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Ramones (album)

January 17, 2023

This article is about the Ramones' debut album. For the cover album by Screeching Weasel, see Ramones (Screeching Weasel album).

Ramones is the debut studio album by American punk rock band The Ramones, released on April 23, 1976, by Sire Records. After Hit Parader editor Lisa Robinson saw the band at a gig in New York City, she wrote about them in an article and contacted Danny Fields, insisting that he be their manager. Fields agreed and convinced Craig Leon to produce Ramones, and the band recorded a demo for prospective record labels. Leon persuaded Sire president Seymour Stein to listen to the band perform, and he later offered the band a recording contract. The Ramones began recording in January 1976, needing only seven days and $6,400 to record the album.

Ramones
Studio album by
the Ramones
ReleasedApril 23, 1976 (1976-04-23)
RecordedFebruary 2–19, 1976
StudioPlaza Sound, Radio City Music Hall in New York
GenrePunk rock
Length29:04
LabelSire
Producer
Ramones chronology
Ramones
(1976) 		Leave Home
(1977)
Singles from Ramones
  1. "Blitzkrieg Bop"
    Released: February 1976
  2. "I Wanna Be Your Boyfriend"
    Released: September 1976

The album cover, photographed by Punk magazine's Roberta Bayley, features the four members leaning against a brick wall in New York City. The record company paid only $125 for the front photo, which has since become one of the most imitated album covers of all time. The back cover depicts an eagle belt buckle along with the album's liner notes. After its release, Ramones was promoted with two singles, which failed to chart. The Ramones also began touring to help sell records; these tour dates were mostly based in the United States, though two were booked in Britain.

Violence, drug use, relationship issues, humor, and Nazism were prominent in the album's lyrics. The album opens with "Blitzkrieg Bop", which is among the band's most recognized songs. Most of the album's tracks are uptempo, with many songs measuring at well over 160 beats per minute. The songs are also rather short; at two-and-a-half minutes, "I Don't Wanna Go Down to the Basement" is the album's longest track. Ramones contains a cover of the Chris Montez song "Let's Dance".

Ramones was unsuccessful commercially, peaking at number 111 on the US Billboard 200, though it received glowing reviews from critics. Many later deemed it a highly influential record, and it has since received many accolades, such as the top spot on Spin magazine's list of the "50 Most Essential Punk Records". Ramones is considered an influential punk album in the US and UK, and had a significant impact on other genres of rock music, such as grunge and heavy metal. The album was ranked at number 33 in Rolling Stone's 2003 list of the 500 Greatest Albums of All Time, maintaining the ranking in a 2012 revision and dropping to number 47 in the 2020 reboot of the list.[1][2][3] It was placed first in the Rolling Stone 100 Best Debut Albums of All Time list in 2022.[4] It was certified gold by the Recording Industry Association of America in 2014.[5]

Background

Ramones began playing gigs in mid-1974, with their first show at Performance Studios in New York City.[6] The band, performing in a style similar to the one used on their debut album, typically performed at clubs in downtown Manhattan, specifically CBGB and Max's Kansas City.[7] In early 1975, Lisa Robinson, an editor of Hit Parader and Rock Scene, saw the fledgling Ramones performing at CBGB and subsequently wrote about the band in several magazine issues. The group's vocalist Joey Ramone related that "Lisa came down to see us, she was blown away by us. She said that we changed her life; she started writing about us in Rock Scene, and then Lenny Kaye would write about us and we started getting more press like The Village Voice. Word was getting out, and people starting coming down."[8] Convinced that the band needed a recording contract, Robinson contacted Danny Fields, former manager of the Stooges, and argued that he needed to manage the band. Fields agreed because the band "had everything [he] ever liked,"[8] and became the manager in November 1975.[9]

On September 19, 1975, Ramones recorded a demo at 914 Sound Studios, which was produced by Marty Thau. Featuring the songs "Judy Is a Punk" and "I Wanna Be Your Boyfriend", the band used the demo to showcase their style to prospective labels.[10][11] Producer Craig Leon, who had seen the Ramones perform in the summer of 1975, brought the demo to the attention of Sire Records' president Seymour Stein.[9][12][13] After being persuaded by Craig Leon and his ex-wife Linda Stein, Ramones auditioned at Sire and were offered a contract, although the label had previously signed only European progressive rock bands.[10][14] Drummer Tommy Ramone recalled: "Craig Leon is the one who got us signed, single handed. He brought down the vice president and all these people—he's the only hip one in the company. He risked his career to get us on the label."[9][15] The label offered to release "You're Gonna Kill That Girl" as a single, but the band declined, insisting on recording an entire album. Sire accepted their request and agreed to release a studio album instead.[12][16]

Recording and production

 
Ramones was recorded on the eighth floor of Radio City Music Hall.

In January 1976 the band took a break from their live performances to prepare for recording at Plaza Sound studio.[17] Sessions began later that month and were completed within a week for $6,400;[18][19] the instruments took three days and the vocal parts were recorded in four days.[20] In 2004, Leon admitted that they recorded Ramones quickly due to budget restrictions, but also that it was all the time they needed.[21]

"Doing an album in a week and bringing it in for $6,400 was unheard of, especially since it was an album that really changed the world. It kicked off punk rock and started the whole thing—as well as us."

—Joey Ramone[22]

The band applied microphone placement techniques similar to those which many orchestras used.[23] The recording process was a deliberate exaggeration of the techniques used by the Beatles in the early 1960s, with a four-track representation of the devices. The guitars can be heard separately on the stereo channels—electric bass on the left channel, rhythm guitar on the right—drums and vocals are mixed in the middle of the stereo mix.[24] The mixing of the production also used more modern techniques such as overdubbing, a technique used by studios to add a supplementary recorded sound to the material. The band also used a technique known as doubling, where the vocal line used is sung twice.[21]

Recording for the album was expanded by Mickey Leigh (Joey's brother) and Leon with percussion effects, which went unmentioned in the liner notes to the album's release.[17] Author Nicholas Rombes said that the production's quality sounded like "the ultimate do-it-yourself, amateur, reckless ethic that is associated with punk," but concluded that they approached the recording process with a "high degree of preparedness and professionalism."[25]

Lyrics and composition

The songs on Ramones addressed several lyrical themes including violence, male prostitution, drug use, and Nazism. While the moods displayed in the album were often dark,[26] Johnny said that when writing the lyrics they were not "trying to be offensive."[27] Many songs from the album have backing vocals from different guests. Leigh sang backing vocals on "Judy Is a Punk", "I Wanna Be Your Boyfriend", and in the bridge of "Blitzkrieg Bop". Tommy sang backing vocals on "I Don't Wanna Walk Around with You", "Judy Is a Punk", and during the bridge of "Chain Saw".[28] The album's engineer, Rob Freeman, sang backing vocals for the final refrain of "I Wanna Be Your Boyfriend". Leon wrote in the booklet for the album's 2016 reissue that when layered background vocals appear on the album, they are primarily Freeman's contributions combined with some of Leon and Dee Dee's, and a great deal by Leigh, "all compiled and compressed to create an effective cyborg backing vocal creature."[29] The album's length is 29 minutes and four seconds and it contains 14 tracks.[19] On the original issue of the album, all the original songs were credited to "the Ramones" collectively.

The opening "Blitzkrieg Bop" was written by Tommy, and originally named "Animal Hop".[30] Once Dee Dee reviewed the lyrics, the band changed the wording, the name, and partially the theme.[31] According to Tommy, the song's original concept was about "kids going to a show and having a good time", but the theme became more Nazi-related after its revision.[31] The piece begins with an instrumental interval which lasts about 20 seconds. At the 20th second, the guitar and bass cease, marking Joey's first line, "Hey ho, let's go!" The bass and guitar gradually rebuild and become "full–force" once all the instruments play together in ensemble.[32] The piece resolves by repeating what is played from 0:22–0:33.[32] Stephen Thomas Erlewine from AllMusic described "Blitzkrieg Bop" as a "three-chord assault."[33][34]

"When I lived in Birchwood Towers in Forest Hills with my mom and brother. It was a middle-class neighborhood, with a lot of rich, snotty women who had horrible spoiled brat kids. There was a playground with women sitting around and a kid screaming, a spoiled, horrible kid just running around rampant with no discipline whatsoever. The kind of kid you just want to kill. You know, 'beat on the brat with a baseball bat' just came out. I just wanted to kill him."

