DAVID JOHANSEN
''DAVID JOHANSEN''
MAY 1978
35:38
1 Funky But Chic/David Johansen, Syl Sylvain 04:00
2 Girls/David Johansen, Syl Sylvain 03:37
3 Pain In My Heart/David Johansen 03:23
4 Not That Much/David Johansen, Buz Verno 03:01
5 Donna/David Johansen 04:27
6 Cool Metro/David Johansen, Syl Sylvain 03:54
7 I'm A Lover/David Johansen, Johnny Rao, Thomas Trask, Buz Verno 03:32
8 Lonely Tenement/David Johansen 04:12
9 Frenchette/David Johansen, Syl Sylvain 05:29
Bobbie Blain/Organ, Piano
Stan Bronstein/Horn
Felix Cavaliere/Organ
Sarah Dash/Vocals (Background)
Nona Hendryx/Vocals (Background)
David Johansen/Castanets, Chimes, Guitar, Vocals
Frankie La Rocka/Drums, Vocals
Gene Leppik/Vocals
Tony Machine/Percussion
Jimmie Mack/Vocals
Joe Perry/Guitar, Guitar (Rhythm)
Johnny Rao/Guitar
Scarlet Rivera/Violin
The Shrimps/Arranger
Syl Sylvain/Guitar
Thomas Trask/Guitar
Buz Verno/Bass, Vocals
REVIEW
by Mark Deming/AMG
David Johansen's self-titled solo debut bears a closer resemblance to his work with the New York Dolls than any of his subsequent recordings, but the former Dolls singer cleverly crafted an album that played to his former band's strengths while establishing an identity of his own and delivering a set of tight but powerful hard rock. Where the Dolls were frequently sloppy and poorly focused (if often gloriously so), David Johansen rocks with a cleaner but equally emphatic guitar attack (courtesy Johnny Rao and Thomas Trask), while Johansen's vocals are noticeably more powerful and sharper than his earlier music. Johansen's songs are more straightforward and less campy than his Dolls tunes; while "Funky But Chic" would have done his old glam buddies proud ("Mama says I look fruity, but in jeans I feel rotten"), the celebration of the fair sex in "Girls" and "I'm a Lover" cuts his former sexual ambiguity to the quick, and the tough rock & roll good times of "Cool Metro" and the girl-trouble commiseration of "Pain In My Heart" show Johansen could move into more conventional lyrical territory without losing his swagger or street smarts along the way. And while the Dolls didn't leave Johansen much room for slow songs where he could wear his heart on his sleeve, "Donna" and "Frenchette" allow him to do just that, and remarkably well. David Johansen in some respects seems like a deliberate attempt to sidestep much of the baggage that weighed down the New York Dolls in their bid for rock stardom, but at the same time its celebration of women and good times isn't simple or without its own appreciation of good danger, and it rocks out with a New York street vibe that has a life of its own; it's still Johansen's best solo work to date.
BIOGRAPHY
by Jason Ankeny/AMG
Best known for his tenure fronting the hugely influential New York Dolls, David Johansen was a true chameleon; throughout the course of a career which saw him transform from a lipstick-smeared proto-punk hero into an urbane blue-eyed soul man and finally into a tuxedo-clad lounge lizard, he remained a rock & roll original, an unpredictable iconoclast and a true cultural innovator. Born January 9, 1950, in Staten Island, NY, Johansen joined his first band, the Vagabond Missionaries, in his mid-teens. A tenure with Fast Eddie & the Electric Japs, as well as an attempt to mount a career as a theatrical actor, followed before a club-hopping Johansen met bassist Arthur Kane, who extended an invitation to join his band, Actress. After changing their name to the New York Dolls, the group began building a notorious reputation for their menacing, edgy music, drug-fueled lifestyle, and outrageously campy, drag queen-inspired glam image; although neither their eponymous 1973 debut nor 1974's Too Much Too Soon even cracked the Top 100, the Dolls established an enduring cult following, and their influence on the rise of punk was unmistakable.
