‘Mr Cool’: The greatest solo song from any New York Doll
Of course, punk was never a ‘Year Zero’. While sincere in its insurrectionary mission statement, its lineage can be traced through the hippies’ initial radicalism, the early beat garage bands of the 1960s, and the feral rock and rollers that birthed popular music as we know it today.
Yet, above The Velvet Underground and even The Stooges, no other band can claim quite such an elemental bridge as New York Dolls. Formed during the American glam era, the Dolls’ smeared lipstick drag and trashy glamour unleashed everything fun and sexy rock was supposed to be, giving a high-heeled boot up the charts still clogged with double denim singer-songwriters. Dropping their debut record in 1973, New York Dolls would prove a touchstone for the ensuing punk generation.
Standing with imposing height among the Dolls was bassist Arthur ‘Killer’ Kane. Striking the crowd with his aggressive style of playing and boutique store fashion sense, Kane cut a mean presence among the band, slouching sullenly on their debut’s iconic cover, as well as possessing a stiff and steely stage move when wielding his bass. ‘Killer’ proved the perfect nickname, a description by a journalist witnessing his playing style, inspired by his childhood love for the Buck Rogers villain.
Yet, drugs, alcohol, and inept management—involving future Sex Pistols Svengali Malcolm McLaren—saw the Dolls disintegrate in 1975, with members Johnny Thunders and Jerry Nolan abandoning the tour in Florida and returning to their New York home city. Recruiting old Bronx pal Blackie Goozeman of later WASP fame to fill in Thunders’ place, a creative spark saw the pair of Kane and Blackie head to Los Angeles after the tour and assemble as a new band. They cut a three-track EP in 1976, which saw scant attention upon release but boasts a hard rock number that not even Thunders and his Heartbreakers ever matched.
Opening Killer Kane Band’s sole release is ‘Mr Cool’, a gutter rock piece that introspectively wanders the trappings of fame and the grim reality’s clash with a superstar’s ego. The track is both haunting and driving, veering between gentle guitar percolations before a jagged fuzz attack interrupts the serenity with an anguished rockstar howl. It’s the ultimate hangover theme, depicting a washed-up rocker who knows they’ve hit rock bottom but just cannot give up the lifestyle.
Issued via Whiplash Records, Killer Kane Band triggered a string of failed projects and dead-end jams, leading to an increasing bitterness toward Kane’s other bandmates, who had found success. In the throes of depression after a failed marriage and an alcohol problem, a chance encounter of New York Dolls frontman David Johansen’s turn in the Scrooged comedy film while channel surfing sparked such a rage that he threw himself out of his second-storey apartment window, suffering a minor brain injury and speech issues from then on.
Joining the Church of Jesus Christ of Latter-day Saints in 1989 and living a quiet, reclusive life, it appeared Kane was done with rock and roll for good. Yet, years later, upon Morrissey’s behest as curator of the 2004 Meltdown festival, an urging for the remaining New York Dolls to play saw Kane pick up the bass and play the Royal Festival Hall to acclaim. Just 22 days later, he passed from leukaemia at 55 years old.
The New York Dolls’ show was a brief but joyous resolution in Kane’s troubled life, but his story has its defining theme with ‘Mr Cool’, a capture of failed dreams and waning hope that sincerely offers a window into his soul deeper than any Dolls’ cut.
