Ramones Album: “Ramones [Remaster]”

This is an absolutely amazing album. Originally clocking in at under thirty minutes with fourteen tracks, it started an era that still holds true today. "Blitzkrieg Bop" truely was the shot heard 'round the world. And "Beat On The Brat", their ode to rich mothers' children, keeps the album rocking all the way through. "Judy Is A Punk" is based off of two Ramones fans, Jackie and Judy, who were always seeming to get into trouble. The Ramones would later do a less successful sequel to the song on the Phil Spector-produced "End Of The Century". Speaking of Spector, "I Wanna Be Your Boyfriend" sounds something right out of the early sixties. It's excellent. The entire album is fantastic, and defines true punk.

Okay, to clear something up. Some people are saying that the Ramones are more pop-punk, and that they did not actually start the era, but artists like The Stooges, New York Dolls, the Velvet Underground, T. Rex, and MC5 did. This is both true and false. Those five artists may have helped start an all-new sound, but the Ramones were more influenced by the likes of the Beach Boys and The Beatles than any of those three. They wanted to play music that was unlike anything else at the time, becasue like many others they were dissatisfied with the current pompous and exaggerated music. When this album was released in 1976, it sparked hundreds of other bands, calling themselves "Punk". The Ramones were the first band to truely be a punk-rock band. Once that was established, The Stooges and those bands becames known as Pre-Punk.

Buy this album.

Some artists enter the recording studio for their first album in a sort of embryonic state; the subsequent debut disc usually bears little resemblance to the band they will later become. (I'm thinking of the likes of the Beatles, Pink Floyd, Radiohead, even U2.)Then there are those bands that seem to have been born fully developed; the acts for which virtually every sound or type of song that they would ever produce was present on the first album. The Ramones are a textbook example of this phenomenon. Though they would change producers a whole bunch and would occasionally turn down the amps and add some backing keyboards, strings, vocals, etc. they would never really venture far from the blueprint of the three chord blasts of overdriven noise pop that made up their self-titled first album.

At a distance of more than thirty years from this release, it's hard to remember how utterly revolutionary this sounded back in 1976. Up to then, if you were using a distorted guitar in your rock, you were a Hard Rock/Heavy Metal act, or possibly an offshoot of this like Glam or Southern Rock, period. There was no "Punk Rock". You played plodding stuff at generally slow tempos. Fretboard prowess and extended lead guitar histrionics was a must; no self-respecting Rock act just slammed out power chords with no solos. Five to seven minute songs was the norm; two minutes was barely enough time to get through the first verse.

The Ramones came up with something no one had thought of -- a 60's AM radio sensibility (tuneful melodies, songs lasting less than three minutes, fast tempos) applied to simple songs about teenage, New York or just "I Wanna/I Don't Wanna" topics thrashed out over the din of the hard-edged wall of cranked Marshall amps (featuring Johnny Ramone's all-downstroke, barre-chorded Mosrite guitar in one channel and Dee Dee Ramone's "root of the chord only" bass work in the other.) Though their approach was influenced by the likes of the Stooges, New York Dolls and even the Beach Boys, the Ramones created a strikingly original hybrid of sound and presentation. And they stuck with it. Even their earliest demos sound pretty much the same as the album...any of their albums.

The wall of sound created by these four Forest Hills, Queens natives was like white noise from some distant galaxy to most ears in that Bicentennial year. It didn't seem to have originated on the same planet as "Frampton Comes Alive" or "Rumours", two of the biggest selling albums that were released within a year of this subversive little disc, which can be seen as the first shot in the battle against bloated corporate rock of the mid-70's. By the way, this album also predates every British punk album---the earliest, by the Damned, was released about 10 months after this. Given the Ramones live appearances in London in the summer of 1976, there is little doubt that the "brothers" from Queeens were a prime influence on British Punk.

This album still sounds fresh and exiting after nearly a third of a century. The entire Ramones album (14 songs in its initial incarnation--22 songs here with some bonus demos and mixes) takes almost a half an hour to hear but usually requires much longer to digest completely. The first spin usually results in a puzzled look on the listener's face and questions like, "What's with that accent?" "Are there really only two lines of lyrics in that whole song?" "Is it supposed to sound like this?" "Doesn't the word 'Basement' have two syllables?" "Is this a joke?"