—Joey Ramone on "Beat on the Brat"[20]

"Beat on the Brat" was said by Joey to have origins relating to the upper class of New York City. Dee Dee, however, explained that the song was about how Joey saw a mother "going after a kid with a bat in his [apartment building's] lobby and wrote a song about it."[35]

"Judy Is a Punk" – written around the same time as "Beat on the Brat" — was written by Joey after he walked by Thorny Croft, an apartment building "where all the kids in the neighborhood hung out on the rooftop and drank."[36] The song's lyrics are fictional and refer to two juvenile offenders in Berlin and San Francisco and their possible deaths at the conclusion of the song.[36] "Judy Is a Punk" is the original album's shortest track at 1:39; it is partially derived from the Burl Ives 1953 folk song, “There Was An Old Lady Who Swallowed A Fly”.[37]

"I Wanna Be Your Boyfriend" – the album's slowest song – was solely written by Tommy and pays homage to love songs by pop music acts of the 1960s. The song used a 12-string guitar, glockenspiel, and tubular bells in its composition,[38] and was said by author Scott Schinder to be an "unexpected romantic streak".[39]

"Chain Saw" opens with the sound of a running circular saw and was influenced by the 1974 horror film The Texas Chain Saw Massacre. At nearly 180 beats per minute, "Chain Saw" had the fastest tempo of the album's songs and, according to Rombes, is the most "home-made" sounding.[40]

"Now I Wanna Sniff Some Glue" contains four lines of minimalist lyrics that depict youthful boredom and inhaling solvent vapors found in glue. "I hope no one thinks we really sniff glue," said Dee Dee. "I stopped when I was eight [years old]."[41] Dee Dee also explained that its concept came from adolescent trauma.[41] After several songs by the Ramones whose titles began with "I Don't Want to ...", Tommy said that "Now I Want to Sniff Some Glue" is the first positive piece on the album.[36] The song served as an inspiration for one of the first punk fanzines, Mark Perry's Sniffin' Glue.[36][42]

"I Don't Wanna Go Down to the Basement" is also minimalist, and inspired by horror movies. The entire text is composed of three lines, and the composition was based on three major chords. With a playing time of 2:35, it is the longest piece on the album.[41] (Asked about the bathroom at CBGB, Debbie Harry remarked: "I think that song from the Ramones is partially about that: 'I don't wanna go down to the basement ... ' As kids, we never wanted to go down to the basement cos it was so dark and scary. And that toilet was certainly very scary.")[43]

"Loudmouth" has six major chords and is harmonically complex.[44] The song's lyrics are — depending on the reading and punctuation — a single row or four very brief lines.[45]

"Havana Affair" has a lyrical concept incorporating the comic strip Spy vs. Spy by Cuban-born illustrator Antonio Prohias.[46][47] At roughly 170 beats per minute, "Loudmouth" and "Havana Affair" proceed at about the same tempo.[46]

"Havana Affair" segues into "Listen to My Heart" – the first of many Ramones songs to voice an ironic and pessimistic perspective on a failing or failed relationship.[46]

 
Street signs at the intersection of East 53rd Street and Third Avenue in Midtown Manhattan. The song "53rd and 3rd" is based on the street's reputation for male prostitution.

Written solely by Dee Dee, the lyrics of "53rd & 3rd" concern a male prostitute ("rent boy"), waiting at the corner of 53rd Street and Third Avenue in Midtown Manhattan. When the prostitute gets a customer, he kills the customer with a razor to prove he is not a homosexual.[48] In interviews, Dee Dee described the piece as autobiographical. "The song speaks for itself," Dee Dee commented in an interview. "Everything I write is autobiographical and written in a very real way, I can't even write."[49] Johnny insisted that the song is about "Dee Dee turning tricks."[50] The half-sung and half-shouted bridge in "53rd and 3rd" are performed by Dee Dee, whose voice is described by author Cyrus Patell as what "breaks the deliberate aural monotony of the song and emphasizes the violence of the lyric."[51]

"Let's Dance" is a cover version of the hit song by Chris Montez,[28] featuring Leon playing Radio City's large Wurlitzer pipe organ.[38]

"I Don't Want to Walk Around with You" consists of two lyric lines and three major chords. One of the group's earliest compositions, written at the beginning of 1974, it was the opener on their first demo.[39][52]

"I Don't Wanna Walk Around with You" segues into the closing track "Today Your Love, Tomorrow the World", which refers to a Hitler Youth member.[17][50] Seymour Stein complained about its original lyrics — "I'm a Nazi, baby, I'm a Nazi, yes I am. I'm a Nazi Schatze, y'know I fight for the Fatherland" — insisting the track was offensive. When he threatened to remove the track from the album, the band put together alternate lyrics: "I'm a shock trooper in a stupor, yes I am. I'm a Nazi Schatze, y'know I fight for the Fatherland." Stein accepted the revision and it was duly released.[50][53]

Artwork and packaging

 
The back cover to the Ramones album was designed by artist Arturo Vega, who produced the photo of a belt buckle in a photo booth.[54]

Initially, the Ramones wanted an album cover similar to Meet the Beatles! (1964) and subsequently had pictures taken in that style by Danny Fields but Sire was dissatisfied with the results. The art direction was by Toni Wadler and, according to cartoonist John Holmstrom, the "Meet The Beatles" cover idea came out "horribly".[55] Wadler later chose a photo by Roberta Bayley, a photographer for Punk magazine for the cover. The black and white photograph on the front of the album was originally in an issue of Punk.

The cover photo features (from left to right) Johnny, Tommy, Joey and Dee Dee Ramone, staring at the camera with blank faces. They are all wearing ripped/faded blue jeans and leather jackets, standing upright against the brick wall of a private community garden called Albert's Garden, located in the Bowery neighborhood of New York City between the Bowery and Second Street.[54][55] The stance of the group members in the photograph would influence their future cover designs as well, with the majority of their succeeding albums using a picture of the band on the front cover.[54] Music historian Legs McNeil states that "Tommy [is] standing on his tip-toes and Joey [is] hunched over a bit."[55] The back cover art, which depicts a belt buckle with a bald eagle and the band's logo, was designed by Arturo Vega.[54] Liner notes on the back cover fail to acknowledge backing vocalists and additional instrument players. Leigh, who performed backing vocals on several tracks, asked guitarist Johnny why he was not mentioned on the record's credits. Johnny replied: "We didn't want people to get confused with who's in the band or who's not. It's our first album, you know, and we didn't want people to get confused."[55]

The artwork became one of the most imitated album covers in music. The image of a band in front of a brick wall dressed in ripped jeans and leather jackets was copied by Alvin and the Chipmunks in Chipmunk Punk.[55] Ramones's artwork was ranked number 58 on Rolling Stone's 1991 list of 100 Greatest Album Covers.[56]

Promotion

Singles

There were two singles released from the album: "Blitzkrieg Bop" and "I Wanna Be Your Boyfriend". The first was released in February 1976, originally as a 7" split single with "Havana Affair" as its B-side.[57] The release, along with the Ramones 2001 Expanded Edition, featured "Blitzkrieg Bop" remixed as a single version,[58][59] although it maintains a time of two minutes and twelve seconds.[60] On January 6, 2004, Rhino Entertainment re-released "Blitzkrieg Bop" as a CD single, using "Sheena Is a Punk Rocker" as its B-side.[61] "I Wanna Be Your Boyfriend" was released in September 1976 as a 7" single. It included live versions of "California Sun" and "I Don't Wanna Walk Around with You" as B-sides, recorded at the Roxy Theater in West Hollywood in August 1976.[57][62] "I Wanna Be Your Boyfriend" was also released in the UK, giving the band a presence in the European marketplace.[63] Even though the song saw some success in the UK and Europe, it failed to chart in the top 50.[64]

Touring

 
The Ramones performing in 1976 in Toronto.

In 1974 the band played 30 performances, nearly all at the New York-based club CBGB. All but one of the band's 1975 gigs were booked for New York City, with Waterbury, Connecticut as the exception. After the album's recording, the Ramones headlined for very few shows, usually opening for an identified cover band which played Aerosmith and Boston. When they opened at Brockton, Massachusetts, the audience appeared extremely uninterested in the Ramones so Johnny swore off playing as an introduction for other bands.[65] Following this, Fields booked several headlining shows around the Tri-state area, and they began playing frequently at gigs like CBGB and Max's Kansas City. After performing with Blondie in New Jersey, they continued their tour to Boston, Massachusetts for three shows.[66] Leigh later said of the tour:

Travelling was difficult. Most of the time, it was just Danny Fields, me, and the members of the band. We'd get two rooms in the hotel, three of us in each. They couldn't afford any more help at that point, so the band had to pitch in unloading the equipment. I'd play the drums during sound checks, while Tommy went out to the board and mixed the sound—and instructed the soundman not to fuck with the settings. We would enlist the aid of any fan willing to help us load out at the end of the night.[66]

At the time, Leigh was road manager, stage manager, chauffeur, and head of security. Vega, who contributed to the album's packaging, helped out with the road crew as much as possible. Tommy's friend Monte Melnick occasionally helped with the audio output, but this was typically done by Leigh.[66]

Following their debut album's release, the band performed at over 60 concerts for its promotion.[67] While most of the gigs were booked in North America, two dates—July 4 and 5—were in London's Roundhouse venue and Dingwalls, respectively. Linda Stein pushed to make these events happen, setting up the band performances in the UK during the United States Bicentennial. Fields relates: "On the two-hundredth anniversary of our freedom, we were bringing Great Britain a gift that was forever going to disrupt their sensibilities."[68] The band sold out for their first London performance, with an audience of roughly 3,000.[69] Leigh described the Dingwalls gig as very similar to performances at CBGB.[70] Likewise, these venues in future were headlined by other punk bands like the Clash and Sex Pistols.[67][71] The band performed over 100 concerts the following year.[67]

Reception

Professional ratings
Review scores
SourceRating
AllMusic     [33]
The Austin Chronicle     [72]
Christgau's Record GuideA[73]
The Guardian     [74]
Mojo     [75]
NME10/10[76]
Q     [77]
The Rolling Stone Album Guide     [78]
Spin Alternative Record Guide10/10[79]
Uncut     [80]

