Everybody's in Show-Biz

Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
Everybody's in Show-Biz is a double album with one record devoted to stories from the road and another devoted to songs from the road. It could be labeled "the drunkest album ever made," without a trace of hyperbole, since this is a charmingly loose, rowdy, silly record. It comes through strongest on the live record, of course, as it's filled with Ray Davies' notoriously campy vaudevellian routine dig the impromptu "Banana Boat Song" that leads into "Skin & Bone," or the rollicking "Baby Face". Still, the live record is just a bonus, no matter how fun it is, since the travelogue of the first record is where the heart of Everybody's in Show-Biz lies. Davies ...
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Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
Everybody's in Show-Biz is a double album with one record devoted to stories from the road and another devoted to songs from the road. It could be labeled "the drunkest album ever made," without a trace of hyperbole, since this is a charmingly loose, rowdy, silly record. It comes through strongest on the live record, of course, as it's filled with Ray Davies' notoriously campy vaudevellian routine dig the impromptu "Banana Boat Song" that leads into "Skin & Bone," or the rollicking "Baby Face". Still, the live record is just a bonus, no matter how fun it is, since the travelogue of the first record is where the heart of Everybody's in Show-Biz lies. Davies views the road as monotony -- an endless stream of identical hotels, drunken sleep, anonymous towns, and really, really bad meals at least three songs are about food, or have food metaphors. There's no sex on the album, at all, not even on Dave Davies' contribution, "You Don't Know My Name." Some of this is quite funny -- not just Ray's trademark wit, but musical jokes like the woozy beginning of "Unreal Reality" or the unbearably tongue-in-cheek "Look a Little on the Sunnyside" -- but there's a real sense of melancholy running throughout the record, most notably on the album's one unqualified masterpiece, "Celluloid Heroes." By the time it gets there, anyone that's not a hardcore fan may have turned it off. Why? Because this album is where Ray begins indulging his eccentricities, a move that only solidified the Kinks' status as a cult act. There are enough quirks to alienate even fans of their late-'60s masterpieces, but those very things make Everybody's in Show-Biz an easy album for those cultists to hold dear to their hearts.
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Product Details

  • Release Date: 9/16/2008
  • Label: Velvel Records
  • UPC: 634677983610
  • Catalog Number: 79836

Album Credits

Performance Credits
The Kinks Primary Artist
Dave Davies Guitar, Harmonica, Keyboards, Vocals
Davy Jones Baritone Saxophone
Ray Davies Guitar, Vocals
Mick Avory Drums
John Beecham Trombone, Tuba, Horn
Michael Cotton Trumpet
John Dalton Bass, Bass Guitar
John Gosling Keyboards
Alan Holmes Clarinet, Flute, Horn, Saxophone, Baritone Saxophone
David Jones Wind
Mike Cotton Trumpet
Dave Jones Clarinet, Saxophone
Technical Credits
Dave Davies Composer
Ray Davies Composer, Producer
Jerry Bock Composer
Alan Arkin Composer
Mike Bobak Engineer
Bob Carey Composer
George David Weiss Composer
Irving Burgie Composer
Harry Akst Composer
Benny Davis Composer
William Attaway Composer
Fred Schruers Liner Notes
Shawn R. Britton Mastering
Larry Holofcener Composer
Rob Gillis Liner Notes, Art Direction
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