New York Dolls

New York Dolls | Format: Audio CD

Product Details

• Audio CD (October 25, 1990)
• Number of Discs: 1
• Label: Island / Mercury
• ASIN: B000001FMX
• Also Available in: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Music
• Average Customer Review: 4.5 out of 5 stars  See all reviews (84 customer reviews)
• Amazon Best Sellers Rank: #11,270 in Music (See Top 100 in Music)
  • #55 in Music > Alternative Rock > Hardcore & Punk > Proto Punk
  • #55 in Music > Alternative Rock > Hardcore & Punk > American Punk

Editorial Reviews

Amazon.com

In 1972, when rock & roll was all but dead in Manhattan, five cross-dressing glam punks from the boroughs convened and began hammering out crude, sub-Chuck Berry rock for the downtown in-crowd. It took another year before a record company dared to sign them, thus foisting The New York Dolls on an essentially uninterested world. Taking their cue from the band's guitarist/Keefalike Johnny Thunders, hardcore Dolls fans pooh-poohed Todd Rundgren's production as wimpy: twenty-five years after its release, songs like "Personality Crisis" and "Looking for a Kiss" sound more trashily invigorating than ever. With the Rolling Stones finished as a vital force by '73, the doomed Dolls were there to step into the void. A classic. --Barney Hoskyns

Product Description

At once campy and crushing, this 1973 LP gave the world a bracing early taste of the punk assault to follow a few years later. The Dolls' epochal debut includes Personality Crisis; Trash; Looking for a Kiss; Lonely Planet Boy , and more!

Most Helpful Customer Reviews

93 of 99 people found the following review helpful

5.0 out of 5 stars Happy Birthday New York Dolls! July 28, 2003

By M. Fantino VINE™ VOICE

Format:Audio CD

It was 30 years ago today (27 Jul 2003) that The New York Dolls debut album hit record store shelves. I think it's safe to say, these thirty years would have been much different had that record not come out.

It has been suggested that The New York Dolls emerged in 1973 just as The Rolling Stones relavence was ebbing (a point I might argue if provoked). And, as if things don't happen all on their own, one might look at The Dolls and see a trashier, dumbed-down lip-stick-smeared drag-queen version of Jagger and Richards (especially David Johansen and Johnny Thunders - it's uncanny!) but musically made up of equal parts Iggy Pop swamp-monster sleaze, Lou Reed's gritty street-sense, T. Rex's jangly mess, and the charging glam-jam of David Bowie. The result was The New York Dolls were louder, and even more strung-out than their peers.

Iggy Pop once said that he single-handedly killed the sixties. That may be so, but it wasn't until July 27th, 1973 that The New York Dolls came kicking and screaming, in their high heels and track-marked arms, it wasn't until then that they showed us how good and gritty bad music can sound.

The punk scene would have been much different minus The Dolls. It's unlikely The Ramones would have done it quite the way they did, and The Sex Pistols certainly wouldn't have happened. In fact, Malcolm McLaren managed the tail end of The Dolls before he moved back to England to create The Sex Pistols. Malcolm dressed The Dolls in patent red leather and draped giant sickle & hammer red flags behind them on stage, all this to upset the American public. None of his antics seemed to work with The Dolls, as they were nodding out of consciousness more than half of the time. It may have been easier for Malcolm McLaren to go from a band with two zonked junkies to a band with only one.

'I was trying to do with the Sex Pistols what I had failed with the New York Dolls' --Malcolm McLaren

In fact, Malcolm wanted to hire either Sylvain Sylvain of The New York Dolls or Richard Hell (then of Television) to front his incomplete Sex Pistols.

'Malcolm...he always wanted me to come over and start a group called the Sex Pistols' --Sylvain Sylvain
...and in retrospect:

'It was a stupid idea of mine...no way Hell or Syl would have fit in with the Pistols. Hell and Syl had years on the Pistols...the Pistols were incredibly naďve.' --Malcolm McLaren

The Sex Pistols, on the other hand, perhaps spawned at least partly by The Dolls, rejected the accusation completely on their song called New York. Johnny Rotten explained he and the rest of the band were sick and tired of Malcolm McLaren endlessly going on about The Dolls and The New York scene, which the Pistols felt was too poetry based and arty. New York was their reaction against The New York Dolls.

