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1973 studio album by New York Dolls

New York Dolls
NewYorkDollsNewYorkDolls.jpg
Studio album past

New York Dolls
Released July 27, 1973 (1973-07-27)
Recorded April 1973
Studio The Tape Plant (New York)
Genre
  • Hard rock
  • proto-punk
  • glam stone
  • punk stone
Length 42:44
Label Mercury
Producer Todd Rundgren
New York Dolls chronology
New York Dolls
(1973) 		Too Much Too Soon
(1974)
Singles from New York Dolls
  1. "Trash" / "Personality Crisis"
    Released: July 1973
  2. "Jet Male child" / "Vietnamese Babe"
    Released: Nov 1973

New York Dolls is the debut album by the American hard rock band New York Dolls. It was released on July 27, 1973, by Mercury Records. In the years leading upward to the anthology, the Dolls had developed a local fanbase by playing regularly in lower Manhattan after forming in 1971. Notwithstanding, well-nigh music producers and record companies were reluctant to piece of work with them because of their vulgarity and onstage manner likewise as homophobia in New York; the group later appeared in exaggerated elevate on the album cover for shock value.

After signing a contract with Mercury, the Dolls recorded their first album at The Record Constitute in New York City with producer Todd Rundgren, who was known for his sophisticated pop tastes and held a lukewarm opinion of the band. Despite stories of conflicts during the recording sessions, lead vocalist David Johansen and guitarist Sylvain Sylvain afterwards said Rundgren successfully captured how the band sounded live. Their music on the album incorporated carefree rock and whorl, Brill Building pop influences, and campy sensibilities, while Johansen's colloquial and ambiguous lyrics explored themes of urban youth, teen breach, adolescent romance, and actuality.

New York Dolls was met with widespread critical acclaim just sold poorly and polarized listeners. The band proved difficult to market outside their native New York and developed a reputation for rock-star excesses while touring the United States in support of the anthology. Despite its commercial failure, New York Dolls was an influential precursor to the 1970s punk rock movement every bit the group's crude musicianship and youthful mental attitude on the album challenged the prevailing trend of musical composure in popular music, especially progressive rock. Amid the most acclaimed albums in history, it has since been named in various publications as 1 of the all-time debut records in rock music and one of the greatest albums of all fourth dimension.

Background [edit]

In 1971, vocaliser David Johansen formed the New York Dolls with guitarists Johnny Thunders and Rick Rivets, bassist Arthur Kane, and drummer Billy Murcia; Rivets was replaced by Sylvain Sylvain in 1972.[i] The ring was meant to be a temporary project for the members, who were club-going youths that had gone to New York Urban center with different career pursuits. As Sylvain recalled, "Nosotros but said 'Hey, maybe this will become us some chicks.' That seemed similar a good plenty reason." He and Murcia originally planned to work in the clothing business and opened a bazaar on Lexington Avenue that was across the street from a toy repair shop called the New York Doll Infirmary, which gave them the idea for their proper name.[2] The group soon began playing regularly in lower Manhattan and earned a cult following within a few months with their reckless fashion of rock music. Nonetheless, tape companies were hesitant to sign them because of their onstage cross-dressing and blatant vulgarity.[one]

Clive Davis one time told Lisa Robinson not to talk about New York Dolls uptown if she wanted to work in the music biz. They were petrified of the Dolls. They idea they were homosexual. It wasn't just homophobia; it was nonetheless illegal to be homosexual. People don't remember that it was the police force. To say the Dolls, guys who wore makeup, were your friends was like saying you knew a criminal.

— Bob Gruen (2006)[3]

In October 1972, the group garnered the interest of critics when they opened for English rock band the Faces at the Empire Pool in Wembley.[iv] However, on the New York Dolls' outset tour of England that year, Murcia died later on consuming a lethal combination of alcohol and methaqualone.[5] They enlisted Jerry Nolan as his replacement, while managers Marty Thau, Steve Leber, and David Krebs notwithstanding struggled to find the band a record deal.[4]

