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VL 900112LP
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2024 repress. Too Much Too Soon, the second studio album by the legendary New York Dolls was first released in the spring of 1974. The record was laid down in New York with producer Shadow Morton. Morton, known for his work with the Shangri-Las, was brought in to the project by David Johansen despite (or perhaps because) Johnny Thunders wanted to produce the album. Though their self-titled debut with Todd Rundgren at the helm had received high praise from critics, the Dolls didn't like Rundgren. And Rundgren had little respect for the Dolls. Thunders and Johansen thought Rundgren's production watered down their sound. Rundgren was no fan of the group's raucous sound and attitude, to the point that he's even alleged to have yelled at them "get the glitter out of your asses and play!" With Morton behind the boards Too Much Too Soon incorporated many of his trademark production techniques, familiar to Shangri-Las fans, mainly his use of sounds effects such as gunshots and highly present female backing vocals. Too Much Too Soon was well received by critics and fans who praised the band's raw sound and felt that it was improved by Morton's production. Over the years the New York Dolls legacy has only grown larger.
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RRS 133LP
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Raunchy glam band New York Dolls were the epitome of rock n' roll's excess, prefacing punk's rougher edges. Recorded in October 1971, when the group was still known as Actress, this essential LP is culled from demos cut before David Johansen and Sylvain Sylvain joined the group; along with two raw alternates of "It's Too Late," there are eight otherwise unknown examples of their musical mayhem, as heard on "Why Am I Alone" and guitar killer, "Coconut Grove." This is required listening for all Dolls fans, and especially Johnny Thunders devotees.
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VL 900372LP
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2023 repress. Reissue, originally released in 1973. "When the New York Dolls released their debut album in 1973, they managed to be named both 'Best New Band' and 'Worst Band' in Creem Magazine's annual reader's poll, and it usually takes something special to polarize an audience like that. And the Dolls were inarguably special -- decades after its release, New York Dolls still sounds thoroughly unique, a gritty, big-city amalgam of Stones-style R&B, hard rock guitars, lyrics that merge pulp storytelling with girl group attitude, and a sloppy but brilliant attack that would inspire punk rock (without the punks ever getting its joyous slop quite right). Much was made of the Dolls' sexual ambiguity in the day, but with the passage of time, it's a misfit swagger that communicates most strongly in these songs, and David Johansen's vocals suggest the product of an emotional melting pot who just wants to find some lovin' before Manhattan is gone, preferably from a woman who would prefer him over a fix. If the lyrics sometimes recall Hubert Selby, Jr. if he'd had a playful side, the music is big, raucous hard rock, basic but with a strongly distinct personality -- the noisy snarl of Johnny Thunders' lead guitar quickly became a touchstone, and if he didn't have a lot of tricks in his arsenal, he sure knew when and how to apply them, and the way he locked in with Syl Sylvain's rhythm work was genius -- and the Dolls made their downtown decadence sound both ominous and funny at the same time. The Dolls were smart enough to know that a band needs a great drummer, and if there's something likably clumsy about Arthur Kane's bass work, Jerry Nolan's superb, elemental drumming holds the pieces in place with no-nonsense precision at all times. 'Lonely Planet Boy' proved the Dolls could dial down their amps and sound very much like themselves, 'Pills' was a superbly chosen cover that seemed like an original once they were done with it, and 'Personality Crisis,' 'Trash,' and 'Jet Boy' were downtown rock & roll masterpieces no other band could have created. And while New York Dolls clearly came from a very specific time and place, this album still sounds fresh and hasn't dated in the least -- this is one of rock's greatest debut albums, and a raucous statement of purpose that's still bold and thoroughly engaging." --AllMusic
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RRS 132LP
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Controversial glam act New York Dolls were the epitome of rock n' roll excess, prefacing the rough edges of punk. Formed in late 1971 and initially known as Actress, the earliest incarnation featured bassist Arthur Kane, guitarist Rick Rivets and the guitarist that would become Johnny Thunders, with drummer Billy Murcia and singer David Johansen; soon, Rivets was replaced by Egyptian-born Sylvain Sylvain. Decked out in androgynous clothing, including platform boots, lipstick and body stockings, The Dolls toured England in 1972, which was ruptured by Murcia's tragic alcohol-and-drugs-related death, bringing Jerry Nolan into the group. Signing to Mercury, they issued a self-titled debut, followed by Too Much Too Soon, but disappointing sales saw Mercury drop them. Live At Radio Luxembourg was recorded in December 1973 and features hot live versions of songs from these two seminal studio albums; with plenty of banter delivered in cod-French accents between the tracks, the set reveals the group in their prime, their no-limits attitude taking the form of raucous guitar riffs, shouted vocals, crashing drums and driving bass, and in addition to classic Dolls like "Puss N Boots" and "Jet Boy," there are some blues references too.
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PIC. DISC
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LR 358LP
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2014 release. Before punk rock had a name, its name was the New York Dolls. Recorded for a radio broadcast in Paris in December 1973, this is arguably THE best existing live recording of the Dolls in their prime, complete with stage banter, appalling attempts at fake French accents and a whole lot of drug fuelled attitude. It's almost as if you were there, and for those of us who weren't, this is definitely the next best thing. In addition to thrashing through their "hits," the Dolls revealed their roots in covers of Bo Diddley, Muddy Waters, and New York's original bad girls, the Shangri-Las.
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GET 54062LP
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"Too Much Too Soon, the second studio album by the legendary New York Dolls was first released in the spring of 1974. The record was laid down in New York with producer Shadow Morton. Morton, known for his work with the Shangri-Las, was brought in to the project by David Johansen despite (or perhaps because) Johnny Thunders wanted to produce the album. Though their self-titled debut with Todd Rundgren at the helm had received high praise from critics, the Dolls didn't like Rundgren. And Rundgren had little respect for the Dolls. Thunders and Johansen thought Rundgren's production watered down their sound. Rundgren was no fan of the group's raucous sound and attitude, to the point that he's even alleged to have yelled at them 'get the glitter out of your asses and play!' With Morton behind the boards Too Much Too Soon incorporated many of his trademark production techniques, familiar to Shangri-Las fans, mainly his use of sounds effects such as gunshots and highly present female backing vocals. Too Much Too Soon was well received by critics and fans who praised the band's raw sound and felt that it was improved by Morton's production. Over the years the New York Dolls legacy has only grown larger. Get on Down now presents this legendary dangerous, fun, soulful and unique piece of rock and roll history on hot pink vinyl."
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RUSLP 8266LP
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2007 release. "1972 earliest studio demos produced by Marty Thau. With Johnny Thunders, David Johansen, Sylvain Sylvain, 'Killer' Kane, and original drummer Billy Murcia."
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