Information about New York Dolls

For the self-titled debut album, visit New York Dolls (album)

The New York Dolls are a rock band formed in New York City in 1971. In 2004 the band reformed with three of their original members, two of whom, David Johansen and Sylvain Sylvain, continue on today and released a new album in 2006.

The band were courted by the mainstream and made a colourful spectacle but found little commercial success during their existence. However, the New York Dolls prefigured much of what was to come in the punk rock era and even later; the Dolls' over-the-top visual style influenced the look of many new wave and sleaze rock groups, and their shambling, sloppy but highly energetic playing style set the tone for many later rock and roll bands.

History

Initially, the group was composed of singer David Johansen, guitarists Johnny Thunders and Rick Rivets (who was replaced by Sylvain Sylvain after a few months), bass guitarist Arthur "Killer" Kane and drummer Billy Murcia. The original lineup's first performance was on Christmas Eve 1971 at a homeless shelter, the infamous Endicott Hotel.

The band was influenced by vintage rhythm and blues, the early Rolling Stones, classic American girl group songs, and anarchic post-psychedelic bands such as the MC5 and the Stooges, as well as then-current glam rockers such as Marc Bolan. They did it their own way, creating something which critic Stephen Thomas Erlewine wrote "doesn't really sound like anything that came before it. It's hard rock with a self-conscious wit, a celebration of camp and kitsch that retains a menacing, malevolent edge."[1].

As a frontman, Johansen's aggression, wit and energy made up for what was a slightly one-dimensional singing voice, while Thunders's slashing knife-fight lead playing became a near-instant band trademark, along with a rhythm section comprising Sylvain's massive rhythm guitar, Kane's minimal basslines and Murcia's drumming. Besides looking like an endearingly motley "Top Cat"-like street gang, sartorially the Dolls' aesthetic was best described as 'Halloween Party At The Old Warhol Place With whatever You Can Swipe From Your Girlfriend's Wardrobe'.

Musically, their repertoire - mostly written by Johansen (he spelled his name JoHansen at the time) and Thunders, occasionally by Johansen and Sylvain - was a series of funny, strutting, high-energy vignettes from the seamy New York underground. Within weeks of beginning a series of raucous shows at the Mercer Arts Center, the Dolls were becoming a large draw, attracting an audience which included the likes of David Bowie.

After gaining management and attracting some music industry interest, the New York Dolls got a big break when Rod Stewart invited them to open for him at a London (then glam rock's capital city) concert. Shortly thereafter, Murcia died of accidental suffocation after he passed out from drugs and alcohol (groupies put him in a cold bath and forced coffee down his throat). Murcia was just 21 years old.

Once back in New York, Murcia was replaced on drums with Jerry Nolan, a friend of the band's, though future Richard Hell and Ramones drummer Marc Bell (Marky Ramone) later claimed he auditioned to take Murcia's place: "Only two people showed up to audition, me and Jerry. They gave it to him because I was doing all the fancy fills."

The mainstream was a little more wary of the Doll's commercial viability after Murcia's death, but the band now had an experienced drummer with a powerful, propulsive style and they set about their live career with a new vigor. Eventually the US Mercury Records' A&R man, Paul Nelson signed them up, and they began sessions for their debut album.

New York Dolls was produced by former Nazz guitarist Todd Rundgren, whom some critics think laid too dense a hand on the band's raw thrust. In an interview in Creem Magazine, Rundgren says he barely touched the recording, everybody was screaming "turn me up", and when it came time for him to leave with the tape to bring it upstate to his studio in Bearsville, NY for mastering, Johnny Thunders stopped him and said "that tape stays with us, you fiddled around with the knobs enough".

The album received mixed (but mainly positive) reviews (though a Stereo Review magazine reviewer in 1973 compared the Dolls' guitar playing to lawnmowers), still sales were sluggish, especially in the glam-resistant middle US. Songs like "Bad Girl", "Human Being", "Personality Crisis," "Trash," "Frankenstein," "Jet Boy" and others (including an appropriately sleazy cover of Bo Diddley's "Pills") were truly seminal squalls of proto-punk rock, making up in attitude what they lacked in musical finesse. However, the Dolls didn't entirely lack for subtlety; "Subway Train," and "Lonely Planet Boy" were effective, soft-focus oases amidst the raging snarl.