After returning to New York, the Dolls played to capacity crowds at venues such as Max's Kansas City and the Mercer Arts Middle in what Sylvain called a adamant effort to "fake it until they could go far": "Nosotros had to brand ourselves feel famous earlier nosotros could really go famous. Nosotros acted like we were already rock stars. Arthur even chosen his bass 'Excalibur' after Male monarch Arthur. It was crazy."[four] Their performance at the Mercer Arts Centre was attended by announcer and Mercury Records publicity director Bud Scoppa, and Paul Nelson, an A&R executive for the label. Scoppa initially viewed them equally an agreeable but inferior version of the Rolling Stones: "I split afterwards the first set. Paul stuck around for the second set, though, and after evidence he called me and said, 'You should take stayed. I think they're actually special.' And then, afterwards that, I fell in love with them anyway."[half-dozen] In March 1973, the group signed a two-album bargain with a U.s.a. $25,000 advance from Mercury.[7] According to Sylvain, some of the members' parents had to sign for them considering they were not old plenty to sign themselves.[6]

Hiring of Todd Rundgren [edit]

For the New York Dolls' debut album, Mercury wanted to detect a record producer who could make the near out of the grouping's sound and the hype they had received from critics and fans in New York.[six] At the band'south first board coming together in Chicago, Johansen fell asleep in Mercury's conference room while tape executives discussed potential producers. He awoke when they mentioned Todd Rundgren, a musician and producer who by 1972 had achieved unexpected stone distinction with his double album Something/Anything? and its striking singles "I Saw the Light" and "Howdy It'south Me".[8] Rundgren had socialized at venues such as Max's Kansas Urban center and first saw the Dolls when his girlfriend at the time, model Bebe Buell, brought him there to see them play.[4]

Known for having refined pop tastes and technologically savvy productions, Rundgren had become increasingly interested in progressive rock sounds by the time he was enlisted to produce the New York Dolls' debut album.[nine] Consequently, his initial impression of the group was that of a humorous alive human action who were technically competent only past the standards of other unsophisticated New York bands. "The Dolls weren't out to expand any musical horizons", said Rundgren, although he enjoyed Thunders' "mental attitude" and Johansen'south charismatic antics onstage.[ten]

Johansen had idea of Rundgren equally "an expert on second charge per unit rock 'n' roll", only also said the band was "kind of persona not grata, at the time, with most producers. They were afraid of us, I don't know why, only Todd wasn't. We all liked him from Max's ... Todd was cool and he was a producer."[11] Sylvain, on the other hand, felt the determination to enlist him was based on availability, time, and coin: "Information technology wasn't a long list. Todd was in New York and seemed similar he could handle the pace."[12] Upon existence hired, Rundgren declared that "the but person who tin produce a New York record is someone who lives in New York".[13]

Recording and production [edit]

Mercury booked the Dolls at The Record Plant in New York Metropolis for recording sessions in April 1973.[14] Rundgren was originally concerned that they had taken "the worst sounding studio in the city at that time" because it was the only i available to them with the short time given to record and release the album. He later on said that expectations for the band and the festive atmosphere of the recording sessions proved to exist more of a trouble: "The Dolls were critics' darlings and the press had kind of adopted them. Plus, there were lots of actress people around, socializing, which made it hard to concentrate."[12] New York Dolls was recorded there in eight days on a upkeep of $17,000 (equivalent to $104,000 in 2021).[15] With a short amount of studio time and no concept in mind for the album, the ring chose which songs to record based on how well they had been received at their live shows.[16] In Johansen'southward own words, "we went into a room and just recorded. It wasn't similar these people who conceptualize things. It was merely a document of what was going on at the time."[17]

In the studio, the New York Dolls dressed in their usual flashy apparel. Rundgren, who did not approve of their raucous sound, at ane point yelled at them during the sessions to "get the glitter out of your asses and play".[18] Sylvain recalled Rundgren inviting Buell and their Chihuahua to the studio and putting the latter atop an expensive mixing console, while Johansen acknowledged that his recollections of the sessions take since been distorted by what he has read almost them: "It was like the 1920s, with palm tree décor and stuff. Well, that'due south how I think it, anyway."[12] He also said Rundgren directed the band from the control room with engineer Jack Douglas and hardly spoke to them while they recorded the album.[xix] According to Scoppa, the group'southward carefree lifestyle probably conflicted with Rundgren's professional piece of work ethic and schedule: "He doesn't put upward with bullshit. I mean, [the band] rarely started their alive sets before midnight, so who knows? Todd was very much in charge in the studio, however, and I got the impression that everybody was looking to him."[20]

I call back [Todd] was actually quite taken that we obviously derived our talent from the streets. We may not have been professionally trained, but we could however write three minutes worth of magic. He probably played with other well-seasoned players who may have graduated from Julliard [sic] or worked with the orchestra pit, but could they write a damn good fucking tune? Todd knew we were writing tunes for our generation.