Ramones was released on April 23, 1976, by Sire Records and received glowing reviews. In May, John Rockwell of the New York Times published a rave review, saying: "What the Ramones do is deliver a nonstop set of short, brisk, monochromatically intense songs. ... conventional considerations of pace and variety are thrown calculatedly to the winds. The ingredients are simplicity itself." Rockwell noted: "the effect in the end amounts to an abstraction of rock so pure that other associations get left behind."[81] Nick Kent favourably commented in the NME: "This record poses a direct threat to any vaguely sensitive woofer and/or tweeter lodged in your hi-fi ...".[82] Reviewing that same month in The Village Voice, Robert Christgau said that, while the power of the band's music draws from "fairly ominous sources" like Nazi imagery and brutality, he cannot deny the "sheer pleasure" of the music: "For me, it blows everything else off the radio: it's clean the way the Dolls never were, sprightly the way the Velvets never were, and just plain listenable the way Black Sabbath never was."[83] In July, Paul Nelson of Rolling Stone wrote in 1976 that the album was similar to early rock and roll, and was constructed using rhythm tracks of great intensity.[84] In August, Creem dubbed The Ramones as "The most radical album of the past six years", saying: "[it] is so strikingly different, so brazenly out of touch with prevailing modes as to constitute a bold swipe at the status quo." Reviewer Gene Sculatti saw it as "a rock 'n' roll reactionary's manifesto" ... "a sharp wedge between the stale ends of a contemporary music scene bloated with graying superstars and overripe for takeover."[85] Critic Joe S. Harrington declared that the album was a huge landmark for music history, proclaiming that "[it] split the history of rock 'n' roll in half." Theunis Bates, a writer for Time, summed the album up with: "Ramones stripped rock back to its basic elements ... lyrics are very simple, boiled-down declarations of teen lust and need."[86] Bates also said that it "is the ultimate punk statement."[86] Charles M. Young of Rolling Stone regarded Ramones as "one of the funniest rock records ever made and, if punk continues to gain momentum, a historic turning point."[87] Kris Needs of ZigZag declared that the album's "mutant vocals and ultra-simplicity of the music and lyrics do take some getting used to, but once you get past the curiosity stage, the effect can be shattering, especially at high volume" and that it was "impossible to mention highlights, 'cos the whole album's a highlight, geared and stripped down for maximum energy and effect."[88]

"I love this record—love it—even though I know these boys flirt with images of brutality (Nazi especially) in much the same way 'Midnight Rambler' flirts with rape. This makes me uneasy. But my theory has always been that good rock and roll should damn well make you uneasy ..."

—Robert Christgau[83]

Later reviews of Ramones tended to praise the album's influence on rock music. In 1995, Jeff Tamarkin of The AllMusic Guide to Rock said that the album ignited the punk rock era, writing: "rock's mainstream didn't know what hit it."[86] In 2001, April Long of NME rewarded the album with a perfect score, remarking that the Ramones were "arguably the most influential band ever," despite their lack of mainstream acceptance.[76] Stephen Thomas Erlewine of AllMusic also deemed the album influential, saying "In comparison to some of the music the album inspired, The Ramones sounds a little tame—it's a little too clean, and compared to their insanely fast live albums, it even sounds a little slow."[33] The album's sound was considered by Erlewine to be "all about speed, hooks, stupidity, and simplicity."[33]

Regardless of this critical acclaim, Ramones was not successful commercially. It only reached No. 111 on the US Billboard 200,[89] and sold 6,000 units in its first year.[90] Outside the US, the album peaked at No. 48 on the Swedish Sverigetopplistan chart.[91]

The album was included in Spin magazine's List of Top Ten College Cult Classics (1995), where it was noted that "everything good that's happened to music in the last fourteen years can be directly traced to the Ramones."[92] Also in 1995, the Spin Alternative Record Guide named it the No. 1 alternative rock album.[92] In 2001, the magazine also included the album in its special issue 25 Years of Punk with a list of The 50 Most Essential Punk Records, where it resided at the top spot.[93] That same year, it was named the fourth best punk album by Mojo, who called it the "coolest, dumbest, simplest, greatest rock'n'roll record ever to be cut by four sweet, dysfunctional screw-ups."[94]

The band was inducted into the Rock and Roll Hall of Fame at the 2002 induction ceremony, with the website stating that their first album changed the rock genre from "bloated and narcissistic", to "basic" rock and roll.[6][95] In 2003, Ramones was considered by Spin's Chuck Klosterman, Greg Milner, and Alex Pappademas to be the sixth most influential album of all time. They noted that the album "saved rock from itself and punk rock from art-gallery pretension."[96] Q Magazine included the album in their "100 Greatest Albums Ever" (2003) list, where it was listed at No. 74.[97] In 2006, it was chosen by Time as one of the 100 greatest albums ever.[98] Ramones was included in Chris Smith's 2009 book 101 Albums That Changed Popular Music, who said the album "opened a whole new world of garage rock for those fed up with the excesses of existing rock gods."[99] It was also included in the 2005 book 1001 Albums You Must Hear Before You Die.[100] In 2010, it was ranked as the greatest debut album of the year in 1976.[101] It was placed first in the Rolling Stone 100 Best Debut Albums of All Time list in 2022.[4] The album went gold in the US just after its 38th anniversary, certified by the RIAA on April 30, 2014.[5]

In 2016, Rhino Records announced[102] the July 29 release of a 40th-anniversary deluxe edition comprising three CDs and one LP, including stereo and mono mixes of the original album; single mixes, outtakes and demos; and a live 1976 performance.

Legacy and influence

Ramones is considered to have established the musical genre of punk rock, as well as popularizing it years afterward. Rombes wrote that it offered "alienated future rock", and that it "disconnected from tradition."[103] The album was the start of the Ramones' influence on popular music, with examples being genres such as heavy metal,[104] thrash metal,[105] indie pop,[106] grunge,[107] post-punk,[108] and most notably, punk rock.[109] The Rock and Roll Hall of Fame said of their influence on rock in general:

When the [Ramones] hit the street in 1976 with their self-titled first album, the rock scene, in general, had become somewhat bloated and narcissistic. The Ramones got back to basics: simple, speedy, stripped-down rock and roll songs. Voice, guitar, bass, drums. No makeup, no egos, no light shows, no nonsense. And though the subject matter was sometimes dark, emanating from a sullen adolescent basement of the mind, the group also brought cartoonish fun and high-energy excitement back to rock and roll.[6]

Despite the lack of popularity in its era, the importance of the album for the development of punk rock music was incredible, influencing many of the most well-known names in punk rock, including the Damned, the Clash, Black Flag, Misfits, and Green Day. Billie Joe Armstrong, singer for Green Day, explained his reasoning for listening to the band: "they had songs that just stuck in your head, just like a hammer they banged right into your brain."[109] The album also had a great impact on the English punk scene as well, with the bassist for Generation X, Tony James, saying that the album caused English bands to change their style. "When their album came out," commented James, "all the English groups tripled speed overnight. Two-minute-long songs, very fast."[110] In another interview, James stated that "Everybody went up three gears the day they got that first Ramones album. Punk rock—that rama-lama super fast stuff—is totally down to the Ramones. Bands were just playing in an MC5 groove until then."[95] In 1999, Classic Albums by Collins GEM recognized Ramones as the start of English punk rock and called it the fastest and hardest music that could possibly be concocted, stating: "The songs within were a short, sharp exercise in vicious speed-thrash, driven by ferocious guitars and yet halting in an instant. It was the simple pop dream taken to its minimalist extreme."[86] In 2012 the album was preserved by the National Recording Registry, deeming it "culturally, historically, and aesthetically significant."[111]

Cover versions and tributes

Each song on Ramones has been covered by various bands. Sonic Youth covered "Beat on the Brat" on their 1987 EP Master=Dik,[112] as did Weird Al Yankovic on the Dr. Demento Covered in Punk LP (2018).[113] In 1991, German punk band Die Toten Hosen played "Blitzkrieg Bop" on their cover album Learning English, Lesson One.[114] A tribute album titled Gabba Gabba Hey: A Tribute to the Ramones was released on August 30, 1991. It contained the songs "Now I Wanna Sniff Some Glue", "53rd & 3rd", "I Don't Wanna Go Down to the Basement", "Loudmouth", and "Beat on the Brat".[115] Screeching Weasel released Ramones (1992), which consisted of the band performing the entire album track list.[116] 1998's Blitzkrieg Over You!: A Tribute to the Ramones featured a cover "Judy Is a Punk" in German,[117] and in 2000, both "Blitzkrieg Bop" and "Beat on the Brat" appeared on Dee Dee Ramone's solo release Greatest & Latest.[118] The compilation album Ramones Maniacs included Youth Gone Mad's version of "Blitzkrieg Bop" (featuring a guest appearance by Dee Dee Ramone) and Yogurt's rendition of "Beat on the Brat".[119] "Blitzkrieg Bop", "Havana Affair", "I Wanna Be Your Boyfriend", and "Now I Wanna Sniff Some Glue" were all covered on The Song Ramones the Same.[120] We're a Happy Family: A Tribute to Ramones (2003) featured several of the album's songs covered by bands like Red Hot Chili Peppers ("Havana Affair"), Rob Zombie ("Blitzkrieg Bop"), Metallica ("53rd & 3rd"), U2 ("Beat on the Brat"), Pete Yorn ("I Wanna Be Your Boyfriend"), and John Frusciante ("Today Your Love, Tomorrow the World").[121] In 2006, "Blitzkrieg Bop" was reworked into a children's song on the album Brats on the Beat: Ramones for Kids.[122]

Track listing

All tracks originally credited to the Ramones (except "Let's Dance"). Actual writers are listed alongside the tracks.

