One Day It Will Please Us to Remember Even This
One Day It Will Please Us to Remember Even This is the third studio album by the American hard rock band New York Dolls. It was the group's first release of original material since their 1974 album "Too Much Too Soon". The album was produced by Jack Douglas and written mostly by band members David Johansen and Sylvain Sylvain. "One Day It Will Please Us to Remember Even This" was released by Roadrunner Records on July 24, 2006, in the United Kingdom and July 25 in the United States . It charted at number 129 on the U.S. "Billboard" 200 and received positive reviews from most critics. Background. At the behest of Morrissey, David Johansen, Sylvain Sylvain, and Arthur Kane reunited the Dolls to perform at the 2004 Meltdown Festival in London, with Steve Conte, Brian Delaney and Brian Koonin joining the band for the performance. Shortly after the show, Kane died due to undiagnosed leukemia, leaving Johansen and Sylvain as the only living original members. Sami Yaffa replaced Kane on bass when they returned to the studio for this album. The title is a reference to Virgil's "Aeneid , 1.203: forsan et haec olim meminisse iuvabit". Guest artists on the album include Michael Stipe, Laura Jane Grace, and Iggy Pop. A special limited edition version of the album was released with the bonus track "Seventeen" featuring blues musician Bo Diddley and a making-of-the-album DVD entitled "On the Lip". The album cover was featured in the iPod nano 4th generation poster. Johansen said of the album, "It's a rock'n'roll record, and not a lot of people make rock'n'roll records today. They make weird marching music, or Hitler Youth rally music. Sheesh, there are some fucked-up  records out there." Critical reception. "One Day It Will Please Us to Remember Even This" was met with generally positive reviews. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream publications, the album received an average score of 75, based on 25 reviews. Reviewing the album for "Spin", Doug Brod hailed it as "a striking return to form" for the band, while "Q" magazine called it a "career highlight" in the group's discography. According to "Dotmusic" writer Jamie Gill, the album succeeded as a resolute "back to basics rock record" and weltering exploration of  decadent rock and roll. Andrew Perry from "The Observer" felt it was the kind of boisterous, playful collection of songs "which, genuinely, nobody has the spirit or wit to put together these days". In the opinion of "Rolling Stone"s David Fricke, the intense record reconciled the frenzied music of the band's early years with the matured formalism of David Johansen's 1978 self-titled solo album. AllMusic's Mark Deming believed the songs were philosophical, multisyllabic, and surprisingly intellectual for a group that was once decadent and fashionably punk. Writing in "Blender", Robert Christgau deemed Johansen a "far more  practiced and studied" songwriter, who "mourns mortality and celebrates contingency in the most searching lyrics of the year—lyrics deepened by how much fun the band is having"; he assigned it an "A+" grade in his "Consumer Guide" review. Some reviewers expressed reservations. "Pitchfork" journalist Stuart Berman observed a less provocative style from the New York Dolls, writing that they sounded too humbled and restrained. Greg Kot of the "Chicago Tribune" said the band's new members lacked "personality", while "NME" magazine dismissed the new line-up as "an above-average pub-rock band". Charlotte Robinson from "PopMatters" was confounded  by the songwriting and described the album as "an odd little number perched somewhere between being embarrassing Dolls-by-numbers and true to the original band's memory". Leonie Cooper of "The Guardian" found the "beefed-up production and Johansen's more gravelly voice" predictable, although he felt their songwriting had matured. At the end of 2006, "One Day It Will Please Us to Remember Even This" appeared on several critics' lists of the year's best albums. It was voted the 43rd best record of the year in "The Village Voice"s annual Pazz & Jop poll and was ranked 29th  by "The Observer", 27th by "Mojo", 17th by "Blender", 12th by "Rolling Stone", 8th by "Classic Rock", and 4th by "Hits". Christgau named it his album of the year, and in 2009, he ranked it as the ninth best album of the 2000s decade. Personnel. Credits are adapted from the album's liner notes.