— Sylvain Sylvain (2009)[19]

Although Sylvain said Rundgren was non an interfering producer, he occasionally involved himself to amend a take. Sylvain recalled moments when Rundgren went into the isolation booth with Nolan when he struggled keeping a beat and drummed out beats on a cowbell for him to use as a click track. During some other session, he stopped a take and walked out of the control room to plug in Kane'due south bass cabinet.[nineteen] Scoppa, who paid afternoon visits to the studio, overheard Rundgren say, "Yeah, that's all you needed. Okay, let's try it again!", and ultimately found the exchange funny and indicative of Rundgren'southward opinion of the band: "Todd was such a 'musician' while they were but getting past on mental attitude and energy. Merely equally disdainful equally he appeared to be at some points he got the task done really well."[19] Rundgren felt Johansen's wild singing often sounded screamed or drunken but also eloquent in the sense that Johansen demonstrated a "propensity to incorporate certain cultural references into the music", particularly on "Personality Crisis". While recording the song, Johansen walked back into the control room and asked Rundgren if his vocals sounded "ludicrous enough".[19]

Because the Dolls had little money, Sylvain and Thunders played the austerely designed and affordable Gibson Les Paul Junior guitars on the record. They jokingly referred to them as "automatic guitars" due to their express audio shaping features. To amplify their guitars, they ran a Marshall Plexi standalone amplifier through the speaker cabinets of a Fender Dual Showman, and occasionally used a Fender Twin Reverb.[nineteen]

Some songs were embellished with additional instruments, including Buddy Bowser's flippant saxophone on "Lonely Planet Boy".[20] Johansen sang into distorted guitar pickups for boosted vocals and overdubbed them into the song. He also played an Asian gong for "Vietnamese Baby" and harmonica on "Pills". For "Personality Crisis", Sylvain originally played on The Record Constitute's Yamaha k piano before Rundgren added his own piano flourishes to both that song and "Private World".[21] Rundgren also contributed to the background vocals heard on "Trash" and played synthesizers on "Vietnamese Baby" and "Frankenstein (Orig.)", which Sylvain recalled: "I remember him getting those weird sounds from this cute quondam Moog synthesizer he brought in. He said it was a model that simply he and the Beatles had."[21]

New York Dolls was mixed in less than one-half a day.[22] Rundgren felt the band seemed distracted and disinterested at that point, so he tried unsuccessfully to ban them from the mixing session.[21] For the final mix, he minimized the audio of Nolan's drumming.[18] In hindsight, Rundgren said the quality of the mix was poor considering the band had hurried and questioned him while mixing the record: "It's likewise like shooting fish in a barrel for it to become a costless-for-all, with every musician just hearing their own part and not the whole. They all had other places to exist, and then rather than split, they rushed the matter and if that wasn't enough they took it to the crappy mastering lab that Mercury had put them in."[21] Thunders famously complained to a journalist that Rundgren "fucked up the mix" on New York Dolls, adding to stories that the two had clashed during the anthology's recording.[20] Both Johansen and Scoppa later said they did not run into any conflict between the 2 and that Thunders' typically foolish behavior was misinterpreted.[xx] Johansen subsequently praised Rundgren for how he enhanced and equalized each instrument, giving listeners the impression that "[they're] in a room and there's a band playing", while Sylvain said his mix accurately captured how the band sounded live.[21]

Music and lyrics [edit]