Side one
No.TitleWriter(s)Length
1."Blitzkrieg Bop"Tommy Ramone, Dee Dee Ramone2:12
2."Beat on the Brat"Joey Ramone2:30
3."Judy Is a Punk"Joey Ramone1:30
4."I Wanna Be Your Boyfriend"Tommy Ramone2:24
5."Chain Saw"Joey Ramone1:55
6."Now I Wanna Sniff Some Glue"Dee Dee Ramone1:34
7."I Don't Wanna Go Down to the Basement"Dee Dee Ramone, Johnny Ramone2:35
Side two
No.TitleWriter(s)Length
8."Loudmouth"Dee Dee Ramone, Johnny Ramone2:14
9."Havana Affair"Dee Dee Ramone, Johnny Ramone2:00
10."Listen to My Heart"Dee Dee Ramone1:56
11."53rd & 3rd"Dee Dee Ramone2:19
12."Let's Dance" (Chris Montez cover)Jim Lee1:51
13."I Don't Wanna Walk Around With You"Dee Dee Ramone1:43
14."Today Your Love, Tomorrow the World"Dee Dee Ramone2:09
Total length:29:04
2001 expanded edition CD[60][123]
No.TitleWriter(s)Length
15."I Wanna Be Your Boyfriend" (demo)Tommy Ramone3:02
16."Judy Is a Punk" (demo)Joey Ramone1:36
17."I Don't Care" (demo)Joey Ramone1:55
18."I Can't Be" (demo)Ramones1:56
19."Now I Wanna Sniff Some Glue" (demo)Dee Dee Ramone1:42
20."I Don't Wanna Be Learned/I Don't Wanna Be Tamed" (demo)Ramones1:05
21."You Should Never Have Opened That Door" (demo)Dee Dee Ramone, Johnny Ramone1:54
22."Blitzkrieg Bop" (single version)Tommy Ramone, Dee Dee Ramone2:12
Total length:43:06
Notes

2016 40th anniversary deluxe edition

CD 1

Original album
  • Remastered original stereo version (tracks 1-14). Source: original stereo master from Plaza Sound, 1976.
  • 40th anniversary mono mix (tracks 15-28). Source: original multi-track tapes transferred to 192/24 digital and original mix notes. Mixed at Abbey Road Studios, London, 2016 by Sam Okell and Craig Leon, assisted by John Bartlett.
  • Track listings as per original album.

CD 2

Single mixes, outtakes and demos
No.TitleWriter(s)Length
1."Blitzkrieg Bop" (original stereo single version)Tommy Ramone, Dee Dee Ramone2:12
2."Blitzkrieg Bop" (original mono single version)Tommy Ramone, Dee Dee Ramone2:11
3."I Wanna Be Your Boyfriend" (original stereo single version)Tommy Ramone2:25
4."I Wanna Be Your Boyfriend" (original mono single version)Tommy Ramone2:27
5."Today Your Love, Tomorrow the World" (original uncensored vocals)Dee Dee Ramone2:12
6."I Don't Care" (demo)Joey Ramone2:01
7."53rd & 3rd" (demo)Dee Dee Ramone2:23
8."Loudmouth" (demo)Dee Dee Ramone, Johnny Ramone2:16
9."Chain Saw" (demo)Joey Ramone2:01
10."You Should Never Have Opened That Door" (demo)Dee Dee Ramone, Johnny Ramone1:44
11."I Wanna Be Your Boyfriend" (demo)Tommy Ramone1:53
12."I Can't Be" (demo)Ramones2:02
13."Today Your Love, Tomorrow the World" (demo)Dee Dee Ramone2:13
14."I Don't Wanna Walk Around With You" (demo)Dee Dee Ramone1:55
15."Now I Wanna Sniff Some Glue" (demo)Dee Dee Ramone1:45
16."I Don't Wanna Be Learned/I Don't Wanna Be Tamed" (demo)Ramones1:17
17."You're Gonna Kill That Girl" (demo)Joey Ramone2:51
18."What's Your Name" (demo)Joey Ramone2:57
Total length:39:09
Notes
  • Tracks 1 and 2 mixed by Rob Freeman and Craig Leon at Plaza Sound, Radio City Music Hall, New York, 1976.
  • Tracks 3 and 4 mixed by Shelly Yakus and Craig Leon at the Record Plant, New York, 1976.
  • Track 5 mixed by Sam Okell and Craig Leon at Abbey Road Studios, London, 2016.
  • Tracks 6-18 recorded at Dick Charles Studios, New York, 1975. Produced by T. Erdelyi and engineered by Jack Malken. Source: 2-track masters transferred to 192/24 digital.
  • Tracks 5, 7-9, 11, 13, 14 and 17 are previously unissued.

CD 3

Live at the Roxy, Hollywood, CA, August 12, 1976
  • Contains two full live sets recorded the same evening.
Set 1
No.TitleWriter(s)Length
1."Loudmouth" (live)Dee Dee Ramone, Johnny Ramone2:13
2."Beat on the Brat" (live)Joey Ramone2:36
3."Blitzkrieg Bop" (live)Tommy Ramone, Dee Dee Ramone2:13
4."I Remember You" (live)Joey Ramone2:17
5."Glad to See You Go" (live)Joey Ramone, Dee Dee Ramone2:03
6."Chain Saw" (live)Joey Ramone1:51
7."53rd & 3rd" (live)Dee Dee Ramone2:27
8."I Wanna Be Your Boyfriend" (live)Tommy Ramone2:22
9."Havana Affair" (live)Dee Dee Ramone, Johnny Ramone1:55
10."Listen to My Heart" (live)Dee Dee Ramone1:45
11."California Sun" (live)Glover, Levy1:58
12."Judy Is a Punk" (live)Joey Ramone1:23
13."I Don't Wanna Walk Around With You" (live)Dee Dee Ramone1:31
14."Today Your Love, Tomorrow the World" (live)Dee Dee Ramone2:09
15."Now I Wanna Sniff Some Glue" (live)Dee Dee Ramone1:28
16."Let's Dance" (live)Lee2:09
Total length:64:40
Set 2
  • Track listing for set 2 (tracks 17-32) as per set 1.
Notes
  • Recorded by the Record Plant Mobile Unit; produced by Craig Leon and engineered by Gary Ladinsky.
  • Tracks 1-16 (set 1) mixed by Shelly Yakus and Craig Leon at the Record Plant, New York, 1976.
  • Tracks 17-32 (set 2) mixed by Sam Okell and Craig Leon, assisted by John Bartlett, at Abbey Road Studios, London, 2016. Source: original 16-track tapes transferred to 192/24 digital.

LP

Original album
  • 40th anniversary mono mix. Track listing as per original album.

Personnel

Credits adapted from AllMusic,[125] except otherwise noted.

Ramones

Additional musicians

Technical

  • Craig Leon – producer, mixing[29]
  • Tommy Ramone – associate producer (credited as T. Erdelyi)
  • Rob Freeman – engineer, mixing[29]
  • Don Hunerberg – assistant engineer
  • Greg Calbi – mastering
  • Roberta Bayley – photography, cover photo
  • Arturo Vega – photography, back cover

Charts

Chart (1976) Peak
position
Swedish Albums (Sverigetopplistan)[128] 46
US Billboard 200[129] 111
Chart (2011) Peak
position
Italian Albums (FIMI)[130] 67
Chart (2016) Peak
position
German Albums (Offizielle Top 100)[131] 44
Spanish Albums (PROMUSICAE)[132] 76
Chart (2020) Peak
position
Belgian Albums (Ultratop Flanders)[133] 173

Certifications

Region Certification Certified units/sales
United Kingdom (BPI)[134] Silver 60,000 
United States (RIAA)[135] Gold 500,000^

^ Shipments figures based on certification alone.
  Sales+streaming figures based on certification alone.