the Dolls officially broke up in 1975, although Johansen and guitarist Syl Sylvain continued performing under the group's name for two more years. Finally, in 1977, Johansen entered the recording studio with his support group, the Staten Island Boys, to cut his self-titled solo debut; while it sold no better than the Dolls' records, it did renew the critics' love affair with the singer and his gritty, soulful voice. With producer Mick Ronson, he returned in 1979 with the Motown-influenced In Style, followed in 1981 by the commercial-minded Here Comes the Night. While 1982's concert set Live It Up won some airplay for its medley of the Animals hits "We Gotta Get Out of This Place," "It's My Life," and "Don't Bring Me Down," Johansen was forced to reassess his career when 1984's dance-flavored Sweet Revenge tanked. At the end of 1984 he resurfaced in the pompadoured guise of Buster Poindexter, a supposed ethnomusicologist armed with an expansive knowledge of R&B chestnuts. After debuting the Buster character at a series of mid-'80s downtown New York loft gigs with the Uptown Horns, Johansen continued honing the identity in the piano bars of Manhattan, establishing a lounge swinger persona which predated the lounge-kitsch revival of the mid-'90s by a decade.
As Poindexter's popularity grew, he began fronting a large band dubbed the Banshees in Blue and building a devoted following on the New York club circuit. In 1987, he issued an LP, Buster Poindexter, which featured the party classic "Hot Hot Hot," an effervescent cover of an obscure 1984 soca hit. In addition to reviving Johansen's career as a musical performer, Buster also renewed his long-dormant acting bug, and he was tapped to co-star in the 1988 features Married to the Mob and Scrooged. The character remained Johansen's focus in subsequent years as well, as evidenced by the albums Buster Goes Berserk in 1989 and Buster's Happy Hour in 1994. He maintained a relatively low profile in the years prior to the spring 2000 release of David Johansen & the Harry Smiths.
''DAVID JOHANSEN''
MAY 1978
35:38
1 Funky But Chic/David Johansen, Syl Sylvain 04:00
2 Girls/David Johansen, Syl Sylvain 03:37
3 Pain In My Heart/David Johansen 03:23
4 Not That Much/David Johansen, Buz Verno 03:01
5 Donna/David Johansen 04:27
6 Cool Metro/David Johansen, Syl Sylvain 03:54
7 I'm A Lover/David Johansen, Johnny Rao, Thomas Trask, Buz Verno 03:32
8 Lonely Tenement/David Johansen 04:12
9 Frenchette/David Johansen, Syl Sylvain 05:29
Bobbie Blain/Organ, Piano
Stan Bronstein/Horn
Felix Cavaliere/Organ
Sarah Dash/Vocals (Background)
Nona Hendryx/Vocals (Background)
David Johansen/Castanets, Chimes, Guitar, Vocals
Frankie La Rocka/Drums, Vocals
Gene Leppik/Vocals
Tony Machine/Percussion
Jimmie Mack/Vocals
Joe Perry/Guitar, Guitar (Rhythm)
Johnny Rao/Guitar
Scarlet Rivera/Violin
The Shrimps/Arranger
Syl Sylvain/Guitar
Thomas Trask/Guitar
Buz Verno/Bass, Vocals
REVIEW
by Mark Deming/AMG
David Johansen's self-titled solo debut bears a closer resemblance to his work with the New York Dolls than any of his subsequent recordings, but the former Dolls singer cleverly crafted an album that played to his former band's strengths while establishing an identity of his own and delivering a set of tight but powerful hard rock. Where the Dolls were frequently sloppy and poorly focused (if often gloriously so), David Johansen rocks with a cleaner but equally emphatic guitar attack (courtesy Johnny Rao and Thomas Trask), while Johansen's vocals are noticeably more powerful and sharper than his earlier music. Johansen's songs are more straightforward and less campy than his Dolls tunes; while "Funky But Chic" would have done his old glam buddies proud ("Mama says I look fruity, but in jeans I feel rotten"), the celebration of the fair sex in "Girls" and "I'm a Lover" cuts his former sexual ambiguity to the quick, and the tough rock & roll good times of "Cool Metro" and the girl-trouble commiseration of "Pain In My Heart" show Johansen could move into more conventional lyrical territory without losing his swagger or street smarts along the way. And while the Dolls didn't leave Johansen much room for slow songs where he could wear his heart on his sleeve, "Donna" and "Frenchette" allow him to do just that, and remarkably well. David Johansen in some respects seems like a deliberate attempt to sidestep much of the baggage that weighed down the New York Dolls in their bid for rock stardom, but at the same time its celebration of women and good times isn't simple or without its own appreciation of good danger, and it rocks out with a New York street vibe that has a life of its own; it's still Johansen's best solo work to date.