The Dolls still polarised America's mass rock audience (a Creem magazine poll landed them wins as the best and the worst new group of 1973), but at the 'large capacity club' level, they toured the US to some satisfaction. The Dolls also toured Europe, and whilst appearing on UK TV, host Bob Harris of the BBC's Old Grey Whistle Test famously derided the group as "mock rock", comparing them unfavourably with the Rolling Stones in the same way The Monkees had been with the Beatles, as their unoriginal, upstart clones. Though Harris and much of the 'old guard' of rock journalists and critics were unimpressed, young rock fans throughout the UK disagreed, and the New York Dolls' straightforward music and outrageous attitude were later cited as key influences on punk rock.

For their next album the quintet opted for producer George (Shadow) Morton, whose productions for the Shangri-Las and other girl groups in the mid-1960s had been among the band's favorites. Far from the atmospherics he lent those mini-epics, Morton gave the Dolls a leaner sound for 1974's Too Much Too Soon. Unfortunately, it was too late. The band's songwriting had faltered, and covers of vintage R&B fleshed out a patchy album with some desperate energy (particularly their swaggering versions of "(There's Gonna Be A) Showdown" and "Stranded In The Jungle"). Only about half the album was original, and some of those were old, old songs (like "Human Being"). Still, "Babylon", "Who Are The Mystery Girls?" and "Chatterbox" were instant punk classics ("Chatterbox" later became a staple of Sid Vicious's live shows). Again, critics mostly applauded, but the public was even less impressed than they had been with the debut.

By this time, glam rock was fading in popularity even in the UK, and Mercury dropped the Dolls not long after the second album tanked. In 1975, foundering in drug abuse and interpersonal spats as the opportunities dried up, the band briefly recruited British clothier, Dolls fan and would-be impresario Malcolm McLaren as their new manager. While possessing verve, nerve and cheeky ideas aplenty, the kind of provocative stunts McLaren later made work for the Sex Pistols blew up in the Dolls' faces. Dressing the band in red leather for performances with a Soviet flag backdrop was no substitute for the original sex-drugs outrage of glam rock, and even their old fans were puzzled to distraction.

They lingered for a few more months, but by mid-1975 the New York Dolls and their times were over. Disco was king, Reggae a was lean and hungry new gunslinger, and rock was just too coked-out to care. Except for a few brief periods, the two Dolls albums - considered incontestable classics of raw, protopunk, anything-goes rock and roll - have never been out of print.

Break-up

Thunders and Nolan left in 1975 while on tour in Florida either due to a dispute with Johansen or their inability to “score” heroin in the “Sunshine State” depending on whom you believe. They soon formed The Heartbreakers with bassist Richard Hell who had left Television the same week. After a few shows they added guitarist Walter Lure and few month later replaced Hell with Billy Rath. They participated in the “Anarchy Tour” with their heirs the Sex Pistols in England in 1976, while the other Dolls recruited replacements (most notably including Blackie Lawless a childhood friend of Kane's who replaced Thunders for the remainder of the Florida tour) and continued until 1977. The Heartbreakers recorded one British-only studio album and a few odds-and-ends live sets (including a memorable set from a Max's Kansas City show) before splintering into an on-and-off concern.

Thunders continued to tour and record throughout the 80's, releasing one well-regarded solo album (So Alone, an import-only album, on which Sex Pistols Steve Jones and Paul Cook played as well) and several thrown-together sets of covers and a few originals. However, he never really got out of the grip of drugs, and died in New Orleans in 1991, of an alleged heroin and methadone overdose, although there are signs that he may have been murdered over a drug-related dispute, and that the police didn't properly investigate what appeared to just be the death of another junkie. It has also come to light that he suffered from leukemia.

Nolan died a few months later in 1992, following a stroke, brought about by bacterial meningitis.

Johansen went on to a successful solo career after the Dolls broke up. Syl Sylvain was a member of his band for much of this time. Although David (and Syl) covered many Dolls tunes, his solo act was much less outrageous than the Dolls were: he offered energetic but reasonably straightforward renditions of R&B-flavored pop. Several Johansen-Sylvain standards which are now thought of as Dolls classics actually never made it to vinyl until Johansen's solo albums: e.g., "Funky But Chic", "Girls", and "Frenchette".

