Makers interpretation of Lola Versus Powerman was Davies "taking a cheeky nibble" at the pop music business; they continued that "The music's pure Kinks simplicity—but it works." The album received generally positive reviews in the US. Rolling Stone magazine commented that it was "the best Kinks album yet". Village Voice critic Robert Christgau commented that "Lola" had been an "astounding single," but gave Lola Versus Powerman a lukewarm review, saying that "the melodies are still there, but in this context they sound corny rather than plaintive." The single "Lola" received positive reviews, and, due to its success, an interview with Ray Davies by Jonathan Cott was featured as a cover story for Rolling Stone in November 1970. Reappraisal Modern critical opinion towards Lola Versus Powerman is generally positive but often mixed. Initially given a positive review by the magazine in 1971, Rolling Stone rated it 31/2 out of 5 stars in its 1992 printing—however, the fourth edition (published in 2004) ranked it at only 2 stars. Stephen Thomas Erlewine of Allmusic gave the album a positive review, writing that "Davies never really delivers a cohesive story, but the record holds together because it's one of his strongest sets of songs." Commercial performance Lola Versus Powerman and the Moneygoround, Part One went virtually unnoticed by the record-buying public in the UK and failed to chart, despite the success of its lead single, "Lola", which topped the New Musical Express charts in the UK, and reached #2 on Melody Maker. "Lola" became the Kinks' biggest success since "Sunny Afternoon" in 1966; the group would never again have another single reach this position in the UK. "Lola" was also successful in the US market, charting at #9 on the Billboard Hot 100 singles chart, staying on the charts for 14 weeks. It also peaked at #7 on the Record World charts. Lola Versus Powerman and the Moneygoround, Part One reached #35 on Billboard, and on the Record World charts it peaked at #22, making it their most successful album since the mid-60s. Aftermath and legacy The success of the singles and album allowed the Kinks to negotiate a new contract with RCA Records, construct their own London Studio, which they named Konk, and assume more creative and managerial control. The record also proved influential: Tom Petty told Rolling Stone that he "especially liked" it, and cited the album as an influence on The