Some names immediately come to mind when the term, ‘concept rock album’, is raised: Pink and the worms, Ziggy and the Spiders, that deaf, dumb and blind kid… But seldom are Norman and the Starmaker added. In the grand scheme of things, The Kinks never really got as much attention as their British Invasion counterparts. Musicians strike kept them from getting a foothold in the US during their early stages, which turned out to be a fortunate occurrence. Because they had to focus on the smaller world around them, the band and primarily writer and vocalist Ray Davies fashioned a unique niche for the group. If The Stones were street fighting bad-boys, The Beatles were a stone’s throw from the Universal Consciousness and The Animals were Southern Cousins Once Removed, The Kinks were British – very working class, upper lip stiff and resigned to eke out a good life on terra firma.

Behind the scenes however, it wasn’t a life of reservation. There was strife among brothers Ray and Dave Davies, the lead guitarist of the group. Dave was being forced into the margins while Ray and his grandiose ideas were allowed room to roam. Rather than admitting defeat when the conceptual “Village Green Preservation Society” and “Arthur or the Decline and Fall of the British Empire” didn’t sell as well as their hit singles for Pye Records, Davies moved ahead. Their recording deal with RCA gave him the big opportunity he had waited for, but instead of turning in a collection of radio-ready hits, Davies offered the bluesy, countrified “Muswell Hillbillies”. It also failed to be a mega-seller and, almost out of spite alone, Davies decided to try the ‘rock opera’ idea out once again.

Following “Preservation Acts 1 and 2”, “A Soap Opera” is the most linear and the most theatrical of The Kinks’ conceits. The focus is on The Starmaker, a rather opinionated guy who claims to be able to turn any Joe Schlub into a star, a rock god. To prove it, he has taken the place of working-class Norman, moved into the house, into his job and in with his wife. He’s determined to convince everyone that he is Norman and that Norman is as fabulous and worthy of star treatment as the Starmaker has claimed. But who is fooling who and, most importantly, who is really who? There is an obvious plot twist that should surprise no one but, for the sake of keeping it fresh for a new listener, I will not reveal it here. Suffice it to say that the revelation brings about one of Ray Davies’ most poignant songs, the haunting “(A) Face In The Crowd”, a classic second only to “Celluloid Heroes” in the band’s repertoire.

The first few songs have a campy feel about them, almost an unreality that is meant as a clue. Our narrator, the Starmaker, seems like a real jerk too, looking down his nose at the little people, moving in on Norman’s wife as if he’s doing her the favor of a lifetime, but pay attention. If “Everybody’s A Star”, then conversely, everyone is only human and a lesson must be learned. The arrangements, from full-blown show tune (“When Work Is Over”, “Have Another Drink”), then doo-wop (“Ordinary People”), then on to a rock ‘n roll barn burner (“Ducks On The Wall”), are pure Kinks. Ray contorts his voice to indicate different points of view and when he’s given the chance, Dave lets it rip on the guitar. The horn section gets a prominent role here as well as June Ritchie’s dialogue as Norman’s Wife.

Remember that this is from 1975 when ‘rock star’ was a mantel of weight, not the disposable moniker it is today. Also note, if you walk into this one expecting the almost punk “State of Confusion” or “Give The People What They Want”, you’ll be disappointed. This is more like the cast recording of a stage production than a rock record. Treat it as such and you’ll find yourself eating it up like candy. My first listening experience took me by surprise, but I let the story get to me and, of course, by the time I got to “(A) Face In The Crowd”, I was floored. The Kinks convert another one.

As with all the other Velvel / Koch reissues, the disc is loaded up with some tasty extras. You get the mono mix of “Everybody’s A Star (Starmaker)” and three live versions of songs from the disc. The hero of the live tracks is a total shanghai of “Ordinary People”, stripped down, re-versed and turned into a mean blues with Dave at the mic. He also gets off one of his greatest guitar solos period. If you felt that “Soap Opera” proper did not rock enough, then fear no more.

“Soap Opera” is one of The Kinks’ more overlooked discs but it needn’t be. Velvel / Koch has done a terrific job with the RCA and Arista releases, packing them with all the pertinent extras, bells and whistles. And to top it off, it’s The Kinks, one of rock’s most literate, passionate and long-lasting bands. How can you go wrong?

Well, by ignoring it, that’s how.

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The Kinks
Presents
A Soap Opera

Released: November 24, 1998
Origination Year: 1975
Time: 52:50
Tracks:16
Produced by: Ray Davies
Engineered by:Mykle Konopka
Mixed by: N/A
Mastered by:Bob Ludwig
Style: Studio
Format: CD
Enhancement: None
Label: Koch Entertainment
Band Website:
N/A

Everybody's A Star (Starmaker)
Ordinary People
Rush Hour Blues
Nine to Five
When Work is Over
Have Another Drink
Underneath the Neon Sign
Holiday Romance
You Make It All Worthwhile
Ducks on the Wall
(A) Face in the Crowd
You Can't Stop The Music
Everybody's A Star (Starmaker) -Bonus *
Ordinary People - Bonus **
You Make It All Worthwhile - Bonus **
Underneath The Neon Sign - Bonus **