His fourth solo album, a concert set called Live it Up, sold especially well and yielded at least one album-radio staple, a clever and seamless medley of The Animals' "We Gotta Get Out of This Place," "Don't Bring Me Down," and "It's My Life." Johansen had his greatest commercial success portraying the fictional lounge lizard/singer Buster Poindexter, who mixed comedy with a kitschy hybrid of soul and tropical pop. Under Buster Poindexter's name, Johansen finally made a chart-topping single: one of the 1980s' biggest dance hits, "Hot Hot Hot." He also hosted a variety show on VH1 as Poindexter. In due course, Johansen shifted direction again, moving on to folk and blues with David Johansen and the Harry Smiths through the 90s. A posthumous New York Dolls album (made up of early demo tapes of the Murcia-Sylvain line-up) was released in a cassette-only edition on ROIR Records in 1981, and subsequently re-released on CD, and then on vinyl in early 2006. It was recorded in the same rehearsal space (actually the back of a bike shop) as Dawn of the Dolls.

Syl Sylvain formed his own band, the Criminals, then cut a solo album for RCA, while also working with Johansen. He later became a cab driver in New York, which he later described as the worst job on earth. In the early 1990s he moved to Los Angeles and recorded one album called "Sleep Baby Doll", on Fishhead Records. His bandmates on that record were: Brian Keats on Drums (Dave Vanian's Phantom Chords), Speediejohn Carlucci on Bass (X- Fuzztones), & Olivier Le Baron on lead guitar. Guest appearance by Frankie Infante of Blondie & Derwood Andrews of Generation X were also included on the record. It has been re-released as "New York's Au Go Go".

Before the Dolls

Sylvain and Murcia who went to junior high school and high school together started playing in a band called “the Pox” in 1968. After the front man quit Murcia and Sylvain started a clothing business across the street from a doll repair shop called the 'New York Doll Hospital’ which Sylvain claimed inspired them to come up with the name for their future band. In 1970 they decided to form a band again and they recruited Thunders to join on bass though Sylvain ended up teaching him to play guitar, they called themselves the ‘Dolls’. When Sylvain left the band to spend a few months in London, Thunders and Murcia went their separate ways. Thunders was eventually recruited by Kane and Rivets who had been playing together in the Bronx. At Thunders' suggestion Murcia replaced the original drummer. Thunders played lead guitar and sang for the band known unofficially as Actress. Actress never played live but an October 1971 rehearsal tape recorded by Rivetts was released as Dawn of the Dolls. When Thunders decided he no longer wanted to be the front man Johansen joined the band and the New York Dolls were born.

Influence

The band influenced a whole era of musicians and bands such as Kiss, Hanoi Rocks, Blondie, Ramones, Dead Boys, Mötley Crüe, Guns N' Roses, The Damned, The Smiths, and Japan. They were also a large influence on various members of the Sex Pistols, especially guitarist Steve Jones, who later said that on looking back at his movement on stage, felt embarrassed at how much he copied Johnny Thunders' style.^[1] The Pistols' manager, Malcolm McLaren, was briefly involved with the Dolls in a "managerial" role at the end of their career.

They were also a major influence on the rock music scene in New York City, having accumulated a devoted cult following during their career. By the time the New York Dolls had disbanded, Ira Robbins writes that they "singlehandedly began the local New York scene that later spawned the Ramones, Blondie, Television, Talking Heads and others. A classic case of the whole being greater than the sum of its parts, the Dolls were much more than just a band. Their devoted original audience became the petri dish of a scene; they emulated their heroes and formed groups in their image."^[2]

Reunion

Morrissey organized a reunion of the three surviving band members (Johansen, Sylvain, and Kane) for the Meltdown Festival in 2004. It was extremely well-received, producing a live LP and DVD on Morrissey's Attack label, and a film, New York Doll, showing Kane's point of view of the genesis of the reunion contrasted against the backdrop of his conversion to The Church of Jesus Christ of Latter-day Saints. However, future plans were affected when the news came of Arthur Kane's unexpected death on July 13, 2004 from leukemia. During the summer of 2004 they played several festivals in the UK, and just like the old days, they were as notable for their extravagant behavior as their raucous performances.

