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In Defense of the Dolls: New York Dolls

Jon Tiven, Zoo World, 19 August 1973

OUTRAGEOUS? Ridiculous? Unnecessary? These are typical reactions to the New York Dolls, the hottest group to hit the Big Apple since The Blues Project. Their praises have been sung by rock critics from Bud Scoppa to Patrick Carr, by rock performers including David Bowie and Mick Taylor But exactly who/what are The New York Dolls, and who in God's name do they think they are?

Well, most of the fellas in the Dolls are old buddies from New York's Britrock scene, the same faces you'd see at any concert by an English band sitting in the front rows. A few years ago they were just locals, going from one band to the next without any hype, hoopla, or outrageous clothing. Finally, a basic quartet jelled – Johnny Thunders on lead guitar, Syl Sylvain on rhythm, bassist Arthur Kane, the late Billy Murcia playing drums – and the New York Dolls were formed. Lead singer David Johansen joined the group quite a bit later, bringing in his own songs and Jagger-inspired moves. After months of practising, the Dolls finally started playing around, acquiring the management of ex-Buddah Records bigshot Marty Thau and a home front, the Mercer Arts Center. The group sound was very much like that of the Rolling Stones as was their appearance (David's a close ringer for Mick J.), and as the Rolling Stones are the most popular rock band in the world, it didn't take all that long for them to gain a huge following. Especially with their sensational transvestitism, an attribute which may have won them more public notice than their musical merits.

Which is why I believe that this article is in order. I happen to believe that the Dolls' music is getting ignored by most, when it actually is their strongest asset. It's imitative, it lacks variety, and it isn't complex...but those aren't its only good qualities – they write superb lyrics. Even their song titles are fairly super: 'Bad Girl', 'I'm Just Looking For A Kiss', 'Trash', 'Endless Party', 'Frankenstein', 'I'm A Human Being', 'Subway Train', and 'Vietnamese Baby', to name a few. And then they choose some fine songs by other artists to rearrange and perform – 'Don't Mess With Cupid', Bo Diddley's 'Pills', 'Back in the U.S.A.', and Sonny Boy Williamson's 'Don't Start Me Talking'.

Some people have claimed that the New York Dolls are incapable of playing their instruments, a charge which is simply untrue. Johnny is a really good rhythm guitarist, and Syl isn't bad either. Art may not be the greatest living bass player in Rockland County, but most bands don't need a great bassist to play this kind of music. The new drummer, Jerry Nolan, is OK, at least as good as Charlie Watts. Many people (including yours truly) thought that the Rolling Stones had their finest moments when they weren't capable of doing fancy solos. You can't only judge a group in terms of their songs and how suitable the execution of them is, and in the case of the New York Dolls, they are in tiptop shape. I for one would start getting uneasy if Johnny Thunders began to sound like Jimmy Page, and I'm sure that it wouldn't make the Dolls any happier if Ian Paice was on drums. So that argument goes out the window.

The second most popular argument against the Dolls is that their stage act is utterly repulsive, and prevents those seriously interested in hearing them from getting into their music. This comes down to a matter of personal taste, and will be rectified when they start making records (either that, or people can wear blinders to their concerts!) and one doesn't have to be confronted by the fag act and the uncanny outfits.

My complaint with the Dolls is that they're getting a bit too big for their britches, charging $6.50 admission to their show (that's what the Stones top price was, if you recall the tour of America that went on this past summer) and touring England. The saving grace of the Dolls was their tour of England, actually, for it was there where they were brought down to earth by audiences that actually booed them offstage on some occasions. As England has a wealth of superb combos, audiences there weren't as anxious to lap up what they considered to be "jive Yanks copping riffs from Keith," even if they did have a fair amount of proficiency.

Following many months of deliberation, The Dolls have signed a contract with Mercury/Phonogram which is quite unique for a new group: they have their own recording-production company. Dolls Records is tentatively the name, and Lance Loud's boyfriend is helping to decide the record label, adding hype to hoopla! Producing their first sessions in Mercury's studios is Todd Rundgren AND the un-mixed tapes sound very promising, indeed.

In short, I think the New York Dolls are a very commercial outfit, ideally suited for the demands of the American public but not what I'd call a young, enthusiastic, creative entity such as recent American-born groups as Stories, Big Star, Blue Oyster Cult, Sparks, and The Planets. And let's hope that they get a chance to record their Between the Buttons before they rush into Sticky Fingers...