Despite the typically poor production, with Ray's words buried in the mix in some places, this is one of the all-time great British albums alongside their Village Green, Muswell Hillbilies and Arthur. The title is perhaps a sign of the self-indulgence at the expense of subtlety that set in from Everybody's In Showbiz on, two years later ('72), but Powerman is absolutely still a stunner. Unlike those from '72 onwards, it doesn't seem at all calculated, and seems still to be a rock album rather than an unproduced musical. This is a marvelous, profound album that takes in the human condition, beginning with the child waiting for the big bad world to happen, and the innocence before it does, to being jobless and at the mercy of others, then trying to make it in the music industry, making it, and being used and spat out, and still having much to do before finishing this life. The cynicism through experience gives way to the recognition that we are all just animals after all, and some of these animals don't want to share what they've got! It ends on a positive note, offering the possibility of being strengthened by all this, and unbowed. This all sounds very calculated, but it's not at all explicit, or songs-to-order as post-'71 would feel. It's truly profound, and once heard 15 or 16 times can be truly appreciated and recognised as a marvelous artistic statement. It is no academic tract however, but rather a top-rate rock n roll album, with tunes, riffs and licks that grab hold and don't let go, in every single song. It's Dave Davies strongest Kinks album too, with great, integrated playing and hist best two songs: Strangers and Rats, the album's two extremes of innocence and cynicism. Above all, there is much more of of Ray's sly social wit on display here.