ince "You Really Got Me." They recovered somewhat with "Days," but the band's commercial decline was evident by the lack of success of The Village Green Preservation Society.Released in the fall of 1968, Village Green Preservation Society was the culmination of Ray Davies' increasingly nostalgic tendencies. While the album was unsuccessful, it was well-received by critics, particularly in the U.S. Peter Quaife soon grew tired of the band's lack of success, and he left the band by the end of the year, being replaced by John Dalton. In early 1969, the American ban upon the Kinks was lifted, leaving the band free to tour the U.S. for the first time in four years. Before they began the tour, the Kinks released Arthur (or the Decline and Fall of the British Empire). Like its two predecessors, Arthur contained distinctly British lyrical and musical themes, but it was a modest success. As they were recording the follow-up to Arthur, the Kinks expanded their lineup to include keyboardist John Gosling. The first appearance of Gosling on a Kinks record was "Lola." Featuring a harder rock foundation than their last few singles, "Lola" was a Top Ten hit in both the U.K. and the U.S. Released in the fall of 1970, Lola Versus Powerman and the Money-go-round, Part One was their most successful record since the mid-'60s in both the U.S. and U.K., helping the band become concert favorites in the U.S. The band's contract with Pye/Reprise expired in early 1971, leaving the Kinks free to pursue a new record contract. By the end of 1971, the Kinks had secured a five-album deal with RCA Records, which brought them a million dollar advance. Released in late 1971, Muswell Hillbillies, the group's first album for RCA, marked a return to the nostalgia of the Kinks' late-'60s albums, only with more pronounced country and music hall influences. The album failed to be the commercial blockbuster RCA had hoped for. A few months after the release of Muswell Hillbillie...