Release history

Region Year Label Format Catalog Ref
Worldwide release 1976 Sire Records LP SR-6020 [33][136]
Worldwide release 1996 WEA CD WPCR-1805 [136][137]
Worldwide release 1999 WEA CD WEA 1805 [136][138]
Worldwide release 2001 Rhino CD RR-7520 [136][139]
Worldwide release 2001 Rhino CS RR 74306 [136][140]
Worldwide release 2004 Phantom Import Distribution CD 7599274212 [136][141]
Worldwide release 2005 Rhino CD WPCR75060 [136][142]
Worldwide release 2006 Sire CD 7599274212 [136][143]
UK release 2006 Phantom Import Distribution LP EU9103253P [136][144]
Worldwide release 2006 WEA LP WEA-24323-5 [136][145]
Worldwide release 2007 WEA CD WEA-7506-0 [136][146]
US release 2008 Wrong Records CD RR-9274-21 [136][147]
Worldwide release 2010 Warner CD 79796 [136][148]
Worldwide release 2011 Rhino LP 8122797667 [136][149]
Worldwide release 2012 Hi Horse Records LP HH 75200 [136][150]

Notes

  1. ^ Tommy Ramone performed backing vocals on at least "Chain Saw".[28]
  2. ^ Craig Leon performed additional guitar on at least "I Wanna Be Your Boyfriend".[127]
  3. ^ Craig Leon performed backing vocals on at least "I Wanna Be Your Boyfriend".[90]
  4. ^ Mickey Leigh performed backing vocals on at least "Blitzkrieg Bop", "Judy Is a Punk", "I Wanna Be Your Boyfriend", "Chain Saw" and "I Don't Wanna Walk Around with You".[28]
  5. ^ Rob Freeman performed backing vocals on at least "I Wanna Be Your Boyfriend".[28]

References

Citations

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Bibliography

Further reading

External links

  • Ramones at Discogs (list of releases)

