and the Caribbean-themed "Supersonic Rocket Ship", their last UK Top 20 hit for more than a decade. "Celluloid Heroes" is a bittersweet rumination on dead and fading Hollywood stars (Mickey Rooney was still alive), in which the narrator declares that he wishes his life were like a movie "because celluloid heroes never feel any pain... and celluloid heroes never really die." The album was moderately successful in the United States, peaking at number 47 in Record World and number 70 in Billboard. It marks the transition between the band's early 1970s rock material and the theatrical incarnation in which they immersed themselves for the next four years.

Theatrical incarnation (1973–1976)

In 1973, Ray Davies dived headlong into the theatrical style, beginning with the rock opera Preservation, a sprawling chronicle of social revolution, and a more ambitious outgrowth of the earlier Village Green Preservation Society ethos. In conjunction with the Preservation project, the Kinks' line-up was expanded to include a horn section and female backup singers, essentially reconfiguring the group as a theatrical troupe.

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