New York Dolls features ten original songs and one cover – the 1963 Bo Diddley vocal "Pills".[22] Johansen describes the album as "a footling jewel of urban folk art".[18] Rundgren, on the other hand, says the band's sensibilities were different from "the urban New York thing" because they had been raised outside Manhattan and drew on carefree rock and roll and Brill Edifice popular influences such as the Shangri-Las: "Their songs, equally punky as they were, ordinarily had a lot to do with the same one-time boy-girl thing simply in a much more inebriated way."[half-dozen] Johansen quotes the lyric "when I say I'1000 in dearest, you'd best believe I'm in honey Fifty-U-V" from the Shangri-Las' "Requite Him a Great Large Osculation" (1964) when opening "Looking for a Buss", which tells a story of adolescent romantic desire hampered by peers who use drugs.[23] On "Subway Train", he uses lyrics from the American folk standard "Someone's in the Kitchen with Dinah".[24] In the opinion of critic Stephen Thomas Erlewine, the album's rowdy hard rock songs also revamp riffs from Chuck Berry and the Rolling Stones, resulting in music that sounds edgy and threatening in spite of the New York Dolls' wittingly kitsch and camp sensibilities.[25] "Personality Crunch" features raunchy dual guitars, boogie-woogie piano, and a histrionic break, while "Trash" is a punky pop rock song with brassy singing.[26]

Several songs on New York Dolls office as what Robert Hilburn deems to exist "colorful, if exaggerated, expressions of teen alienation".[27] Co-ordinate to Robert Christgau, because many of Manhattan's white youths at the time were wealthy and somewhat artsy, just ill-behaved young people from the outer boroughs like the band could "capture the oppressive excitement Manhattan holds for a one-half-formed human being".[28] "Individual World", an escapist plea for stability, was co-written by Kane, who rarely contributed as a songwriter and felt overwhelmed as a young adult in the music business.[29] Sylvain jokingly says "Frankenstein (Orig.)" was titled with the parenthetical qualifier considering rock musician Edgar Winter had released his vocal of the aforementioned name before the band could record their own: "Our song 'Frankenstein' was a large hitting in our live prove ... At present, his thing didn't sound at all like ours, simply I'm sure he stole our championship."[6] Johansen, the ring's main lyricist, says "Frankenstein (Orig.)" is well-nigh "how kids come to Manhattan from all over, they're kind of like whipped dogs, they're very repressed. Their bodies and brains are disoriented from each other ... information technology's a honey song."[30] In interpreting the vocal'due south titular monster, Frank Kogan writes that it serves as a personification for New York and its ethos, while Johansen request listeners if they "could make it with Frankenstein" involves more than than sexual slang:

Frankenstein wasn't just a fauna to have sex with, he represented the whole funky New Yorkiness of New York, the ostentation and the terror, the dreams and the fear ... David was asking if you – if I – could make information technology with the monster of life, whether I could encompass life in all its pain and dreams and disaster.[31]

Although the Dolls exhibit tongue-in-cheek qualities, Gary Graff observes a streetwise realism in the anthology's songs.[32] In Christgau's opinion, Johansen'due south vernacular and morally superior lyrics are imbued with humor and a sense of human being limits in songs whose fundamental theme is authenticity. This theme is explored in stories virtually lost youths, as on "Subway Train", or in a study of a specific subject, such every bit the "schizy imagemonger" on "Personality Crunch".[33] He argues that beneath the band'due south corrupt and campy surface are lyrics nigh "the modern world ... one nuclear flop could accident it all away. Pills and personality crises weren't evils – piece of cake, necessary, or any. They were strategies and tropisms and positive pleasures".[34] According to announcer Steve Taylor, "Vietnamese Babe" deals with the impact of the Vietnam War at the time on everyday activities for people, whose fun is undermined by thoughts of collective guilt.[35]

On songs such every bit "Subway Train" and "Trash", Johansen uses ambiguity as a lyrical fashion.[36] In Kogan'due south opinion, Johansen sings in an occasionally unintelligible manner and writes in a perplexing, fictional style that is lazy yet ingenious, as it provides his lyrics an abundance of "emotional meaning" and interpretation: "David never provides an objective framework, he's always jumping from phonation to vocalism, and then you're hearing a character addressing another grapheme, or the narrator addressing the graphic symbol, or the grapheme or the narrator addressing us, all jammed up together so you lot're hearing $.25 of chat and bits of subjective description in no kind of chronological order. But as someone says in 'Vietnamese Infant': 'Everything connects.'"[37] On "Trash", Johansen undercuts his vaguely pansexual behavior with the possibility of going to "fairyland" if he takes a "lover's leap" with the song'due south discipline.[34]

Marketing and sales [edit]

