The words innovative and iconic are muchly overused when describing bands in the twenty first century. Both are very much words that apply to New York Dolls. A band that championed excess and trashiness in every sense, they ushered in a sleazy style that joined The Stooges in laying the groundwork for punk, but also providing a core influence for the likes of Motley Crue and the LA glam metal scene that dominated MTV during a decade long after the Dolls first burst of stardom had burnt out.
If 1972 were the year where the 1970s took on its own distinctive image with glam rock flaunting its majesty in a peacock-like fashion, then 1973 was the year the beards fought back. Every up has its flipside and so it goes here. The polar opposite of Bolan’s optimism, 1973’s biggest selling albums included Pink Floyd’s ‘Dark Side of The Moon’ (a lavish concept album about depression and mental stability), The Who’s ‘Quadrophenia’ (a concept album about angst, youth and mental stability) and Mike Oldfield’s ‘Tubular Bells’, arguably the biggest foray into self-indulgent prog rock this side of Yes’ double platter bore-fest ‘Tales of Topographic Oceans’ (also released in 1973).
That’s not so say the great and accessible pop and rock had been swept away, of course. Nor that glam was dead – far from it, in fact. Sweet scored some big hit singles, Bolan told us the ‘Children of the Revolution’ couldn’t be fooled and one time hard rockers Slade escalated in popularity on the back of some great singles.