Eventually though, most listeners get pulled in by the afore-mentioned wall of guitar sound driven by the propulsive beat provided by Tommy Ramone (it's amazing to focus on how gently he's actually hitting the drums to get those sounds--he is not a skin pounder of the Keith Moon/John Bonham school of rock drumming and stays away from elaborate fills or accents) and the Queens-by-way-of-a-phony-British-accent-sounding vocals of Joey, the tallest Ramone.

Most listeners start to "get it" by the second or third listen, and once you're hooked, you realize how crafty the Ramones are to have come up with something that seems so dumb at first but sounds so brilliant in hindsight. Though they are serious about their art, don't overlook their sense of humor here. The "brothers" Ramone weren't going to crack their deadpan scowls to let you know about it, but let's face it: lines like "Sent to spy on a Cuban talent show, first stop, Havana Go Go" or "Texas Chainsaw Massa CREE, they took my baby away from me" are just plain funny. Though occasionally touching on some disturbing subject matter such as male prostitution, Nazism or the misuse and abuse of power tools, model cement, sports equipment, girlfriends and children, the Ramones debut album is mostly just cartoon violence and fun, and is performed with a manic energy and wit that had been sorely missing from Rock music for many years prior to this release.

The Ramones consistency and stubborn resistance to evolution actually ended up working against them in the long run. What was startlingly new and different in the 70's eventually caused them to be viewed as a conservative anachronism by the mid-90's as other bands developed and refined what they started. Upstarts who were in diapers or elementary school when this record was first released went on to eclipse their idols in record sales and popularity while using virtually the same sonic blueprint as the Ramones by the 1990's.(I'm talking about you,Green Day, Offspring, Rancid, etc.)

The Ramones disc is an impressive debut and though they produced several more fine albums over the next 20 years (the best ones are the ones released in the next few years from this one), the first album is nearly as good as it gets in the Ramones catalog. It is recommended highly for those with a love of loud, fast Rock-N-Roll. It's the kind of historical document that is also a heap of fun to listen to repeatedly. And it's great to hear what it sounds like when a full grown adult band with a snotty adolescent brain springs forth from the womb and assaults the planet with its own peculiar and influential brand of Rock-n-Roll.

Review no. 127. Essential 1976 body slammin' proto-punk debut record from Joey and crew. Blistering cuts that'll having you literally playing this CD over until you wear it out (possibly)are "Blitzkrieg Bop", "Judy Is A Punk", the in-your-face "I Don't Wanna Go Down To The Basement", the total *ss-kicking "Havana Affair" and "Let's Dance". Plus, you get six added bonus tracks of demos of the band's repertoire. One thing I'll give The Ramones is they DIDN'T just stay together for two or three lp's LIKE so many other punk bands did, like the Stooges, New York Dolls, Dead Boys, MC 5, etc. They remained intact for twenty years, plus they were active all if not most of that time. Too bad three out of four of them are no longer with us. Highly recommended.

When this debut album by the RAMONES came out in 1976, it was perhaps the most revolutionary rock album since the BEATLES White Album. It was certainly the most original and influential album of the late 1970's and possibly more so than anything that has been released since then.

Some might be skeptical of my first paragraph, until you realize that the RAMONES (and this album) didn't just introduce the no-holds barred, autobahn fast, three chord punk rock genre to the world; but the RAMONES also influenced the creation of new branches of heavy metal - namely, speed and thrash metal.

And their influence didn't just stop there: In the early and mid-80's us goths were into bands like Depeche Mode, the Smiths, Joy Division, The Cure, Bauhaus, Love and Rockets, etc....all of us ALSO wore RAMONES shirts, we loved the Ramones, and we still do. Robert Smith of the Cure and Martin Gore of Depeche Mode have both worn RAMONES shirts onstage and cite them as influences. This is in no small part due to their lyrics being so dark and reflective of teen alienation with society. The sadly deceased Johnny Ramone would probably roll over in his grave if he knew that he and his band were being lumped into the same category with those goth bands that I just named....but...sorry Johnny, your band will always be one of our favorites.