New York Dolls was released on July 27, 1973, in the U.s.a. and on October 19 in the Britain.[38] Its controversial encompass featured the ring dressed in exaggerated drag, including loftier wigs, messy make-upwards, high heels, and garters.[22] The photo was used for shock value, and on the back of the album, the band is photographed in their usual stage wear.[39] To announce the album's release, Mercury published an advertising slogan that read "Introducing The New York Dolls: A Band Y'all're Gonna Like, Whether You lot Like It Or Not", while other ads called them "The Band Y'all Dearest to Detest".[40] Two double A-sided, 7-inch singles were released – "Trash" / "Personality Crunch" in July and "Jet Boy" / "Vietnamese Infant" in Nov 1973 – neither of which charted.[41]

The New York Dolls performing on TopPop in 1973

New York Dolls was commercially unsuccessful and only reached number 116 on the American Acme LPs while in the United kingdom of great britain and northern ireland it failed to chart altogether.[42] The record sold over 100,000 copies at the time and barbarous well brusque of expectations in the press.[43] According to Rolling Stone in 2003, it ended up selling fewer than 500,000 copies.[44] Music journalist Phil Strongman said its commercial failure could be attributed to the New York Dolls' divisive event on listeners, including writers from the aforementioned magazine.[45] In a feature story on the band for Melody Maker prior to the album, Mark Plummer had dismissed their playing every bit the poorest he had ever seen, while the magazine's reporter Michael Watts viewed them as an encouraging albeit momentary presence in what he felt was a lifeless rock and roll scene at the time.[46] In Creem 's readers poll, the album earned the band awards in the categories of "All-time New Group of the Year" and "Worst New Group of the Year".[47]

After the anthology's release, the Dolls toured the US equally a supporting act for English rock ring Mott the Hoople. Reviews complimented their songwriting, Thunders and Sylvain'south guitar interplay, and noted their campy way and the resemblance of Johansen and Thunders to Mick Jagger and Keith Richards. However, some critics panned them every bit an unserious group of amateurs who could not play or sing.[48] During their appearance on The Former Grey Whistle Test in England, the show'due south host Bob Harris dismissed their music every bit "mock rock" in his on-air comments.[49] They besides developed a reputation for rock-star excesses, including drugs, groupies, trashed hotel rooms, and public disturbances, and according to Ben Edmonds of Creem, became "the most walked-out-on band in the history of show business concern".[50] Strongman wrote that the band and the album were difficult to market because of their kitschy fashion and how Murcia'southward decease had exacerbated their clan with hard drugs, which "wasn't altogether true in the early days".[51] They remained the most popular band in New York City, where their Halloween nighttime concert at the Waldorf Astoria in 1973 drew hundreds of young fans and local television coverage.[52]

Critical reception [edit]

New York Dolls received widespread acclamation from contemporary reviewers.[53] In a rave review for NME, published in Baronial 1973, Nick Kent said the ring's raunchy style of stone and roll had been vividly recorded by Rundgren on an anthology that, besides Iggy and the Stooges' Raw Power (1973), serves every bit the just i "so far to fully ascertain just exactly where 1970s rock should be coming from".[54] Trouser Press founder and editor Ira Robbins viewed New York Dolls every bit an innovative record, brilliantly chaotic, and well produced by Rundgren.[54] Ellen Willis, writing for The New Yorker, said it is past far 1973's most compelling hard rock album and that at to the lowest degree half of its songs are immediate classics, particularly "Personality Crisis" and "Trash", which she chosen "transcendent".[55] In Newsday, Christgau hailed the New York Dolls equally "the all-time hard rock ring in the country and maybe the world right now", writing that their "special genius" is combining the shrewd songwriting savvy of early-1960s pop with the anarchic sound of late-1960s heavy metallic. He claimed that the record's frenzied approach, various emotions, and wild noise convey Manhattan's harsh, deviant thrill ameliorate than the Velvet Clandestine.[56]

In an overall positive review, Rolling Stone critic Tony Glover found the band's impressive alive sound to be generally preserved on the album. However, he was slightly critical of product flourishes and overdubs, feeling that they make some lyrics sound incomprehensible and some choruses too sonorous. Although he was surprised at how well Rundgren'due south production works with the grouping's raunchy audio on most of the songs, Glover ultimately asked whether or not "the record solitary will impress as much as seeing them live (they're a highly watchable group)."[57]

Legacy and influence [edit]

Until the New York Dolls a hangover from the sixties had permeated the music scene. That album was where a new decade began, where a contemporary version of the essence of rock 'n' curl emerged to kicking out the tired one-time men and clear the fashion for the New Gild.

