Question:
The Kinks were an English rock band formed in Muswell Hill, North London, in 1964 by brothers Ray and Dave Davies. They are regarded as one of the most important and influential rock bands of the 1960s. The band emerged during the height of British rhythm and blues and Merseybeat, and were briefly part of the British Invasion of the United States until their touring ban in 1965. Their third single, the Ray Davies-penned "You Really Got Me", became an international hit, topping the charts in the United Kingdom and reaching the Top 10 in the United States.
The Kinks started out playing the then popular R&B and blues styles; then, under the influence of The Kingsmen's "Louie Louie" recording, developed louder rock and hard rock sounds -- due to their pioneering contribution to the field, they have often been labelled as "the original punks". Dave Davies was "really bored with this guitar sound - or lack of an interesting sound" so he purchased "a little green amplifier ... an Elpico" from a radio spares shop in Muswell Hill, and "twiddled around with it", including "taking the wires going to the speaker and putting a jack plug on there and plugging it straight into my AC30" (a larger amplifier), but didn't get the sound he wanted until he got frustrated and "got a single-sided Gillette razorblade and cut round the cone [from the centre to the edge] ... so it was all shredded but still on there, still intact. I played and I thought it was amazing." The jagged sound of the amplifier was replicated in the studio; the Elpico was plugged into the Vox AC30, and the resulting effect became a mainstay in The Kinks' early recordings--most notably on "You Really Got Me" and "All Day and All of the Night".  From 1966 onwards, The Kinks came to be known for their adherence to traditions of English music and culture, during a period when many other British bands dismissed their heritage in favour of American blues, R&B and pop styles. Ray Davies recalled that at a distinct moment in 1965 he decided to break away from the American scene, and write more introspective and intelligent songs. "I decided I was going to use words more, and say things. I wrote 'Well Respected Man'. That was the first real word-oriented song I wrote. ... [I also] abandoned any attempt to Americanise my accent." The Kinks' allegiance to English styles was strengthened by the ban placed on them by the American Federation of Musicians. The ban cut them off from the American record buying public, the world's largest musical market, forcing them to focus on Britain and mainland Europe. The Kinks expanded on their English sound throughout the remainder of the 1960s, incorporating elements of music hall, folk, and baroque music through use of harpsichord, acoustic guitar, mellotron, and horns, and creating some of the most influential and important music of the period.  Beginning with Everybody's In Show-biz (1972), Ray Davies began exploring theatrical concepts on the group's albums; these themes became manifest on the 1973 album Preservation Act 1 and continued through Schoolboys In Disgrace (1976). The Kinks found little success with these conceptual works, and reverted to a traditional rock format throughout the remainder of the 1970s. Sleepwalker (1977), which heralded their return to commercial success, featured a mainstream, relatively slick production style that would become their norm. The band returned to hard rock for Low Budget (1979), and continued to record within the genre throughout the remainder of their career.
Answer this question using a quote from the text above:

What was their musical style like?

Answer:
R&B and blues styles;

Answer the question at the end by quoting:

Reginald Martinez Jackson (born May 18, 1946) is an American former professional baseball right fielder who played 21 seasons for the Kansas City / Oakland Athletics, Baltimore Orioles, New York Yankees, and California Angels of Major League Baseball (MLB). Jackson was inducted into the National Baseball Hall of Fame in 1993. Jackson was nicknamed "Mr. October" for his clutch hitting in the postseason with the Athletics and the Yankees. He helped Oakland win five consecutive American League West divisional pennants, three consecutive American League pennants and three consecutive World Series titles, from 1971 to 1975.
Jackson became a free-agent again once the 1981 season was over. The owner of the California Angels, entertainer Gene Autry, had heard of Jackson's desire to return to California to play, and signed him to a five-year contract.  On April 27, 1982, in Jackson's first game back at Yankee Stadium with the Angels, he broke out of a terrible season-starting slump to hit a home run off former teammate Ron Guidry. The at-bat began with Yankee fans, angry at Steinbrenner for letting Jackson get away, starting the "Reg-GIE!" chant, and ended it with the fans chanting "Steinbrenner sucks!" By the time of Jackson's election to the Hall of Fame, Steinbrenner had begun to say that letting him go was the biggest mistake he had made as Yankee owner.  That season, the Angels won the American League West, and would do so again in 1986, but lost the American League Championship Series both times. On September 17, 1984, on the 17th anniversary of the day he hit his first home run, he hit his 500th, at Anaheim Stadium off Bud Black of the Royals.  In 1987, he signed a one-year contract to return to the A's, wearing the number 44 with which he was now most associated rather than the number 9 he previously wore in Oakland. He announced he would retire after the season, at the age of 41. In his last at-bat, at Comiskey Park in Chicago on October 4, he collected a broken-bat single up the middle, but the A's lost to the White Sox, 5-2. Jackson was the last player in the major leagues to have played for the Kansas City Athletics.

Who were the California Angels?
The owner of the California Angels, entertainer Gene Autry, had heard of Jackson's desire to return to California to play,