January 17, 2023
ramones, album, this, article, about, ramones, debut, album, cover, album, screeching, weasel, ramones, screeching, weasel, album, ramones, debut, studio, album, american, punk, rock, band, ramones, released, april, 1976, sire, records, after, parader, editor,. This article is about the Ramones debut album For the cover album by Screeching Weasel see Ramones Screeching Weasel album Ramones is the debut studio album by American punk rock band The Ramones released on April 23 1976 by Sire Records After Hit Parader editor Lisa Robinson saw the band at a gig in New York City she wrote about them in an article and contacted Danny Fields insisting that he be their manager Fields agreed and convinced Craig Leon to produce Ramones and the band recorded a demo for prospective record labels Leon persuaded Sire president Seymour Stein to listen to the band perform and he later offered the band a recording contract The Ramones began recording in January 1976 needing only seven days and 6 400 to record the album RamonesStudio album by the RamonesReleasedApril 23 1976 1976 04 23 RecordedFebruary 2 19 1976StudioPlaza Sound Radio City Music Hall in New YorkGenrePunk rockLength29 04LabelSireProducerCraig Leon T Erdelyi associate producer Ramones chronologyRamones 1976 Leave Home 1977 Singles from Ramones Blitzkrieg Bop Released February 1976 I Wanna Be Your Boyfriend Released September 1976The album cover photographed by Punk magazine s Roberta Bayley features the four members leaning against a brick wall in New York City The record company paid only 125 for the front photo which has since become one of the most imitated album covers of all time The back cover depicts an eagle belt buckle along with the album s liner notes After its release Ramones was promoted with two singles which failed to chart The Ramones also began touring to help sell records these tour dates were mostly based in the United States though two were booked in Britain Violence drug use relationship issues humor and Nazism were prominent in the album s lyrics The album opens with Blitzkrieg Bop which is among the band s most recognized songs Most of the album s tracks are uptempo with many songs measuring at well over 160 beats per minute The songs are also rather short at two and a half minutes I Don t Wanna Go Down to the Basement is the album s longest track Ramones contains a cover of the Chris Montez song Let s Dance Ramones was unsuccessful commercially peaking at number 111 on the US Billboard 200 though it received glowing reviews from critics Many later deemed it a highly influential record and it has since received many accolades such as the top spot on Spin magazine s list of the 50 Most Essential Punk Records Ramones is considered an influential punk album in the US and UK and had a significant impact on other genres of rock music such as grunge and heavy metal The album was ranked at number 33 in Rolling Stone s 2003 list of the 500 Greatest Albums of All Time maintaining the ranking in a 2012 revision and dropping to number 47 in the 2020 reboot of the list 1 2 3 It was placed first in the Rolling Stone 100 Best Debut Albums of All Time list in 2022 4 It was certified gold by the Recording Industry Association of America in 2014 5 Contents 1 Background 2 Recording and production 3 Lyrics and composition 4 Artwork and packaging 5 Promotion 5 1 Singles 5 2 Touring 6 Reception 7 Legacy and influence 7 1 Cover versions and tributes 8 Track listing 8 1 2016 40th anniversary deluxe edition 9 Personnel 10 Charts 11 Certifications 12 Release history 13 Notes 14 References 15 Further reading 16 External linksBackground EditRamones began playing gigs in mid 1974 with their first show at Performance Studios in New York City 6 The band performing in a style similar to the one used on their debut album typically performed at clubs in downtown Manhattan specifically CBGB and Max s Kansas City 7 In early 1975 Lisa Robinson an editor of Hit Parader and Rock Scene saw the fledgling Ramones performing at CBGB and subsequently wrote about the band in several magazine issues The group s vocalist Joey Ramone related that Lisa came down to see us she was blown away by us She said that we changed her life she started writing about us in Rock Scene and then Lenny Kaye would write about us and we started getting more press like The Village Voice Word was getting out and people starting coming down 8 Convinced that the band needed a recording contract Robinson contacted Danny Fields former manager of the Stooges and argued that he needed to manage the band Fields agreed because the band had everything he ever liked 8 and became the manager in November 1975 9 On September 19 1975 Ramones recorded a demo at 914 Sound Studios which was produced by Marty Thau Featuring the songs Judy Is a Punk and I Wanna Be Your Boyfriend the band used the demo to showcase their style to prospective labels 10 11 Producer Craig Leon who had seen the Ramones perform in the summer of 1975 brought the demo to the attention of Sire Records president Seymour Stein 9 12 13 After being persuaded by Craig Leon and his ex wife Linda Stein Ramones auditioned at Sire and were offered a contract although the label had previously signed only European progressive rock bands 10 14 Drummer Tommy Ramone recalled Craig Leon is the one who got us signed single handed He brought down the vice president and all these people he s the only hip one in the company He risked his career to get us on the label 9 15 The label offered to release You re Gonna Kill That Girl as a single but the band declined insisting on recording an entire album Sire accepted their request and agreed to release a studio album instead 12 16 Recording and production Edit Ramones was recorded on the eighth floor of Radio City Music Hall In January 1976 the band took a break from their live performances to prepare for recording at Plaza Sound studio 17 Sessions began later that month and were completed within a week for 6 400 18 19 the instruments took three days and the vocal parts were recorded in four days 20 In 2004 Leon admitted that they recorded Ramones quickly due to budget restrictions but also that it was all the time they needed 21 Doing an album in a week and bringing it in for 6 400 was unheard of especially since it was an album that really changed the world It kicked off punk rock and started the whole thing as well as us Joey Ramone 22 The band applied microphone placement techniques similar to those which many orchestras used 23 The recording process was a deliberate exaggeration of the techniques used by the Beatles in the early 1960s with a four track representation of the devices The guitars can be heard separately on the stereo channels electric bass on the left channel rhythm guitar on the right drums and vocals are mixed in the middle of the stereo mix 24 The mixing of the production also used more modern techniques such as overdubbing a technique used by studios to add a supplementary recorded sound to the material The band also used a technique known as doubling where the vocal line used is sung twice 21 Recording for the album was expanded by Mickey Leigh Joey s brother and Leon with percussion effects which went unmentioned in the liner notes to the album s release 17 Author Nicholas Rombes said that the production s quality sounded like the ultimate do it yourself amateur reckless ethic that is associated with punk but concluded that they approached the recording process with a high degree of preparedness and professionalism 25 Lyrics and composition EditThe songs on Ramones addressed several lyrical themes including violence male prostitution drug use and Nazism While the moods displayed in the album were often dark 26 Johnny said that when writing the lyrics they were not trying to be offensive 27 Many songs from the album have backing vocals from different guests Leigh sang backing vocals on Judy Is a Punk I Wanna Be Your Boyfriend and in the bridge of Blitzkrieg Bop Tommy sang backing vocals on I Don t Wanna Walk Around with You Judy Is a Punk and during the bridge of Chain Saw 28 The album s engineer Rob Freeman sang backing vocals for the final refrain of I Wanna Be Your Boyfriend Leon wrote in the booklet for the album s 2016 reissue that when layered background vocals appear on the album they are primarily Freeman s contributions combined with some of Leon and Dee Dee s and a great deal by Leigh all compiled and compressed to create an effective cyborg backing vocal creature 29 The album s length is 29 minutes and four seconds and it contains 14 tracks 19 On the original issue of the album all the original songs were credited to the Ramones collectively The opening Blitzkrieg Bop was written by Tommy and originally named Animal Hop 30 Once Dee Dee reviewed the lyrics the band changed the wording the name and partially the theme 31 According to Tommy the song s original concept was about kids going to a show and having a good time but the theme became more Nazi related after its revision 31 The piece begins with an instrumental interval which lasts about 20 seconds At the 20th second the guitar and bass cease marking Joey s first line Hey ho let s go The bass and guitar gradually rebuild and become full force once all the instruments play together in ensemble 32 The piece resolves by repeating what is played from 0 22 0 33 32 Stephen Thomas Erlewine from AllMusic described Blitzkrieg Bop as a three chord assault 33 34 When I lived in Birchwood Towers in Forest Hills with my mom and brother It was a middle class neighborhood with a lot of rich snotty women who had horrible spoiled brat kids There was a playground with women sitting around and a kid screaming a spoiled horrible kid just running around rampant with no discipline whatsoever The kind of kid you just want to kill You know beat on the brat with a baseball bat just came out I just wanted to kill him Joey Ramone on Beat on the Brat 20 Beat on the Brat was said by Joey to have origins relating to the upper class of New York City Dee Dee however explained that the song was about how Joey saw a mother going after a kid with a bat in his apartment building s lobby and wrote a song about it 35 Judy Is a Punk written around the same time as Beat on the Brat was written by Joey after he walked by Thorny Croft an apartment building where all the kids in the neighborhood hung out on the rooftop and drank 36 The song s lyrics are fictional and refer to two juvenile offenders in Berlin and San Francisco and their possible deaths at the conclusion of the song 36 Judy Is a Punk is the original album s shortest track at 1 39 it is partially derived from the Burl Ives 1953 folk song There Was An Old Lady Who Swallowed A Fly 37 I Wanna Be Your Boyfriend the album s slowest song was solely written by Tommy and pays homage to love songs by pop music acts of the 1960s The song used a 12 string guitar glockenspiel and tubular bells in its composition 38 and was said by author Scott Schinder to be an unexpected romantic streak 39 Chain Saw opens with the sound of a running circular saw and was influenced by the 1974 horror film The Texas Chain Saw Massacre At nearly 180 beats per minute Chain Saw had the fastest tempo of the album s songs and according to Rombes is the most home made sounding 40 Now I Wanna Sniff Some Glue contains four lines of minimalist lyrics that depict youthful boredom and inhaling solvent vapors found in glue I hope no one thinks we really sniff glue said Dee Dee I stopped when I was eight years old 41 Dee Dee also explained that its concept came from adolescent trauma 41 After several songs by the Ramones whose titles began with I Don t Want to Tommy said that Now I Want to Sniff Some Glue is the first positive piece on the album 36 The song served as an inspiration for one of the first punk fanzines Mark Perry s Sniffin Glue 36 42 I Don t Wanna Go Down to the Basement is also minimalist and inspired by horror movies The entire text is composed of three lines and the composition was based on three major chords With a playing time of 2 35 it is the longest piece on the album 41 Asked about the bathroom at CBGB Debbie Harry remarked I think that song from the Ramones is partially about that I don t wanna go down to the basement As kids we never wanted to go down to the basement cos it was so dark and scary And that toilet was certainly very scary 43 Loudmouth has six major chords and is harmonically complex 44 The song s lyrics are depending on the reading and punctuation a single row or four very brief lines 45 Havana Affair has a lyrical concept incorporating the comic strip Spy vs Spy by Cuban born illustrator Antonio Prohias 46 47 At roughly 170 beats per minute Loudmouth and Havana Affair proceed at about the same tempo 46 Havana Affair segues into Listen to My Heart the first of many Ramones songs to voice an ironic and pessimistic perspective on a failing or failed relationship 46 Street signs at the intersection of East 53rd Street and Third Avenue in Midtown Manhattan The song 