BIOGRAPHY
by Jason Ankeny/AMG
Best known for his tenure fronting the hugely influential New York Dolls, David Johansen was a true chameleon; throughout the course of a career which saw him transform from a lipstick-smeared proto-punk hero into an urbane blue-eyed soul man and finally into a tuxedo-clad lounge lizard, he remained a rock & roll original, an unpredictable iconoclast and a true cultural innovator. Born January 9, 1950, in Staten Island, NY, Johansen joined his first band, the Vagabond Missionaries, in his mid-teens. A tenure with Fast Eddie & the Electric Japs, as well as an attempt to mount a career as a theatrical actor, followed before a club-hopping Johansen met bassist Arthur Kane, who extended an invitation to join his band, Actress. After changing their name to the New York Dolls, the group began building a notorious reputation for their menacing, edgy music, drug-fueled lifestyle, and outrageously campy, drag queen-inspired glam image; although neither their eponymous 1973 debut nor 1974's Too Much Too Soon even cracked the Top 100, the Dolls established an enduring cult following, and their influence on the rise of punk was unmistakable.
the Dolls officially broke up in 1975, although Johansen and guitarist Syl Sylvain continued performing under the group's name for two more years. Finally, in 1977, Johansen entered the recording studio with his support group, the Staten Island Boys, to cut his self-titled solo debut; while it sold no better than the Dolls' records, it did renew the critics' love affair with the singer and his gritty, soulful voice. With producer Mick Ronson, he returned in 1979 with the Motown-influenced In Style, followed in 1981 by the commercial-minded Here Comes the Night. While 1982's concert set Live It Up won some airplay for its medley of the Animals hits "We Gotta Get Out of This Place," "It's My Life," and "Don't Bring Me Down," Johansen was forced to reassess his career when 1984's dance-flavored Sweet Revenge tanked. At the end of 1984 he resurfaced in the pompadoured guise of Buster Poindexter, a supposed ethnomusicologist armed with an expansive knowledge of R&B chestnuts. After debuting the Buster character at a series of mid-'80s downtown New York loft gigs with the Uptown Horns, Johansen continued honing the identity in the piano bars of Manhattan, establishing a lounge swinger persona which predated the lounge-kitsch revival of the mid-'90s by a decade.
As Poindexter's popularity grew, he began fronting a large band dubbed the Banshees in Blue and building a devoted following on the New York club circuit. In 1987, he issued an LP, Buster Poindexter, which featured the party classic "Hot Hot Hot," an effervescent cover of an obscure 1984 soca hit. In addition to reviving Johansen's career as a musical performer, Buster also renewed his long-dormant acting bug, and he was tapped to co-star in the 1988 features Married to the Mob and Scrooged. The character remained Johansen's focus in subsequent years as well, as evidenced by the albums Buster Goes Berserk in 1989 and Buster's Happy Hour in 1994. He maintained a relatively low profile in the years prior to the spring 2000 release of David Johansen & the Harry Smiths.
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