Rolling Stone (10/26/72, p.56) - "..this is a delightfully varied, endlessly entertaining album, its best moments equal or surpass the best rock & roll of the last few years.."
Personnel: Dave Davies, Ray Davies (vocals, guitar); John Gosling (accordion, keyboards); Alan Holmes (clarinet, saxophone); Mike Cotton (trumpet); John Beecham (trombone, tuba); Mick Avory (drums).
Audio Remasterer: Vic Anesini.
Liner Note Author: David Fricke.
Recording information: Carnegie Hall, New York (03/03/1972-03/02/1972); Morgan Studios, Willesden, London (03/03/1972-03/02/1972); Carnegie Hall, New York (03/1972-10/1972); Morgan Studios, Willesden, London (03/1972-10/1972).
Photographers: Michael Putland; Klaus Schmalenbach; Gijsbert Hanekroot; Jorgen Angel.
This 1972 double-album is one of the last from the Kinks period that began with ARTHUR--after they abandoned the quaintness of '60s pop, but before they surrendered to the bombast of '70s rock. On the first, studio-recorded half, the Kinks exude a sense of loose, ragged fun. While tracks such as "Unreal Reality" betray Ray Davies's well-known leanings towards cynicism, others such as "Supersonic Rocket Ship" (a hit in England) and the moving "Celluloid Heroes" recall the sweetness that marked classics of his such as "Waterloo Sunset."
The second half of the album, taped at a March 1972 performance at Carnegie Hall, is a fine reminder of a time when the live Kinks really seemed to be enjoying themselves on stage. Ray Davies in particular seems to be in fine form, joking with the audience through a stage persona that draws heavily on the tradition of English music hall entertainers. Davies manages to be both satirical and highly entertaining, a combination that informs the album's theme of weariness and cynicism about the life of a rock star. Though EVERYBODY'S IN SHOWBIZ doesn't rank with the Kinks' best work, it is a fine demonstration of their fun live shows, and their irrepressible spirit.