53rd and 3rd is based on the street s reputation for male prostitution Written solely by Dee Dee the lyrics of 53rd amp 3rd concern a male prostitute rent boy waiting at the corner of 53rd Street and Third Avenue in Midtown Manhattan When the prostitute gets a customer he kills the customer with a razor to prove he is not a homosexual 48 In interviews Dee Dee described the piece as autobiographical The song speaks for itself Dee Dee commented in an interview Everything I write is autobiographical and written in a very real way I can t even write 49 Johnny insisted that the song is about Dee Dee turning tricks 50 The half sung and half shouted bridge in 53rd and 3rd are performed by Dee Dee whose voice is described by author Cyrus Patell as what breaks the deliberate aural monotony of the song and emphasizes the violence of the lyric 51 Let s Dance is a cover version of the hit song by Chris Montez 28 featuring Leon playing Radio City s large Wurlitzer pipe organ 38 I Don t Want to Walk Around with You consists of two lyric lines and three major chords One of the group s earliest compositions written at the beginning of 1974 it was the opener on their first demo 39 52 I Don t Wanna Walk Around with You segues into the closing track Today Your Love Tomorrow the World which refers to a Hitler Youth member 17 50 Seymour Stein complained about its original lyrics I m a Nazi baby I m a Nazi yes I am I m a Nazi Schatze y know I fight for the Fatherland insisting the track was offensive When he threatened to remove the track from the album the band put together alternate lyrics I m a shock trooper in a stupor yes I am I m a Nazi Schatze y know I fight for the Fatherland Stein accepted the revision and it was duly released 50 53 Artwork and packaging Edit The back cover to the Ramones album was designed by artist Arturo Vega who produced the photo of a belt buckle in a photo booth 54 Initially the Ramones wanted an album cover similar to Meet the Beatles 1964 and subsequently had pictures taken in that style by Danny Fields but Sire was dissatisfied with the results The art direction was by Toni Wadler and according to cartoonist John Holmstrom the Meet The Beatles cover idea came out horribly 55 Wadler later chose a photo by Roberta Bayley a photographer for Punk magazine for the cover The black and white photograph on the front of the album was originally in an issue of Punk The cover photo features from left to right Johnny Tommy Joey and Dee Dee Ramone staring at the camera with blank faces They are all wearing ripped faded blue jeans and leather jackets standing upright against the brick wall of a private community garden called Albert s Garden located in the Bowery neighborhood of New York City between the Bowery and Second Street 54 55 The stance of the group members in the photograph would influence their future cover designs as well with the majority of their succeeding albums using a picture of the band on the front cover 54 Music historian Legs McNeil states that Tommy is standing on his tip toes and Joey is hunched over a bit 55 The back cover art which depicts a belt buckle with a bald eagle and the band s logo was designed by Arturo Vega 54 Liner notes on the back cover fail to acknowledge backing vocalists and additional instrument players Leigh who performed backing vocals on several tracks asked guitarist Johnny why he was not mentioned on the record s credits Johnny replied We didn t want people to get confused with who s in the band or who s not It s our first album you know and we didn t want people to get confused 55 The artwork became one of the most imitated album covers in music The image of a band in front of a brick wall dressed in ripped jeans and leather jackets was copied by Alvin and the Chipmunks in Chipmunk Punk 55 Ramones s artwork was ranked number 58 on Rolling Stone s 1991 list of 100 Greatest Album Covers 56 Promotion EditSingles Edit There were two singles released from the album Blitzkrieg Bop and I Wanna Be Your Boyfriend The first was released in February 1976 originally as a 7 split single with Havana Affair as its B side 57 The release along with the Ramones 2001 Expanded Edition featured Blitzkrieg Bop remixed as a single version 58 59 although it maintains a time of two minutes and twelve seconds 60 On January 6 2004 Rhino Entertainment re released Blitzkrieg Bop as a CD single using Sheena Is a Punk Rocker as its B side 61 I Wanna Be Your Boyfriend was released in September 1976 as a 7 single It included live versions of California Sun and I Don t Wanna Walk Around with You as B sides recorded at the Roxy Theater in West Hollywood in August 1976 57 62 I Wanna Be Your Boyfriend was also released in the UK giving the band a presence in the European marketplace 63 Even though the song saw some success in the UK and Europe it failed to chart in the top 50 64 Touring Edit The Ramones performing in 1976 in Toronto In 1974 the band played 30 performances nearly all at the New York based club CBGB All but one of the band s 1975 gigs were booked for New York City with Waterbury Connecticut as the exception After the album s recording the Ramones headlined for very few shows usually opening for an identified cover band which played Aerosmith and Boston When they opened at Brockton Massachusetts the audience appeared extremely uninterested in the Ramones so Johnny swore off playing as an introduction for other bands 65 Following this Fields booked several headlining shows around the Tri state area and they began playing frequently at gigs like CBGB and Max s Kansas City After performing with Blondie in New Jersey they continued their tour to Boston Massachusetts for three shows 66 Leigh later said of the tour Travelling was difficult Most of the time it was just Danny Fields me and the members of the band We d get two rooms in the hotel three of us in each They couldn t afford any more help at that point so the band had to pitch in unloading the equipment I d play the drums during sound checks while Tommy went out to the board and mixed the sound and instructed the soundman not to fuck with the settings We would enlist the aid of any fan willing to help us load out at the end of the night 66 At the time Leigh was road manager stage manager chauffeur and head of security Vega who contributed to the album s packaging helped out with the road crew as much as possible Tommy s friend Monte Melnick occasionally helped with the audio output but this was typically done by Leigh 66 Following their debut album s release the band performed at over 60 concerts for its promotion 67 While most of the gigs were booked in North America two dates July 4 and 5 were in London s Roundhouse venue and Dingwalls respectively Linda Stein pushed to make these events happen setting up the band performances in the UK during the United States Bicentennial Fields relates On the two hundredth anniversary of our freedom we were bringing Great Britain a gift that was forever going to disrupt their sensibilities 68 The band sold out for their first London performance with an audience of roughly 3 000 69 Leigh described the Dingwalls gig as very similar to performances at CBGB 70 Likewise these venues in future were headlined by other punk bands like the Clash and Sex Pistols 67 71 The band performed over 100 concerts the following year 67 Reception EditProfessional ratingsReview scoresSourceRatingAllMusic 33 The Austin Chronicle 72 Christgau s Record GuideA 73 The Guardian 74 Mojo 75 NME10 10 76 Q 77 The Rolling Stone Album Guide 78 Spin Alternative Record Guide10 10 79 Uncut 80 Ramones was released on April 23 1976 by Sire Records and received glowing reviews In May John Rockwell of the New York Times published a rave review saying What the Ramones do is deliver a nonstop set of short brisk monochromatically intense songs conventional considerations of pace and variety are thrown calculatedly to the winds The ingredients are simplicity itself Rockwell noted the effect in the end amounts to an abstraction of rock so pure that other associations get left behind 81 Nick Kent favourably commented in the NME This record poses a direct threat to any vaguely sensitive woofer and or tweeter lodged in your hi fi 82 Reviewing that same month in The Village Voice Robert Christgau said that while the power of the band s music draws from fairly ominous sources like Nazi imagery and brutality he cannot deny the sheer pleasure of the music For me it blows everything else off the radio it s clean the way the Dolls never were sprightly the way the Velvets never were and just plain listenable the way Black Sabbath never was 83 In July Paul Nelson of Rolling Stone wrote in 1976 that the album was similar to early rock and roll and was constructed using rhythm tracks of great intensity 84 In August Creem dubbed The Ramones as The most radical album of the past six years saying it is so strikingly different so brazenly out of touch with prevailing modes as to constitute a bold swipe at the status quo Reviewer Gene Sculatti saw it as a rock n roll reactionary s manifesto a sharp wedge between the stale ends of a contemporary music scene bloated with graying superstars and overripe for takeover 85 Critic Joe S Harrington declared that the album was a huge landmark for music history proclaiming that it split the history of rock n roll in half Theunis Bates a writer for Time summed the album up with Ramones stripped rock back to its basic elements lyrics are very simple boiled down declarations of teen lust and need 86 Bates also said that it is the ultimate punk statement 86 Charles M Young of Rolling Stone regarded Ramones as one of the funniest rock records ever made and if punk continues to gain momentum a historic turning point 87 Kris Needs of ZigZag declared that the album s mutant vocals and ultra simplicity of the music and lyrics do take some getting used to but once you get past the curiosity stage the effect can be shattering especially at high volume and that it was impossible to mention highlights cos the whole album s a highlight geared and stripped down for maximum energy and effect 88 I love this record love it even though I know these boys flirt with images of brutality Nazi especially in much the same way Midnight Rambler flirts with rape This makes me uneasy But my theory has always been that good rock and roll should damn well make you uneasy Robert Christgau 83 Later reviews of Ramones tended to praise the album s influence on rock music In 1995 Jeff Tamarkin of The AllMusic Guide to Rock said that the album ignited the punk rock era writing rock s mainstream didn t know what hit it 86 In 2001 April Long of NME rewarded the album with a perfect score remarking that the Ramones were arguably the most influential band ever despite their lack of mainstream acceptance 76 Stephen Thomas Erlewine of AllMusic also deemed the album influential saying In comparison to some of the music the album inspired The Ramones sounds a little tame it s a little too clean and compared to their insanely fast live albums it even sounds a little slow 33 The album s sound was considered by Erlewine to be all about speed hooks stupidity and simplicity 33 Regardless of this critical acclaim Ramones was not successful commercially It only reached No 111 on the US Billboard 200 89 and sold 6 000 units in its first year 90 Outside the US the album peaked at No 48 on the Swedish Sverigetopplistan chart 91 The album was included in Spin magazine s List of Top Ten College Cult Classics 1995 where it was noted that everything good that s happened to music in the last fourteen years can be directly traced to the Ramones 92 Also in 1995 the Spin Alternative Record Guide named it the No 1 alternative rock album 92 In 2001 the magazine also included the album in its special issue 25 Years of Punk with a list of The 50 Most Essential Punk Records where it resided at the top spot 93 That same year it was named the fourth best punk album by Mojo who called it the coolest dumbest simplest greatest rock n roll record ever to be cut by four sweet dysfunctional screw ups 94 The band was inducted into the Rock and Roll Hall of Fame at the 2002 induction ceremony with the website stating that their first album changed the rock genre from bloated and narcissistic to basic rock and roll 6 95 In 2003 Ramones was considered by Spin s Chuck Klosterman Greg Milner and Alex Pappademas to be the sixth most influential album of all time They noted that the album saved rock from itself and punk rock from art gallery pretension 96 Q Magazine included the album in their 100 Greatest Albums Ever 2003 list where it was listed at No 74 97 In 2006 it was chosen by Time as one of the 100 greatest albums ever 98 Ramones was included in Chris Smith s 2009 book 101 Albums That Changed Popular Music who said the album opened a whole new world of garage rock for those fed up with the excesses of existing rock gods 99 It was also included in the 2005 book 1001 Albums You Must Hear Before You Die 100 In 2010 it was ranked as the greatest debut