— Tony Parsons (1977)[58]

New York Dolls has since often been cited as one of the greatest debut albums in rock music, i of the genre's most popular cult records, and a foundational piece of work for the late 1970s punk rock movement.[59] It was a pivotal influence on many of the rock and roll, punk, and glam rock groups that followed, including the Ramones, Osculation, the Sex Pistols, the Damned, and Guns N' Roses.[60] According to The Mojo Collection (2007), the tape ignited punk rock and could still inspire more than movements because of the music's abundant attitude and passion, while Encyclopedia of Pop Music writer Colin Larkin accounted it "a major landmark in rock history, oozing attitude, vitality and controversy from every note".[61] Chuck Eddy named it i of the records crucial to the evolution of rock music.[62] In 101 Albums That Changed Pop Music (2009), Chris Smith wrote that the New York Dolls pioneered punk'due south aesthetic of amateurish musicianship on the album, which undermined the musical sophistication that had developed over the past decade in popular music and had been perfected months before on Pink Floyd'southward The Dark Side of the Moon (1973).[63] In The Guardian 'southward list of "thou albums to hear earlier you die", the newspaper credited the tape for serving equally "an efficacious antidote to the excesses of prog rock".[64]

Retrospective professional person reviews
Review scores
Source Rating
AllMusic [25]
Chicago Sun-Times [65]
Christgau's Record Guide A+[28]
Encyclopedia of Popular Music [66]
Los Angeles Times [27]
MusicHound Stone three.v/5[67]
Q [68]
Rolling Stone [69]
The Rolling Stone Album Guide [70]
Spin Alternative Record Guide ten/x[71]

In a retrospective review for AllMusic, Erlewine – the website's senior editor – claimed that New York Dolls was a more quintessential proto-punk album than any of the Stooges' releases considering of how it "plunders history while jubilant it, creating a sleazy urban mythology forth the style".[25] David Fricke argued that it was a more definitive glam rock album than David Bowie's Ziggy Stardust (1972) or annihilation by Marc Bolan considering of how the band "captured both the glory and sorrow of glam, the loftier jinx and wasted youth, with electric photorealism".[69] In The Rolling Stone Anthology Guide (2004), Joe Gross called it an "absolutely essential" tape and "ballsy sleaze, the audio of five young men shaping the big city in their own scuzzy epitome".[72] Sylvain attributed its influence on punk rock to how Rundgren recorded his guitar through the left speaker and Thunders' guitar on the right side, an orientation which he said younger bands such as the Ramones and the Sex Pistols adopted.[21] Rundgren was amused by how the record became considered a precursor to the punk movement: "The irony is that I wound up producing the seminal punk album, just I was never really thought of as a punk producer, and I never got called by punk acts. They probably thought I was besides expensive for what they were going for. But the Dolls didn't really consider themselves punk."[54]

New York Dolls appears frequently on professional listings of the greatest albums.[73] In 1978, it was voted 199th in Paul Gambaccini'south book Rock Critics' Choice: The Top 200 Albums, which polled a number of leading music journalists and record collectors.[74] Christgau, one of the critics polled, ranked it as the 15th best anthology of the 1970s in The Hamlet Voice the following year – 11 spots behind the Dolls' second album As well Much Also Soon (1974), although years later he would say the kickoff anthology should be ranked alee and was his favorite rock anthology.[75] New York Dolls was included in Neil Strauss's 1996 list of the 100 near influential alternative records, and the Spin Alternative Tape Guide (1995) named it the 70th best alternative anthology.[76] In 2002, it was included on a listing published by Q of the 100 best punk records, while Mojo named it both the 13th greatest punk album and the 49th greatest album of all time.[77] Rolling Stone placed the record at number 213 on its 500 greatest albums list in 2003 and "Personality Crisis" at number 271 on its 500 greatest songs listing the following year.[78] [nb 1]

English singer Morrissey has named New York Dolls his favorite album.[lxxx] According to Paul Myers, the record "struck such a chord with Morrissey that he was not only moved to grade his own influential group, The Smiths ... but would eventually convince the surviving Dolls to reunite [in 2004]".[2] In 2007, Mojo polled a panel of prominent recording artists and songwriters for the mag's "100 Records That Inverse the World" publication, in which New York Dolls was voted the 39th most influential and inspirational record ever.[81] In 2013, it placed at number 355 on NME 'south list of the 500 greatest albums of all time.[82] Based on such listings, the amass website Acclaimed Music ranks New York Dolls equally the 167th most acclaimed album in history.[73]

