Rock fans are in for a sweet spot with the June 4 release of Kinks' legend Dave Davies new album, "I Will Be Me" (Cleopatra Records) only his sixth solo studio album by my count and his concert, 8 p.m. June 1, Musikfest Cafe, Bethlehem only one of a baker's dozen United States' gigs by my count (as of this article's deadline).

Speaking of counting, Davies is known for devising one of the most famous rhythms and riffs in rock 'n' roll this side of Bo Diddley (1, 2 ... 3, 4 .. 5, as in: bomp, bomp ... bomp, bomp ... bomp).

Davies' bang-a-gong riffs in The Kinks' 1964 No. 1 United Kingdom and No. 7 United States' hit, "You Really Got Me" (1 ... 2, 3, 4 ... 5, as in: boom ... boom, boom, boom ... boom), which I've felt has its musical antecedent in a jazz brass section coda (the onomatopoetic "stronger than dirt"), although various sources credit The Kingsmen's "Louie, Louie" as a major influence.

Davies' riffing on "You Really Got Me" is regarded as an early, and possibly the first, example of power chords, laying the groundwork for heavy metal (for its "heavyness") and punk rock (for its basic-ness). Van Halen launched its career with a 1978 version, charting at No. 36, from its debut LP.

With The Kinks, along with the The Yardbirds, The Who and some of The Beatles' music, rock 'n' roll became rock.

A new Davies' album is an event, owing that his are so few and far between: "Fractured Mindz" (2007), "Bug" (2002), "Chosen People" (1983), "Glamour" (1981) and "AFL1-3603" (1980).

"I Will Be Me" has music and vocal contributions from The Jayhawks, Anti-Flag, Oli Brown, Chris Spedding, Dead Meadow, The Art and Geri X.

"Little Green Amp, " the lead-off track, is a tribute by Davies to the distorted guitar sound he created when he took a razor blade to his electric guitar amplifier's speaker cone, creating what's described as a fuzz-tone.

The guitar riffs in "Amp" are sort of like "You Really Got Me" in reverse. It's unmistakable, as is Davies' warble, recounting "the neighbors next door ... can you stop that racket?" even to modulating the chords and adding "they really got me that time."

The next track, "Livin' In The Past" is more industrial-strength rock. You can hear Cream's "Sunshine Of Your Love" and "White Room" in the riff-o-rama.

"The Healing Boy" about the healing power of grandchildren, recalls John Lennon's "Beautiful Boy" with a descending sitar line, strings, music-box style keys and Davies' conversational confessional style.

"Midnight In L.A." is a straight-ahead rocker, which, as do the other songs, include Davies' humoresque lyrics: "I like the smog" and "thought I'd catch the night while still young," concluding with a droll BBC announcer: "Good morning, this is the BBC News."

"In The Mainframe" rails against cyberhype in a "Matrix"-inspired sort of way. Davies sings, "resistance is futile," as is his music, reminding the listener that this album is as vibrant as new Dylan, and as much rockin' fun. Anybody who successfuly uses "it's a new paradigm" in a lyric gets my vote.

"Energy Fields" is a bit of Ozzy Osbourne's "Iron Man," but in Davies' fey, coy voice, "charade" is pronounced "cha-rod" veddy British.

"When I First Saw You" has a vocal not unlike that of cheeky Paul McCartney in a ballad as Davies, as always, plays the desultory Edwardian dandy.

"The Actress," "Erotic Neurotic" and "You Can Break My Heart" sound like slices of life.

"Walker Through The Worlds" is David Bowie meets George Harrison with electronica sound, India modality and treated, spoken vocals. All very spacey.

"Remember the Future" heads for Stones' country with a "Circle will be Unbroken" meets "Red River Valley" melody.

The title cut, "Cote Du Rhone (I Will Be Me)," returns to Davies' "You Really Got Me" riff and, with his voice at its most plaintive, he sings, "I won't be what they want anymore."

And that should be just fine with rock fans everywhere."I Will Be Me" is astounding, clearly a milestone in Dave Davies' career, and a great rock album of this or any year.