In July 2005, it was announced the two surviving members would tour and produce a new album, titled One Day It Will Please Us to Remember Even This. Released on July 25, 2006 the album features guitarist Steve Conte, bassist Sami Yaffa (formerly of Hanoi Rocks), drummer Brian Delaney and keyboardist Brian Koonin.

On July 20 2006, the New York Dolls appeared on Late Night with Conan O'Brien, followed by a live performance in Philadelphia at the WXPN All About The Music Festival, and on July 22 2006, a taped appearance on The Henry Rollins Show. On August 18 2006, the band performed in a free concert before some 9,000 fans at New York's South Street Seaport as part of the River to River Festival and Seaport Music, on a bill with the Brooklyn-based indie band Tralala. The New York Dolls delivered two memorable encores.

In October 2006 the band embarked on a UK tour, with Sylvain Sylvain taking time while in Glasgow to speak to John Kilbride of stv. The detailed discussion covered the band's illustrious history and the current state of their live show and songwriting, with Sylvain commenting that "even if you come to our show thinking 'how can it be like it was before', we turn that around 'cos we've got such a great live, rock n'roll show".^[3]

In November 2006 the Dolls began headlining "Little Steven's Underground Garage Presents the Rolling Rock and Roll Show", about 20 live gigs with numerous other bands. These shows have been very well-received and well-attended as well. The band plays a mix of their newest album as well as older favorites, and generally meets with the attendees after the show.

In April 2007, the band played in Australia, appearing at the V Festival with Pixies, Pet Shop Boys, Gnarls Barkley, Beck, Jarvis Cocker and Phoenix.

On September 22, 2007, New York Dolls was removed from the current artists section of Roadrunner Records' website, apparently signifying the groups split with the label.

Discography

Albums

• 1973 - New York Dolls
• 1974 - Too Much Too Soon
• 1981 - Lipstick Killers - The Mercer Street Sessions 1972
• 1984 - Red Patent Leather
• 1992 - Seven Day Weekend
• Seven Day Weekend and Red Patent Leather re-released together in 2002 as Great Big Kiss
• 1993 - Paris Le Trash
• 1998 - Live In Concert, Paris 1974
• 2002 - From Paris With Love (L.U.V.)
• 2003 - Manhattan Mayhem
• 2006 - One Day It Will Please Us to Remember Even This

Singles

• 1973 - Bad Girl / Subway Train
• 1973 - Jet Boy / Babylon / Who Are the Mystery Girls
• 1973 - Personality Crisis / Looking for a Kiss
• 1973 - Trash / Personality Crisis
• 1974 - Stranded in the Jungle / Don't Start Me Talkin'
• 1974 - (There's Gonna Be A) Showdown / Puss 'n' Boots

Compilations

• 1977 - New Bum Dolls / Too Much Too Soon
• 1977 - Very Best of New York Dolls
• 1985 - Night of the Living Dolls
• 1985 - The Best of the New York Dolls
• 1987 - New York Dolls + Too Much Too Soon
• 1990 - Super Best Collection
• 1994 - Rock'n Roll
• 1998 - Hootchie Kootchie Dolls
• 1999 - The Glam Rock Hits
• 1999 - The Glamorous Life Live
• 2000 - Actress: Birth of The New York Dolls
• 2000 - Endless Party
• 2000 - New York Tapes 72/73
• 2002 - Great Big Kiss (reissue of Seven Day Weekend and Red Patent Leather)
• 2003 - Looking For A Kiss
• 2003 - 20th Century Masters - The Millennium Collection: The Best of New York Dolls
• 2004 - The Return of the New York Dolls - live from the royal festival hall 2004
• 2007 - New York Dolls appear on PBS's television show "Soundstage"

References

• New York Dolls recording new album
• Rekindling the Punk Flame, article
• Sylvain Sylvain interview, October 2006, stv.tv/music

External links

• Official Website
• Punk 77: New York Dolls
• MTV Overdrive: MTV Raw Interview With the New York Dolls (May 25, 2006)

Samples

• of "Trash"- from New York Dolls