Personality Crisis: “Lipstick, Powder and Paint” Reveals New York Dolls’ Inspirations

“While I was layin’ in a hospital bed/A rock ‘n’ roll nurse went to my head/She says, ‘Hold out your arm, stick out yo’ tongue/I got some pills, boy, I’m ‘a give you one!”  It was no surprise that The New York Dolls – crown princes of debauchery, seventies-style – would include a cover of Bo Diddley’s oddly jaunty 1961 single “Pills” on their 1973 debut album.  While The Dolls – lead vocalist David Johansen, rhythm guitarist Sylvain Sylvain, bassist Arthur “Killer” Kane, lead guitarist Johnny Thunders and drummer Jerry Nolan (who replaced the late Billy Murcia) – might have emerged as a response to the studied musicianship of so-called progressive rock and the bright, sanitized sounds of bubblegum pop, their primal, savage and uninhibited style was descended from any number of influences.  Motown, Blues, doo wop, soul, rockabilly, and especially Brill Building-era girl groups all figured into the Dolls’ heady, deliciously trashy rock-and-roll punk brew.  On the occasion of the fortieth anniversary of that seismic debut New York Dolls, Ace has anthologized the music that inspired the flamboyant band with Lipstick, Powder and Paint!  The New York Dolls Heard Them Here First.

The 24-track anthology compiled by Ian Johnston and Mick Patrick brings together the original versions of songs covered by the Dolls and the solo Johansen and Thunders.  These range from expected choices such as “Pills” or The Jayhawks’ “Stranded in the Jungle,” to tracks that might surprise a casual fan like Erma Franklin’s “Piece of My Heart” or Gary U.S. Bonds’ “Seven Day Weekend.”  The latter, recorded by The Dolls on a 1973 demo released in 1992, has the raucous, hedonistic spirit that The Dolls so admired.  Bonds’ throaty vocal brings grit to the infectious Doc Pomus/Mort Shuman tune with its doo-wop backing vocals and honking saxophone solo.  It’s far from the only track here from that early rock-and-roll era.  The Coasters, those supreme R&B jokesters, are heard with 1963’s “Bad Detective,” recorded in primitive style by Johansen and co. on 1974’s Too Much Too Soon.  It has the bop-shoo-bops, boogedy-boogedy-shoos and rama-lama-ding-dongs lampooned in the musical Grease, and it’s at least a spiritual cousin in comedy to another song also covered for that same album, The Jayhawks’ goofy, spoken/sung “Stranded in the Jungle” (1956).

The blues is a less obvious inspiration on debut New York Dolls and Too Much Too Soon, the second and final album by the original iteration of the group.  But in addition to Bo Diddley’s “Pills,” the group also demoed Otis Redding’s Stax burner “Don’t Mess with Cupid” and Muddy Waters’ immortal “I’m Your Hoochie Coochie Man.”  Similarly, one might not think to draw a line between The New York Dolls and the smooth Philadelphia soul from the team of Kenny Gamble and Leon Huff, but Ace does just that by selecting Archie Bell and the Drells’ “(There’s Gonna Be a) Showdown” and Wilson Pickett’s Memphis-by-way-of-Philly “International Playboy.”  The Dolls brought a slow, menacing feel to the former on Too Much Too Soon, while David Johansen’s lounge-singin’, novelty-slingin’ alter ego Buster Poindexter recorded the rough-hewn (by Philly standards, at least!) “Playboy” for 1989’s Buster Goes Berzerk.

There’s much more after the jump, including the complete track listing with discographical annotation, and order links!

Out of the Shadow(s): Morton’s Story Features Shangri-Las, Vanilla Fudge, New York Dolls

A scrappy street fighter with a knack for teenage melodrama, George “Shadow” Morton lived with a “self-invented mythology,” in the words of Jerry Leiber.  But his work with The Shangri-Las, Janis Ian, The New York Dolls and many more solidified Morton’s place as a real-life “leader of the pack.”  Ace’s new anthology Sophisticated Boom Boom: The Shadow Morton Story (CDTOP 1369) brings the songwriter and producer out of the shadow and into the (spot)light.

In a 1968 Time Magazine blurb:, Morton once claimed, “I am the greatest producer in the business.  I am also an egomaniac.”  But whether it was ego or a pure creative spark driving him, Morton was responsible for some of the most vivid records to emerge out of the 1960s.  Expertly compiled and annotated by Mick Patrick, Sophisticated Boom Boom plucks 24 tracks from Morton’s career as a producer, a songwriter or both.  Presented chronologically and accompanied by nearly 40 pages of Patrick’s liner notes, this is the definitive account of the man’s musical history.

Think of Shadow Morton and the group that usually comes to mind is the Shangri-Las, so it’s no surprise that four tracks from the Mary Weiss-led quartet feature here.  What is surprising, however, is that “Leader of the Pack” isn’t one of them.  The 1964 No. 1 hit – perhaps the epitome of the “death disc” – forever established the Shangri-Las as the toughest gals in town with a series of remarkable records for Jerry Leiber and Mike Stoller’s Red Bird label.  With spoken introductions, sound effects, dramatic vocals and a rather foreboding atmosphere, The Shangri-Las’ records as produced and written by Morton were true mini-movies.

So although Patrick opted to leave out that crucial part of The Shadow Morton Story, the sweeping, melodramatic style of Morton and the girls is represented with the equally-powerful “Remember (Walkin’ in the Sand)” (heard here in a previously unissued alternate version), ebullient “Give Him a Great Big Kiss,” lesser-known Mercury side “I’ll Never Learn,” and the Red Bird record that perhaps was the team’s zenith: “Past, Present and Future.”  This unusual psychodrama recited by Mary Weiss over a Beethoven-inspired backdrop of theatrical strings unsurprisingly stalled at No. 59 on the U.S. Pop chart, but today stands apart for its completely singular quality.  In the liner notes, Billy Joel offers memories of playing on the session for “Remember (Walkin’ in the Sand).”