Johnny Thunders and drummer Jerry Nolan, after the demise of The New York Dolls, formed The Heartbreakers with Richard Hell (who didn't stay long). Amoung the many great punk songs that Johnny Thunders is responsible for, one is a response to The Sex Pistols nasty New York called London Boys. It was more brutal than the flimsy musical fight Lennon and MacCartney employed on their albums.

But it was with their debut album, only 11 songs, that the Dolls created all that haggard, whacked and wasted neo-Euro clumsy art rock. A fantastic set of stripped down freak-out garage-boogie.

34 of 38 people found the following review helpful

5.0 out of 5 stars "Mick who?" February 18, 2004

By Shotgun Method

Format:Audio CD

Ah, the Dolls. More than any other band, they were the epitome of the rock 'n' roll lifestyle (them and The Stooges..but that's another story). They didn't just burn the candle at both ends--they used a blowtorch on the middle. All the drug-crazed, trashily androgynous, Rolling Stones-in-drag insanity of the New York Dolls was woefully short-lived, but the result was a breakthrough 1973 LP that was a huge influence on the future punk movement. The Ramones (guitarist Johnny Thunders was a friend of Dee Dee Ramone's) and the Sex Pistols (Malcom McLaren managed the Dolls before there even was a Johnny Rotten) probably wouldn't have existed without Johnny Thunders and David Johansen to show them the way.

Way grittier and wilder than their glam rock kin (David Bowie and T. Rex), the Dolls basically updated the early rock 'n' roll of Chuck Berry and Jerry Lee Lewis. What the Dolls lacked in instrumental prowess they made up for in reckless sexual abandon and crazy R&B swagger. Thunders' guitar is HUGE, sloppy, and manic, and his filthy riffs and solos are what make this album. But let's not forget the trashy wit and great singing of Johanson, Sylvain Sylvain's piano, Jerry Nolan's crashing drums, and bassist Arthur Kane...well, he sucked, but you barely heard him over the wonderfully shambolic boogie anyway.

The opener Personality Crisis establishes everything the Dolls were about--stomping piano, riproaring guitar, and Johanson's cocky swagger and crazy vocals. The 1-2-3 punch of Personality Crisis, Looking For A Kiss, and Vietnamese Baby is then followed by the short reprive of Lonely Planet Boy. The epic Frankenstein brings the rawk back, and it is immediately followed by the insanely addictive sing-a-long Trash. The album ends with Jet Boy, which hooks you with the biggest freakin' chorus ever. Filler? What filler? Every song rules. They're so good that you will almost forget about Todd Rundgren's godawful production. Almost.

The New York Dolls' first release ranks up there with The Stooges' Fun House and The MC5's Kick Out The Jams as the definitive proto-punk album. Barring that, it may be the greatest pure rock 'n' roll document EVER. You need this one.

14 of 14 people found the following review helpful

5.0 out of 5 stars ROCK AT ITS PEAK October 8, 2002

By Dave Lang

Format:Audio CD

It's hard to believe that any self-respecting rock fan would actually give this album anything less than five stars - it's simply perfect.
There's already so many reviews here giving the details, so to cut to the chase let me just add a few points: 1) David Johanson was an incredibly charismatic frontman, his lyrics abounding with brilliant, trashy wit; 2) Johnny Thunders' guitar licks are worth all the praise one hears of him - the inventiveness of his electrifying, divebombing guitar style runs rampant throughout this disc; 3) the overall songwriting on their debut is awesomely consistent - every song here is a killer, everyone a classic; 4) this album hasn't dated a second since its release, if not now sounding more alive and vital than ever; and 5) this platter is an absolutely essential purchase if you're at all inclined towards pure rock'n'roll a la "Nuggets", Velvets, 'Stones, Yardbirds, Stooges, MC5, Sex Pistols, Damned, Black Flag, Germs, etc., or if you're just a newcomer to the scene brought in by the current popularity of bands like the White Stripes, Strokes, etc. If so, then dig in here to get the roots of where your faves are coming from.
If it wasn't for the fact that every critic and his mother constantly hails this as one of rock's all-time essential meisterwerks, I'd say it's possibly the most under-rated album of all time; as it stands, I'll simply say that its sheer brilliance is still greatly undervalued by the general record-buying public, OK?