Rail listing [edit]

Side one
No. Title Writer(s) Length
1. "Personality Crisis" David Johansen, Johnny Thunders three:41
2. "Looking for a Osculation" Johansen iii:19
3. "Vietnamese Infant" Johansen iii:38
iv. "Lonely Planet Male child" Johansen 4:09
5. "Frankenstein (Orig.)" Johansen, Sylvain Sylvain 6:00
Side two
No. Title Writer(s) Length
1. "Trash" Johansen, Sylvain 3:08
ii. "Bad Girl" Johansen, Thunders 3:04
3. "Subway Train" Johansen, Thunders four:21
4. "Pills" Bo Diddley 2:48
5. "Individual World" Johansen, Arthur Kane three:39
6. "Jet Boy" Johansen, Thunders 4:41

Personnel [edit]

Credits are adapted from the album's liner notes.[83]

New York Dolls

  • David Johansen – gong, harmonica, vocals
  • Arthur "Killer" Kane – bass guitar
  • Jerry Nolan – drums
  • Sylvain Sylvain – piano, rhythm guitar, vocals
  • Johnny Thunders – lead guitar, vocals

Boosted personnel

  • Buddy Bowser – saxophone
  • Jack Douglas – technology
  • David Krebs – executive production
  • Steve Leber – executive production
  • Paul Nelson – executive production
  • Dave O'Grady – makeup
  • Todd Rundgren – additional piano, Moog synthesizer, product
  • Ed Sprigg – engineer
  • Alex Spyropoulos – pianoforte
  • Marty Thau – executive product
  • Toshi – photography

Release history [edit]

Information is adjusted from Nina Antonia's Too Much Too Soon: The New York Dolls (2006).[84]

See also [edit]

  • Lipstick Killers – The Mercer Street Sessions 1972
  • List of rock albums
  • Timeline of punk rock
  • Todd Rundgren discography

Notes [edit]

  1. ^ Rolling Stone later ranked the album at number 215 on a revised list in 2012 and and so at 301 in some other revised list in 2020.[79]

References [edit]

