[[quoteright:350:http://static.tvtropes.org/pmwiki/pub/images/tkinks.jpg]]
[[caption-width-right:350:From left to right -- Dave Davies, Ray Davies, Mick Avory, Pete Quaife.]]

->''"We are the Village Green Preservation Society."''

The Kinks were an English rock band, one of the "Big Four" [[TheBritishInvasion British Invasion]] bands of TheSixties (along with Music/TheBeatles, Music/TheRollingStones, and Music/TheWho) and a LongRunner, having experienced a long career's worth of highs and lows before throwing in the towel in 1996. While they have had numerous members, their most famous line-up was composed of vocalist/guitarist/[[IAmTheBand mastermind]] Ray Davies, his vocalist/guitarist brother Dave Davies, bassist Pete Quaife (who left in 1969) and drummer Mick Avory (who left in 1984).

The Kinks began their career as a bluesy, hard-edged mod-rock band, gaining success with their loud, [[EarWorm memorably]] [[EpicRiff riffy]] hits "You Really Got Me", "All Day and All of the Night" and "Tired of Waiting for You", which set them up as a band to contend with and provided endless inspiration to future genres like Music/GarageRock and PowerPop. Their rowdy live shows got them banned from America until 1969, though arguably it ultimately served them well, encouraging [[IAmTheBand Ray Davies]] to write songs that emphasised their essential Britishness and tended to a more nostalgic and pastoral feel than their States-struck contemporaries.

They changed gears in 1965, diversifying away from just [[Website/{{Cracked}} scrotum-grinding guitar anthems]] to experiment with other genres like folk, music hall, country and blues-rock, resulting in a more laid-back sound. It was also around this period that Ray developed his now-famous lyrical talent. This period saw the release of songs like "Dedicated Follower of Fashion", "Sunny Afternoon" and "Waterloo Sunset", culminating with what is generally held as their best album, ''The Kinks Are the Village Green Preservation Society''.

The band changed once again in TheSeventies, exploring a more theatrical, campy sound. However, this only worsened their declining popularity and the resulting {{Concept Album}}s are still controversial on their actual quality. Due to a combination of a new record label wanting them to cut the crap and everybody but Ray being sick of {{Rock Opera}}s, The Kinks restyled themselves as an arena rock band in 1976. Lucky enough to be synchronised with the PunkRock explosion and some successful covers of their songs by Punk and Music/NewWave bands, The Kinks rode their second wave of popularity until the early 80's, culminating when their single "Come Dancing" became a worldwide smash in early 1983. They then went back to being a cult band before calling it quits in 1996.

Admired for their melodic mastery of pop, their enormous variety of styles, the insight and wit of their lyrics, and their huge influence on almost all subsequent bands that cultivated any sort of outsider underdog image.

Discography:
* ''Kinks'' (1964)
* ''Kinda Kinks'' (1965)
* ''The Kink Kontroversy'' (1965)
* ''Face to Face'' (1966)
* ''Something Else by The Kinks'' (1967)
* ''The Kinks Are the Village Green Preservation Society'' (1968)
* ''Arthur (Or the Decline and Fall of the British Empire)'' (1969)
* ''Lola Versus Powerman and the Moneygoround, Part One'' (1970)
* ''Percy'' (1971) (film soundtrack)
* ''Muswell Hillbillies'' (1971)
* ''Everybody's in Show-Biz'' (1972)
* ''Preservation Act 1'' (1973)
* ''Preservation Act 2'' (1974)
* ''Soap Opera'' (1975)
* ''Schoolboys in Disgrace'' (1976)
* ''Sleepwalker'' (1977)
* ''Misfits'' (1978)
* ''Low Budget'' (1979)
* ''One for the Road'' (1980) (the first video album to be released)
* ''Give the People What They Want'' (1981)
* ''State of Confusion'' (1983)
* ''Word of Mouth'' (1984)
* ''Think Visual'' (1986)
* ''UK Jive'' (1989)
* ''Phobia'' (1993)