There’s more on Shadow after the jump, including the complete track listing with discography and order link!

Kick Out The Jams: Omnivore, Rhino Team for “CBGB” with The Police, Talking Heads, Television, MC5

Though CBGB closed its doors at 315 Bowery on October 15, 2006 following a concert by Patti Smith, the legendary New York club never truly disappeared.  Though plans to open a new location in Las Vegas fell through – some might say, mercifully! – Hilly Krystal’s famous club has survived in spirit.  CBGB Radio launched in 2010, the CBGB Festival of music hit the Big Apple in 2012, and the original awning even migrated to Cleveland’s Rock and Roll Hall of Fame.  This October, CBGB gets another lease on life with the release of director Randall Miler’s big-screen CBGB, starring Alan Rickman as the colorful proprietor Kristal.  The star of stage (Private Lives) and screen (Harry Potter) is joined by an ensemble including Johnny Galecki, Rupert Grint, Bradley Whitford, Malin Ackerman and Ryan Hurst for the film opening October 11 in New York, Los Angeles and other select cities.

No great rock film is complete, however, without a great soundtrack.  Omnivore Recordings and Rhino Records are teaming up to bring this musical portrait of CBGB to life.  On October 8, Omnivore will release CBGB: Original Motion Picture Soundtrack on CD and 2-LP vinyl, with the first vinyl edition to be pressed on translucent pink vinyl.  With Omnivore handling the physical release, Rhino will issue the digital version of the album.  Exclusive digital-only tracks are promised.

Though Hilly Kristal originally planned CBGB as a home for Country, BlueGrass and Blues, it wasn’t long after the club’s founding in 1973 that it became a hotbed for New York’s vivid underground music scene.  Punk, new wave, and later, hardcore all became closely identified with CBGB, and the nightspot became part of the big city’s lifeblood.  The Patti Smith Group, Joan Jett, The B-52s, Blondie, Talking Heads and the Ramones all made splashes on Kristal’s small but immensely influential stage.

What will you find on the soundtrack album?  Just hit the jump!  We’ll also have the full track listing and pre-order links!

Culture Factory Reveals “Supreme” Slate with Motown, James Taylor, Robert Palmer and More [UPDATED]

UPDATE: In the days since this article has been posted, Culture Factory has revised the street dates for all of the titles mentioned here.  See below for corrected information as of March 28, 2013.

ORIGINAL POST OF 3/25: Since its inaugural wave of releases in 2011, the Culture Factory label has carved out a niche in the catalogue field. Artists such as Robert Palmer, Hot Tuna, Paul Williams, Bob Welch, The Flamin’ Groovies, Sylvie Vartan, Rare Earth and The Motels are all among the recipients of the Culture Factory treatment. The label’s modus operandi finds the original album with no bonus tracks or additional liner notes packaged in a Japanese-style paper sleeves with an OBI strip. The CD label itself resembles black vinyl with period label art. All discs are remastered with 96 kHz/24-bit technology (although playback in that high resolution is not possible as these are standard “redbook”44/16 compact discs playable in all units). The next waves of releases from Culture Factory widen the label’s scope further, with campaigns dedicated to a classic singer-songwriter, some diverse and well-chosen rockers, and perhaps most tantalizingly, choice offerings from the “Sound of Young America.”

On April 30, Culture Factory will reissue two albums from West, Bruce and Laing, another two from Walter Egan, and a trio of titles from James Taylor.  Amped-up blues-rock was the order of the day when Jack Bruce of Cream joined forces with Leslie West and Corky Laing of Mountain to form a new power trio.  The union was short-lived but burned brightly; Clive Davis recalled fierce competition in signing the band to CBS/Columbia.  West, Bruce and Laing ultimately recorded just three albums (two in the studio, and one live) before disbanding, though Jack Bruce’s son Malcolm replaced his dad in a revised band line-up years later, in 2009.  WB&L’s second studio album, 1973’s Whatever Turns You On, and the 1974 live album/swansong Live ‘n’ Kickin’ have both been selected for the Culture Factory treatment.

1977’s Fundamental Roll and 1978’s Not Shy kicked off the career of singer-songwriter Walter Egan.  Not Shy was co-produced by Fleetwood Mac’s Lindsey Buckingham and Richard Dashut and yielded the gold-selling single “Magnet and Steel,” for which Egan is still best known today.  “Magnet and Steel” was, of course, inspired by Stevie Nicks.  She sang background vocals on the song, and had worked with Buckingham and Egan on Fundamental Roll.

James Taylor’s first three albums for Columbia round out Culture Factory’s April 30 slate.  1977’s JT was nominated for the Album of the Year Grammy, and Taylor picked up the trophy for his sublime revival of Otis Blackwell and Jimmy Jones’ “Handy Man.”  Other highlights include the upbeat “Your Smiling Face” and reflective “Secret o’ Life.”  JT followed JT with 1979’s Flag, which included his two songs for the Broadway musical Working (“Millworker” and “Brother Trucker”) as well as covers of The Beatles’ “Day Tripper” and Carole King and Gerry Goffin’s “Up on the Roof.”  The latter became a Top 30 U.S. hit and is still a signature song for Taylor.  1981’s Dad Loves His Work introduced the No. 1 Pop single duet with co-writer J.D. Souther, “Her Town, Too.”

After the jump: the lowdown on titles from Robert Palmer, the New York Dolls, Edgar Winter, .38 Special, and a certain Miss Ross!  Plus: pre-order links for all titles!