  1. ^ a b Erlewine (a) northward.d.
  2. ^ a b Myers 2010, p. 83.
  3. ^ Blush 2016, p. 102.
  4. ^ a b c d Myers 2010, p. 84.
  5. ^ Erlewine (a) n.d.; Antonia 2006, p. 55.
  6. ^ a b c d e Myers 2010, p. 85.
  7. ^ Erlewine (a) due north.d.; Hermes 2012, p. 18
  8. ^ Myers 2010, pp. 73, 79, 84–half dozen.
  9. ^ Erlewine (a) n.d.; Myers 2010, pp. 84–v
  10. ^ Myers 2010, pp. 84–5.
  11. ^ Gimarc 2005, p. 7; Myers 2010, p. 86
  12. ^ a b c Myers 2010, p. 86.
  13. ^ Fletcher 2009, p. 318.
  14. ^ Myers 2010, p. 86; Betimes. 2007c, p. 316
  15. ^ Antonia 2006, pp. 123, 134.
  16. ^ Gerstenzang 2013; Myers 2010, p. 85.
  17. ^ Gerstenzang 2013.
  18. ^ a b c Anon. 2007c, p. 316.
  19. ^ a b c d e f Myers 2010, p. 87.
  20. ^ a b c d Myers 2010, p. 88.
  21. ^ a b c d e f Myers 2010, p. 89.
  22. ^ a b c Gimarc 2005, p. seven.
  23. ^ Reynolds 2011, p. 245; Antonia 2006, p. 46
  24. ^ Antonia 2006, p. 55.
  25. ^ a b c Erlewine (b) n.d.
  26. ^ Christgau 1998, p. 195; Matsumoto 1994
  27. ^ a b Hilburn 1987.
  28. ^ a b Christgau 1981, p. 279.
  29. ^ Antonia 2006, pp. 81–two.
  30. ^ Christgau 1998, p. 194; Glover 1973
  31. ^ Kogan 2006, p. 114.
  32. ^ Graff 1996, p. 811.
  33. ^ Christgau 1998, pp. 197–8.
  34. ^ a b Christgau 1998, p. 198.
  35. ^ Taylor 2006, p. 163.
  36. ^ Christgau 1998, p. 197.
  37. ^ Kogan 2006, p. 116.
  38. ^ Antonia 2006, "Affiliate half-dozen: Little L.A. Women"; Gimarc 2005, p. 7.
  39. ^ Gimarc 2005, p. viii.
  40. ^ Myers 2010, p. ninety; Smith 2009, p. 106
  41. ^ Stiff 2002, p. 126.
  42. ^ Erlewine (a) n.d.; Strongman 2008, p. 44
  43. ^ Fletcher 2009, p. 319.
  44. ^ Betimes. 2003a.
  45. ^ Strongman 2008, p. 44.
  46. ^ Strongman 2008, p. 45.
  47. ^ Smith 2009, p. 106.
  48. ^ Pilchak 2005, p. 105.
  49. ^ Pilchak 2005, p. 106.
  50. ^ Pilchak 2005, p. 106; Pilchak 2005, pp. 105–6
  51. ^ Strongman 2008, pp. 44–45.
  52. ^ Fletcher 2009, p. 823.
  53. ^ Antonia 2006, p. 77.
  54. ^ a b c Myers 2010, p. ninety.
  55. ^ Willis 1973, p. 234.
  56. ^ Christgau 1973.
  57. ^ Glover 1973.
  58. ^ Cagle 2013, p. 136.
  59. ^ Fletcher 2009, p. 319; Erlewine (a) n.d.; Anon. 2007c, p. 316.
  60. ^ Fletcher 2009, p. 319; Smith 2009, p. 106
  61. ^ Anon. 2007c, p. 316; Larkin 2006, p. 176.
  62. ^ Eddy 1997, p. 330.
  63. ^ Smith 2009, pp. 104–five.
  64. ^ Anon. 2007a.
  65. ^ McLeese 1987, p. 52.
  66. ^ Larkin 2006, p. 176.
  67. ^ Wicks 1996.
  68. ^ Betimes. 2002, p. 139.
  69. ^ a b Fricke 2000, p. 74.
  70. ^ Gross 2004, p. 583.
  71. ^ Weisbard & Marks 1995, p. 269.
  72. ^ Gross 2004, p. 584.
  73. ^ a b Anon. n.d.
  74. ^ Cooper 1982, p. 148.
  75. ^ Christgau 1979; Christgau 2005; Christgau 2000.
  76. ^ Strauss 1996, pp. 3–viii; Weisbard & Marks 1995, appendix.
  77. ^ Anon. 2002, p. 139; Anon. 2003b, p. 76; Anon. 1995, pp. fifty–89
  78. ^ Betimes. 2003a; Anon. 2004.
  79. ^ Anon. 2012; Anon. 2020.
  80. ^ Robb 2010.
  81. ^ Anon. 2007b.
  82. ^ Kaye 2013.
  83. ^ Anon. 1973.
  84. ^ Antonia 2006, pp. 214–17.

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Further reading [edit]

  • Alexander, Phil (July 31, 2013). "New York Dolls: Jet Boy At xl". Mojo. London.
  • Buskin, Richard (December 2009). "New York Dolls 'Personality Crisis'". Audio on Sound. Cambridge.
  • Christgau, Robert (December 21, 1972). "Classy Dolls at the Mercer". Newsday. Melville.
  • Christgau, Robert (February 1973). "In Love With the New York Dolls". Newsday. Melville.
  • Mendelsohn, Jason; Klinger, Eric (August 23, 2013). "Counterbalance No. 138: 'New York Dolls'". PopMatters.
  • Olliver, Alex (September twenty, 2017). "The New York punk albums you need in your record drove". Louder.
  • Phillips, Binky (September 25, 2013). "July 27, 1973: The 40th Anniversary of the Release of the Debut Anthology by The New York Dolls... Their Fan Club President Remembers". The Huffington Mail.

External links [edit]

  • New York Dolls at Acclaimed Music (listing of accolades)
  • New York Dolls at Discogs (listing of releases)

jackamans1975.blogspot.com

Source: https://en.wikipedia.org/wiki/New_York_Dolls_%28album%29

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