!!! "The Kinks are the Village Trope Preservation Society":
* AlbumTitleDrop: ''Everybody's in Showbiz'' takes its title from a lyric in "Celluloid Heroes".
* AntiLoveSong: "When I Turn Off The Living Room Light" - because you're too ugly to get it on with otherwise.
* BittersweetEnding: Arthur. OH GOD, [[UpToEleven ARTHUR]].
* BookDumb[=/=]DumbIsGood: "Mountain woman couldn't read or write but she knew good from evil, she knew wrong from right".
* BornInTheWrongCentury: "20th Century Man" is just the most obvious example.
* ChildhoodMemoryDemolitionTeam: "Come Dancing" laments the replacement of adolescence's dancehall with a bowling alley, then a supermarket, then a parking lot.
* ChivalrousPervert: "I'm not a flasher in a rain coat/I'm not a dirty old man/I'm not gonna snatch you from your mother/I'm an art lover".
** Ray Davies' persona in general seems to land somewhere between this and {{Jerk With A Heart Of Gold}}.
* ContinuityNod: "Destroyer" is essentially "Lola, Part 2" set to the riff from "All Day And All Of The Night".
* CultSoundtrack: ''Percy''
* TheDandy: "Dedicated Follower of Fashion".
** "Dandy", despite its title, is ''not'' about one of these, but rather TheCasanova.
* DoubleEntendre: "I know what I am and [[AmbiguousSyntax I'm glad I'm a man, and so is Lola."]]
* EpicRocking: Pops up throughout their career, but might be most evident in "Shangri-La."
* FourTemperamentEnsemble
** '''Sanguine/Melancholic''' Ray Davies
** '''Sanguine/Phlegmatic''' Dave Davies
** '''Sanguine/Choleric''' Mick Avory
** '''Sanguine/Phlegmatic''' Pete Quaife
* GenrePopularizer: "You Really Got Me" is widely considered to have been the blueprint for kicking off everything from Garage Rock to Metal to Punk.
* GettingCrapPastTheRadar: "Lola" by was censored by the BBC not for its lyrics about a sexual tryst with a transvestite, but for its use of the brand name Coca-Cola. This was duly changed to "cherry cola". Perhaps more a case of CensorDecoy?
** Their next single, "Apeman", contains the line "this air pollution is fogging up my eyes". They knew it sounds like "fucking". We know it sounds like "fucking". And whoever produced the album knew it sounds like "fucking", since they very clumsily reduce that solitary word's volume so it's barely audible. Ironically, while everyone involved claims it's definitely "fogging", this makes it harder to decipher whether Ray Davies does actually sing "fogging" or "fucking".
* GoingNative: Ray fantasizes about doing this in "Apeman".
* GoldenAgeOfHollywood: "Celluloid Heroes" and "Oklahoma USA" are wistful songs about the glamour of Hollywood and the idealised world its stars present to ordinary folks' imagination.
* GoodOldWays: Part of the reason the Kinks fell out of fashion in the forward-looking, revolutionary-reactionary [[TheSixties Sixties]] was because of their fondness for this.
* HaveAGayOldTime: "And he likes his fags the best."
*** That's about cigarettes, actually.
** David Watts is "so gay and fancy-free".
* HeavyMeta: ''Lola versus Powerman...'' is about the music industry as a whole. Furthermore, there's "Session Man" (which is about session musicians, and how no one treats them like "real" musicians) and "Dedicated Follower of Fashion" (which is more aimed at the Mod scene as a whole rather than just the music). For an extra slice of meta, consider the fact that quintessential "session man" Nicky Hopkins plays piano on "Session Man", which was song reportedly inspired by him.
* IJustWantToBeYou: The narrator in "David Watts."
* LastChorusSlowdown: "Australia" is infamous for this. The first half of it's a good song; if only the whole thing weren't ''so long''...
* LonersAreFreaks: The Kinks (and many of their fans) would self-identify as misfits, or at least as "not like everybody else".
* {{Muggles}}: Ordinary people and working class situations feature in a lot of songs, and are probably the only aspect of British life to have escaped Ray's barbed wit.
* OvershadowedByAwesome: Dave Davies next to his older brother (and arguably the band as a whole next to their peers).
* PrecisionFStrike: From many a live performance of "Lola", including the version presented on their landmark video album ''One for the Road'': "Lo-fucking-la!"
* ProtestSong: "Apeman"
** The entire album that song is from (''Lola vs. Powerman'') is pretty much one big TakeThat to the music industry (specifically the [[CorruptCorporateExecutive Corrupt Corporate]] [[ExecutiveMeddling Executive Meddlers]]).
** Another "protest album" with ''Arthur (Or the Decline and Fall of the British Empire).'' Each song mocks British (or Western) nationalism, materialism, and shallow culture.
* RealLifeWritesThePlot / WriteWhatYouKnow: Ray and Dave Davies regularly fought each other onstage in TheSixties. Therefore the American Musicians' Union banned TheKinks from touring in the U.S. from 1965-1970. This led to Ray and Dave being isolated from and uninvolved with American politics and counterculture. They reverted to writing about British concerns, British culture and Britain, from a British perspective, language and humor separated from their Americanized peers. This may have hurt their sales in America, but would give them an identity as BritPop innovators.
* RockOpera: From the much-praised (''Arthur (Or The Decline And Fall Of The British Empire)'') to the much-maligned (''Preservation''; ''Soap Opera''; ''Schoolboys in Disgrace'') although if you can get into the camp humour of the latter two they become much more tolerable.
* SatireParodyPastiche: "Dedicated Follower Of Fashion" is Satire; "Top Of The Pops" is Parody; "Sunny Afternoon" is Pastiche.
* SelfTitledAlbum: Their debut album was simply titled ''Kinks''.
* SexDrugsAndRockAndRoll: Especially in the early days, and especially especially for (then teenaged) Dave Davies.
* SiblingRivalry: Ray and Dave Davies.
-->'''Dave Davies:''' Ray is a vain, egocentric, narcissistic arsehole, [but] I won't have anybody call him that except me. Because I love him to death. He is my brother.
* SmokingIsCool: "Harry Rag"
* SoundEffectBleep: That "OH NO!" scream right before the guitar solo in "You Really Got Me" was overdubbed by Ray to [[SiblingRivalry drown out Dave telling him to fuck off]].
-->'''Ray Davies:''' And it's even clearer on CD, it's really embarrassing.
* SpotOfTea: Whole songs are written on the subject, particularly "Afternoon Tea" and "Have a Cuppa Tea"
* StepfordSuburbia: "Shangri-La"
* ThreeChordsAndTheTruth: The early days, very much so.
* TitleOnlyChorus: "Victoria", "Drivin'", "Shangri-La"
* TropeMaker: Indian-sounding instruments and melodies were used on both "See My Friends" and "Fancy" a few months before "Norwegian Wood" by the Beatles was released.
* UrExample: The recent ''Heavy Metal Britannia'' documentary cited "You Really Got Me" as the starting point for the guitar-driven, riff-based rock that eventually evolved into hard rock and early metal.
* WholesomeCrossdresser: "Lola", but even more substantially the crossdressing husband (and eventually wife too) of "Out Of The Wardrobe".
* WritingAroundTrademarks: Some versions of "Lola" change the line "you drink champagne and it tastes just like Coca-Cola" to "cherry cola". This was to allow the song to be played on [[Creator/TheBBC BBC]] radio, which at the time had a draconian policy against ProductPlacement that banned even fleeting or derogatory references to brand names in songs.
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