David Johansen, the face of the New York Dolls, had a unique journey. Raised in a middle-class family on Staten Island, his father worked in insurance, and his mother was a librarian. Unlike many artists, Johansen’s path was set on more creative avenues right from the start. In 1971, he was recruited to join the Dolls by bassist Arthur Kane and drummer Billy Murcia. I still remember my first concert with them in December 1972 at the Mercer Arts Center. I went in skeptical but left hooked, and my wife felt the same way after seeing them the following week. From there, it was a whirlwind of excitement, including a chance to sit in on their debut album sessions produced by Todd Rundgren.
Despite their local fame, the Dolls didn’t make a huge impact on the mainstream music scene at first. Their self-titled debut album and its follow-up, Too Much Too Soon, faced lackluster sales, failing to crack the Top 100. Yet, these albums have since gained recognition as masterpieces. One standout track, “Human Being,” captured Johansen’s spirit perfectly, echoing with the lyrics: “Well if I’m acting like a king, that’s because I’m a human being.” I once suggested these lines as a title for a criticism collection but ended up going with a different title.
The Dolls didn’t fade away after their albums didn’t hit the charts. They continued to perform, showcasing their unique style. My wife, Carola Dibbell, even reviewed one of their shows at Max’s Kansas City, noting how Johansen, even in tough times, held his ground with charisma and presence. He debuted songs like “Frenchette,” displaying his sharp lyrical wit. It was clear he wasn’t going anywhere despite the group’s ups and downs.
The band faced numerous challenges, including the tragic loss of original drummer Billy Murcia, who died from a drug overdose. Each member had their struggles, from Arthur Kane’s limited bass skills to Johnny Thunders’s tumultuous journey. Yet Johansen remained a constant in the music scene, pushing boundaries and challenging norms, paving the way for future generations.
Johansen’s influence stretched beyond just music. He contributed to the rise of gay pride and punk culture in rock. His style and presence helped break down stereotypes about masculinity in the music industry. The Dolls blended rock and roll with a raw edge, laying the groundwork for punk rock to flourish.
After the Dolls, Johansen enjoyed a diverse solo career, releasing notable albums between 1977 and 1982. Songs like “Girls” and “Funky but Chic” showcased his range and ability to evolve as an artist. He later introduced the character Buster Poindexter, who became a staple in New York’s club scene, further demonstrating his love for varied music styles. In 2005, Johansen reunited with the New York Dolls for an album titled Some Day It Will Please Us to Remember Even This, a nod to his enduring spirit.
While the later Dolls albums didn’t reach the same heights, Johansen continued to shine. A recent documentary by Martin Scorsese, Personality Crisis: One Night Only, captures the essence of Johansen at a time when he was battling cancer. The film highlights his performance at Cafe Carlisle, merging the worlds of rock and refined pop seamlessly.
There’s hope that Scorsese might release the unedited live set as a standalone feature. Amidst biographical details, the film reveals personal insights, including a modest statue of Buddha in Johansen’s garden, which he connects to his philosophy on life and creativity.
Johansen was never just about the Dolls. His legacy extends far beyond, reflecting a journey filled with resilience, creativity, and a desire to break boundaries in music.
For more reflections from Robert Christgau, check out his newsletter, And It Don’t Stop.
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