Is this a "heavy metal" album (or band) as some reviewers below say? Well, I remember that they opened for Black Sabbath back in the 70's not long after this album came out. After a few minutes, the audience of metal hippies threw bottles and other trash at the Ramones, and ran them off the stage. Apparently, metal fans at that time were partial to these slow, drawn out, twenty minute songs with the long wanky guitar solos. The Ramones (whose songs on this album all clocked in under three minutes, and around only two) didn't buy into this, so the Ramones musical style as opposed to the heavy metal of the 70's was much different (though, again, they would influence many later heavy metal genres and bands....metal bands like Motorhead, Slayer, Metallica, Guns N Roses, Anthrax, and many other bands cite the Ramones as huge influences).

So, the Ramones "metal?" Well, all I can say is that if it floats your boat then call them what you want...hell, if calling the Ramones a metal band will make you like the band and buy their albums (esp. this one), then you can call em' a polka band, a jazz band, whatever for all I care. Just buy this record, you won't regret it.

My personal opinion? The Ramones not only hold the patent on punk rock, they were punk rock back in the days when "punk" meant something more than overpriced Hot Topic shirts from the shopping mall or car pool rides to Good Charlotte concerts with your mom and little sister. Oy Vay. Enjoy this album.

They were so stupid they were brilliant. Their songs were so short they were mini-symphonies. The formula was so obvious it took four drug-addled kids who could barely hold their instruments, much less play them, from a suburb of New York City to discover it... and once they discovered it, the world of music would never be the same. The Ramones--Joey, Johnny, Dee Dee, and Tommy--were the least likeliest of geniuses, and that is what made them great.

The Ramones were the troublemakers at the pearly gates of rock'n'roll, and when no one was looking, busted the party wide open way back Bicentennial 1976. Trampling over the bloated likes of the Eagles, Elton John, Led Zeppelin, the Rolling Stones, and Pink Floyd, the Ramones paved the way for a whole rowdy slew of malcontents. All the upstarts, the dreamers, the misfits, the outcasts, the loners who didn't quite have the courage to begin before then suddenly found the Ramones holding the freak flag high: "Hey-ho, let's GO!" and it was all up for grabs...

I'm not going to get into the old argument about who the first punk band was. That's not really what this review is about. But this is definitely an album that every punk rocker owned back in the day when there were about three punk rock albums ever, so think about that!

You know the drill: songs under three minutes, most not reaching two-and-a-half, three buzz-saw guitar chords, a nasally, Brooklyn-by-way-of-the-UK singer, and the cute/dumb cartoon lyrics:

"Beat on the brat

"Blitzkrieg Bop" opens the album, and if ever there was a more perfect Song One, Side One, then I don't know it. This is what the Ramones always would be about: a glorious, blissfully infectious tune celebrating the sheer unstoppable joy of rock'n'roll.

A baker's dozen of classics, hot on the heels of this one, follow in breathless, breakneck speed, slowing down only so Dee Dee can count off one more time: "1-2-3-4!" The minute-and-a-half "Judy is a Punk" introduces the type of characters that will populate Ramones' songs for the next two decades. Tough, nutty, mental cases whose sole allegiance is to, well, the Ramones. Count me in!

"53rd and 3rd" has claimed its place as one of the Ramones finest songs. Its downbeat, mid-tempo grind is refreshing after the previous on-slaught, and its realistic lyrics are an unexpected, um, treat. It's a street's-eye view of degradation without exploitation or moralizing.

"53rd and 3rd--Standing on the street

Whew. Troubled Dee Dee lived a hair-raising life in pursuit of heroin, but he doesn't glorify it. In fact, besides the hilarious "Now I Wanna Sniff Some Glue," the Ramones refused to do songs about serious drugs. Johnny Thunders they weren't.

So, 14 songs in 26 minutes. Before you know it, the whole album is over, but it leaves you exhilirated, inspired, dizzy. Just imagine what it must've been like to hear it in 1976! You're left with only a buzzing in your ears and a desire to figure out just a couple chords on that old guitar you never quite got the hang of. It's all power chords, baby! That's rock'n'roll. I recently listened to this album on vinyl, and it was amazing, pure aural amphetamine.

These new Rhino remasters do the Ramones every justice, with demos, lovely liner notes, rare photos (really!), lyrics and little note from long-time pal Arturo Vega about the loss of our pinhead leader. You need this, man.