Flashback to...basics.

на 30

Я больше на свой вкус ориентируюсь, но к чужому мнению прислущиваюсь (в зависимости от источника). Просто уже достаточно про D.P., U.H., Nazareth свет на них клином не сошелся. Надо открывать новые горизонты.

З.Ы. Ничего против них не имею.

Да,очень были популярны Кинкс в конце70-х,начале 80-х,наравне с Холлис,Сёрчерс и прочими. это конечно что то.
Помним,см.посты выше.
Это не меня мучают,а
и
Вот и напиши Игорь про хрящик,что мою куриную косточку обсасывать,мне и самому мало. А вообще я же писал о СВОЁМ любимом периоде,напишите каждый о своём,если этот не Ваш. Можно взять от времён Каина,потомки которого придумали музыкальные инструменты и до сегодняшнего дня. Чего блевать,матерится и выяснять что лучше,Блонди или Дипёпл в тысячный раз.

Спор что лучше - Blondie или D.P. абсолютно бесполезная затея. Вроде спора - что лучше  куриная косточка или хрящик (IMHO).  

|Да,очень были популярны Кинкс в конце70-х,начале 80-х,наравне с Холлис,Сёрчерс и прочими. это конечно что то.

Если вы русского языка не понимаете, почитайте на английском из википедии:

(1977-1984) Return to commercial success

John Dalton left the band before finishing "Mr. Big Man" for their debut Arista album. Andy Pyle was brought in to complete the track and to play on the following tour. Sleepwalker featured the touching ballad "Brother" and the reflective rocker "Juke Box Music". The single "Father Christmas" followed in late 1977 and became a seasonal fixture on US rock radio. The b-side "Prince of the Punks" was Ray Davies satirical comment on his former protege Tom Robinson of "2-4-6-8 Motorway" fame.

Andy Pyle and keyboardist John Gosling soon left the group to work together on a separate project. Dalton returned to complete the tour, and ex-The Pretty Things keyboardist Gordon Edwards joined the band. The Kinks second Arista album Misfits, and their only album with Andy Pyle, was released in 1978 and included the minor hit "A Rock n Roll Fantasy," a mid-life crisis tribute to The Kinks dedicated fanbase. The albums title track was a commentary on the bands lack of commercial success. Misfits is often cited as one of the bands better later albums.

There were soon to be further line-up changes before The Kinks coalesced around a more stable line-up. Dalton left the band permanently after the end of their UK tour, with Edwards soon to follow. Ex-Argent bassist Jim Rodford joined the band, which recorded Low Budget with Ray Davies handling keyboard duties. Former Life keyboardist Ian Gibbons was drafted for the following tour and soon become a permanent member. Despite the personnel changes, the groups recording and concert success continued to grow.


Kinks line-up 1979-1984, in a clockwise order: Mick Avory, Jim Rodford, Dave Davies, Ian Gibbons, Ray DaviesDuring this time in the late 1970s, new wave bands like The Jam ("David Watts") and The Pretenders ("Stop Your Sobbing") and heavy metal acts like Van Halen ("You Really Got Me") recorded successful covers of Kinks songs, boosting each bands fame. At the same time, these cover versions helped fuel the commercial success of each new Kinks release. The hard and punk rock sounds of Low Budget (1979) helped make it the groups most successful album in America, peaking at number 11. Davies crafted intelligent, polished, and commercially appealing songs like "Pressure", "A Little Bit of Abuse", "Catch Me Now Im Falling", and the minor, disco-flavoured hit "(Wish I Could Fly Like) Superman". 1979 also saw The Kinks headline at Madison Square Garden for the first time.

A live album (their third) and video, both called "One for the Road", followed in 1980, bringing the groups concert drawing power to a peak between 1980 and 1983. Dave Davies also took advantage of the groups improved commercial standing to fulfill his decade-long solo ambitions and released albums on his own, including the eponymous "Dave Davies" in 1980 (also known by its catalogue number "PL13603" owing to its striking cover art, which depicted Dave Davies as a leather-jacketed piece of price scanning barcode) and 1981s less successful "Glamour".

The next Kinks album, Give the People What They Want, was released in late 1981 and reached number 15 in the US. The record attained gold status, and featured the optimistic pub-rocker "Better Things" (a rare UK hit single), as well as "Destroyer", tracks reminiscent in sound to the bands 60s heyday. The Kinks spent the better part of 1982 touring. In spring 1983, the nostalgic "Come Dancing" became their biggest American hit (at number 6) since "Tired of Waiting for You". It also became the groups first top 20 hit in the UK since 1972, peaking at number 12 in the charts. The anthemic album State of Confusion followed and was another commercial success, going to number 12 in the US, but once again failing to chart in the UK, as had all previous albums since 1967. Prominent tracks were the ballads "Dont Forget to Dance (a US top 30 hit, and minor UK chart entry)," "Long Distance", the title track and the gentle sing-along "Heart of Gold". The song "Young Conservatives" in turn commented on the aspirations of the younger generation in the 1980s. During this time, Ray Davies became romantically involved with Pretenders leader Chrissie Hynde, resulting in the birth of a daughter, Natalie Ray, in 1983.

The Kinks performed Saturday Night Live three times during this period, further adding to their resurgent popularity. They first performed for SNL in 1977 during the famous "Mardi Gras" episode, then again in 1981, and one final time in 1984.

The Kinks second wave of popularity effectively peaked with State of Confusion in 1983, but both internal and external factors would soon begin to undermine them. A music video-fueled influx of new, fresh talent and styles into popular music at this time effectively muted the early 80s resurgence of many of the classic acts (including fellow UK bands such as David Bowie, The Who, and The Rolling Stones). Bands influenced by The Kinks, such as U2, the Smiths, The Jam and Duran Duran were topping charts. The concert market for Kinks shows in the US had largely been played out by a decade of almost non-stop touring. As these outside pressures mounted, the internal strife in the group reached a critical point.