Everybody's in Show-Biz [Bonus Tracks]

( 2 )

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: 7/14/1998
  • Label: Velvel Records
  • UPC: 634677972027
  • Catalog Number: 79720

Album Credits

Performance Credits
The Kinks Primary Artist
Dave Davies Guitar, Harmonica, Keyboards, Vocals, Background Vocals
Davy Jones Clarinet, Baritone Saxophone, Clavinet
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
Dave Rowberry Organ
Mike Cotton Trumpet
Dave Jones Clarinet, Saxophone
Technical Credits
Erik Darling Composer
Ray Davies Composer, Producer, Audio Production
Alan Arkin Composer
Mike Bobak Engineer
Bob Carey Composer
Doug Hinman Artwork, Reissue Photography
Bob Ludwig Remastering
K. Lee Hammond Reissue Design
Klaus Schmalenbach Artwork, Reissue Photography
Albert Pinheiro Engineer
Ryan Tully Engineer
Fred Schruers Liner Notes
Shawn R. Britton Mastering
Graham Hogg Engineer
Rob Gillis Liner Notes, Art Direction
The Russell Smith Orchestra Artwork, Reissue Photography
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Customer Reviews

Average Rating 5
( 2 )
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  • Anonymous

    Posted October 1, 2010

    Look A Li'ol On The Sunny Side

    There is a litany of adjectives that seem to be compulsory when describing a Kinks album, song, or even Ray Davies specifically. “Genius” immediately pops up. “Nostalgic.” “Wry.” “Campy.” Yes, all of these come to mind as I spin this delicious slice Kinks-osity, Everybody’s In Showbiz, Everybody’s A Star. But there are also those two words that many a Rock & Roll fan meets with more than a modicum of trepidation: Concept Album. After the success of “Lola,” RCA signed The Kinks in hopes of bolstering their burgeoning glam-rock roster, which, at the time, included David Bowie and Lou Reed. What The Kinks delivered was the nostalgic (Y’see? Compulsory), down-home and yes, even rootsy Muswell Hillbillies. Itself, a gem of an album, Muswell Hillbillies was not so much what the suits at RCA were looking for. Taking their act on the road in America (An American Musician’s Union ban that spanned most of their career to that point had recently been lifted), Ray Davies had the idea of capturing the experience for posterity. Inspired by the process of documenting The Kinks on tour, Davies penned a charming set of tunes centered around life on the road. Call it a theme. Maybe a premise. Perhaps even a…{gulp!} Concept. With nary a weak moment, the recordings are spontaneous and fresh. Even Dave Davies offers up one of his finest compositions in “You Don’t Know My Name.” And, of course, the lilting “Celluloid Heroes” is the sleeper at the end of the studio half. A somewhat sprawling affair (clocking in at 6:21), “Celluloid Heroes” easily equals the likes of “Waterloo Sunset” and anything from The Kinks Are the Village Green Preservation Society as one of Ray Davies' finest compositions. The other side of the concept is the live half. Upon its initial release, Everybody’s In Showbiz, Everybody’s A Star was a double album, with one disc of studio material – the “Behind the Scenes” look at life on the road, the other of live material: Showtime! Recorded at Carnegie Hall in March, 1972, The Kinks were joined by The Mike Cotton Trio on horns – as with the studio half. The live recordings are delivered with enough camp and vitality that even the five numbers from Muswell Hillbillies, released only the previous year, are infused with enough charm as to not feel redundant. Only the fragment of “Lola” is completely useless. If you are a fan of the mid- to late-Sixties Kinks who delivered Something Else and The Kinks Are the Village Green Preservation Society, but have shied away from the early-Seventies reissues, fear not, Ray Davies wouldn’t begin his exhaustingly narrative-driven concepts until the following platters. While it is probable that a listener might need to become acclimated with The Kinks previously mentioned masterpieces as a prerequisite, Everybody’s In Showbiz… ranks as one of The Kinks’ finest, and most overlooked offerings.

    2 out of 2 people found this review helpful.

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  • Posted February 19, 2013

    more from this reviewer

    I wrote the Look A Li'ol On The Sunny Side review, and am still

    I wrote the Look A Li'ol On The Sunny Side review, and am still mortified by missing the "of" in "this delicious slice OF Kinks-osity." Shoot.

    Was this review helpful? Yes  No   Report this review
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