album of the year in 1976 101 It was placed first in the Rolling Stone 100 Best Debut Albums of All Time list in 2022 4 The album went gold in the US just after its 38th anniversary certified by the RIAA on April 30 2014 5 In 2016 Rhino Records announced 102 the July 29 release of a 40th anniversary deluxe edition comprising three CDs and one LP including stereo and mono mixes of the original album single mixes outtakes and demos and a live 1976 performance Legacy and influence EditRamones is considered to have established the musical genre of punk rock as well as popularizing it years afterward Rombes wrote that it offered alienated future rock and that it disconnected from tradition 103 The album was the start of the Ramones influence on popular music with examples being genres such as heavy metal 104 thrash metal 105 indie pop 106 grunge 107 post punk 108 and most notably punk rock 109 The Rock and Roll Hall of Fame said of their influence on rock in general When the Ramones hit the street in 1976 with their self titled first album the rock scene in general had become somewhat bloated and narcissistic The Ramones got back to basics simple speedy stripped down rock and roll songs Voice guitar bass drums No makeup no egos no light shows no nonsense And though the subject matter was sometimes dark emanating from a sullen adolescent basement of the mind the group also brought cartoonish fun and high energy excitement back to rock and roll 6 Despite the lack of popularity in its era the importance of the album for the development of punk rock music was incredible influencing many of the most well known names in punk rock including the Damned the Clash Black Flag Misfits and Green Day Billie Joe Armstrong singer for Green Day explained his reasoning for listening to the band they had songs that just stuck in your head just like a hammer they banged right into your brain 109 The album also had a great impact on the English punk scene as well with the bassist for Generation X Tony James saying that the album caused English bands to change their style When their album came out commented James all the English groups tripled speed overnight Two minute long songs very fast 110 In another interview James stated that Everybody went up three gears the day they got that first Ramones album Punk rock that rama lama super fast stuff is totally down to the Ramones Bands were just playing in an MC5 groove until then 95 In 1999 Classic Albums by Collins GEM recognized Ramones as the start of English punk rock and called it the fastest and hardest music that could possibly be concocted stating The songs within were a short sharp exercise in vicious speed thrash driven by ferocious guitars and yet halting in an instant It was the simple pop dream taken to its minimalist extreme 86 In 2012 the album was preserved by the National Recording Registry deeming it culturally historically and aesthetically significant 111 Cover versions and tributes Edit Each song on Ramones has been covered by various bands Sonic Youth covered Beat on the Brat on their 1987 EP Master Dik 112 as did Weird Al Yankovic on the Dr Demento Covered in Punk LP 2018 113 In 1991 German punk band Die Toten Hosen played Blitzkrieg Bop on their cover album Learning English Lesson One 114 A tribute album titled Gabba Gabba Hey A Tribute to the Ramones was released on August 30 1991 It contained the songs Now I Wanna Sniff Some Glue 53rd amp 3rd I Don t Wanna Go Down to the Basement Loudmouth and Beat on the Brat 115 Screeching Weasel released Ramones 1992 which consisted of the band performing the entire album track list 116 1998 s Blitzkrieg Over You A Tribute to the Ramones featured a cover Judy Is a Punk in German 117 and in 2000 both Blitzkrieg Bop and Beat on the Brat appeared on Dee Dee Ramone s solo release Greatest amp Latest 118 The compilation album Ramones Maniacs included Youth Gone Mad s version of Blitzkrieg Bop featuring a guest appearance by Dee Dee Ramone and Yogurt s rendition of Beat on the Brat 119 Blitzkrieg Bop Havana Affair I Wanna Be Your Boyfriend and Now I Wanna Sniff Some Glue were all covered on The Song Ramones the Same 120 We re a Happy Family A Tribute to Ramones 2003 featured several of the album s songs covered by bands like Red Hot Chili Peppers Havana Affair Rob Zombie Blitzkrieg Bop Metallica 53rd amp 3rd U2 Beat on the Brat Pete Yorn I Wanna Be Your Boyfriend and John Frusciante Today Your Love Tomorrow the World 121 In 2006 Blitzkrieg Bop was reworked into a children s song on the album Brats on the Beat Ramones for Kids 122 Track listing EditAll tracks originally credited to the Ramones except Let s Dance Actual writers are listed alongside the tracks Side oneNo TitleWriter s Length1 Blitzkrieg Bop Tommy Ramone Dee Dee Ramone2 122 Beat on the Brat Joey Ramone2 303 Judy Is a Punk Joey Ramone1 304 I Wanna Be Your Boyfriend Tommy Ramone2 245 Chain Saw Joey Ramone1 556 Now I Wanna Sniff Some Glue Dee Dee Ramone1 347 I Don t Wanna Go Down to the Basement Dee Dee Ramone Johnny Ramone2 35 Side twoNo TitleWriter s Length8 Loudmouth Dee Dee Ramone Johnny Ramone2 149 Havana Affair Dee Dee Ramone Johnny Ramone2 0010 Listen to My Heart Dee Dee Ramone1 5611 53rd amp 3rd Dee Dee Ramone2 1912 Let s Dance Chris Montez cover Jim Lee1 5113 I Don t Wanna Walk Around With You Dee Dee Ramone1 4314 Today Your Love Tomorrow the World Dee Dee Ramone2 09Total length 29 04 2001 expanded edition CD 60 123 No TitleWriter s Length15 I Wanna Be Your Boyfriend demo Tommy Ramone3 0216 Judy Is a Punk demo Joey Ramone1 3617 I Don t Care demo Joey Ramone1 5518 I Can t Be demo Ramones1 5619 Now I Wanna Sniff Some Glue demo Dee Dee Ramone1 4220 I Don t Wanna Be Learned I Don t Wanna Be Tamed demo Ramones1 0521 You Should Never Have Opened That Door demo Dee Dee Ramone Johnny Ramone1 5422 Blitzkrieg Bop single version Tommy Ramone Dee Dee Ramone2 12Total length 43 06 NotesTracks 15 and 16 produced by Marty Thau at 914 Sound Studios Blauvelt New York September 1975 First issued on The Groups of Wrath Songs of the Naked City 1991 124 Tracks 17 21 produced by T Erdelyi and engineered by Jack Malken at Dick Charles Studios New York 1975 Tracks 18 and 20 first issued on All the Stuff And More Volume 1 1990 Sire 26220 Tracks 17 19 and 21 previously unissued Track 22 produced by Craig Leon First issued on Blitzkrieg Bop single February 1976 2016 40th anniversary deluxe edition Edit CD 1 Original albumRemastered original stereo version tracks 1 14 Source original stereo master from Plaza Sound 1976 40th anniversary mono mix tracks 15 28 Source original multi track tapes transferred to 192 24 digital and original mix notes Mixed at Abbey Road Studios London 2016 by Sam Okell and Craig Leon assisted by John Bartlett Track listings as per original album CD 2 Single mixes outtakes and demosNo TitleWriter s Length1 Blitzkrieg Bop original stereo single version Tommy Ramone Dee Dee Ramone2 122 Blitzkrieg Bop original mono single version Tommy Ramone Dee Dee Ramone2 113 I Wanna Be Your Boyfriend original stereo single version Tommy Ramone2 254 I Wanna Be Your Boyfriend original mono single version Tommy Ramone2 275 Today Your Love Tomorrow the World original uncensored vocals Dee Dee Ramone2 126 I Don t Care demo Joey Ramone2 017 53rd amp 3rd demo Dee Dee Ramone2 238 Loudmouth demo Dee Dee Ramone Johnny Ramone2 169 Chain Saw demo Joey Ramone2 0110 You Should Never Have Opened That Door demo Dee Dee Ramone Johnny Ramone1 4411 I Wanna Be Your Boyfriend demo Tommy Ramone1 5312 I Can t Be demo Ramones2 0213 Today Your Love Tomorrow the World demo Dee Dee Ramone2 1314 I Don t Wanna Walk Around With You demo Dee Dee Ramone1 5515 Now I Wanna Sniff Some Glue demo Dee Dee Ramone1 4516 I Don t Wanna Be Learned I Don t Wanna Be Tamed demo Ramones1 1717 You re Gonna Kill That Girl demo Joey Ramone2 5118 What s Your Name demo Joey Ramone2 57Total length 39 09 NotesTracks 1 and 2 mixed by Rob Freeman and Craig Leon at Plaza Sound Radio City Music Hall New York 1976 Tracks 3 and 4 mixed by Shelly Yakus and Craig Leon at the Record Plant New York 1976 Track 5 mixed by Sam Okell and Craig Leon at Abbey Road Studios London 2016 Tracks 6 18 recorded at Dick Charles Studios New York 1975 Produced by T Erdelyi and engineered by Jack Malken Source 2 track masters transferred to 192 24 digital Tracks 5 7 9 11 13 14 and 17 are previously unissued CD 3 Live at the Roxy Hollywood CA August 12 1976Contains two full live sets recorded the same evening Set 1No TitleWriter s Length1 Loudmouth live Dee Dee Ramone Johnny Ramone2 132 Beat on the Brat live Joey Ramone2 363 Blitzkrieg Bop live Tommy Ramone Dee Dee Ramone2 134 I Remember You live Joey Ramone2 175 Glad to See You Go live Joey Ramone Dee Dee Ramone2 036 Chain Saw live Joey Ramone1 517 53rd amp 3rd live Dee Dee Ramone2 278 I Wanna Be Your Boyfriend live Tommy Ramone2 229 Havana Affair live Dee Dee Ramone Johnny Ramone1 5510 Listen to My Heart live Dee Dee Ramone1 4511 California Sun live Glover Levy1 5812 Judy Is a Punk live Joey Ramone1 2313 I Don t Wanna Walk Around With You live Dee Dee Ramone1 3114 Today Your Love Tomorrow the World live Dee Dee Ramone2 0915 Now I Wanna Sniff Some Glue live Dee Dee Ramone1 2816 Let s Dance live Lee2 09Total length 64 40 Set 2Track listing for set 2 tracks 17 32 as per set 1 NotesRecorded by the Record Plant Mobile Unit produced by Craig Leon and engineered by Gary Ladinsky Tracks 1 16 set 1 mixed by Shelly Yakus and Craig Leon at the Record Plant New York 1976 Tracks 17 32 set 2 mixed by Sam Okell and Craig Leon assisted by John Bartlett at Abbey Road Studios London 2016 Source original 16 track tapes transferred to 192 24 digital LP Original album40th anniversary mono mix Track listing as per original album Personnel EditCredits adapted from AllMusic 125 except otherwise noted Ramones Joey Ramone lead vocals Johnny Ramone guitar Dee Dee Ramone bass backing vocals co lead vocals on 53rd amp 3rd Tommy Ramone drums backing vocals a hand claps 65 Additional musicians Craig Leon pipe organ on Let s Dance 126 additional guitar 127 b backing vocals 29 c Mickey Leigh backing vocals 29 d hand claps 65 Rob Freeman backing vocals 29 e Arturo Vega hand claps 65 Danny Fields hand claps 65 Technical Craig Leon producer mixing 29 Tommy Ramone associate producer credited as T Erdelyi Rob Freeman engineer mixing 29 Don Hunerberg assistant engineer Greg Calbi mastering Roberta Bayley photography cover photo Arturo Vega photography back coverCharts EditChart 1976 PeakpositionSwedish Albums Sverigetopplistan 128 46US Billboard 200 129 111Chart 2011 PeakpositionItalian Albums FIMI 130 67Chart 2016 PeakpositionGerman Albums Offizielle Top 100 131 44Spanish Albums PROMUSICAE 132 76Chart 2020 PeakpositionBelgian Albums Ultratop Flanders 133 173Certifications EditRegion Certification Certified units salesUnited Kingdom BPI 134 Silver 60 000 United States RIAA 135 Gold 500 000 Shipments figures based on certification alone Sales streaming figures based on certification alone Release history EditRegion Year Label Format Catalog RefWorldwide release 1976 Sire Records LP SR 6020 33 136 Worldwide release 1996 WEA CD WPCR 1805 136 137 Worldwide release 1999 WEA CD WEA 1805 136 138 Worldwide release 2001 Rhino CD RR 7520 136 139 Worldwide release 2001 Rhino CS RR 74306 136 140 Worldwide release 2004 Phantom Import Distribution CD 7599274212 136 141 Worldwide release 2005 Rhino CD WPCR75060 136 142 Worldwide release 2006 Sire CD 7599274212 136 143 UK release 2006 Phantom Import Distribution LP EU9103253P 136 144 Worldwide release 2006 WEA LP WEA 24323 5 136 145 Worldwide release 2007 WEA CD WEA 7506 0 136 146 US release 2008 Wrong Records CD RR 9274 21 136 147 Worldwide release 2010 Warner CD 79796 136 148 Worldwide release 2011 Rhino LP 8122797667 136 149 Worldwide release 2012 Hi Horse Records LP HH 75200 136 150 Notes Edit Tommy Ramone performed backing vocals on at least Chain Saw 28 Craig Leon performed additional guitar on at least I Wanna Be Your Boyfriend 127 Craig Leon performed backing vocals on at least I Wanna Be Your Boyfriend 90 Mickey Leigh performed backing vocals on at least Blitzkrieg Bop Judy Is a Punk I Wanna Be Your Boyfriend Chain Saw and I Don t Wanna Walk Around with You 28 Rob Freeman performed backing vocals on at least I Wanna Be Your Boyfriend 28 References EditCitations Rolling Stone the 500 Greatest Albums of All Time 2003 Archived from the original on April 24 2021 Retrieved September 9 2021 The 500 Greatest Albums of All Time Rolling Stone Rolling Stone Archived from the original on December 16 2020 Retrieved September 9 2021 500 Greatest Albums of All Time Ramones Ramones Rolling Stone May 31 2009 Archived from the original on September 20 2016 Retrieved September 28 2016 a b Shachtman David Browne Jon Dolan Jon Freeman Will Hermes Christian Hoard Julyssa Lopez Mosi Reeves Jody Rosen Rob Sheffield Noah Browne David Dolan Jon Freeman Jon 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5216 4 Levy Joe 2005 500 Greatest Albums of All Time Wenner Media ISBN 978 1 932958 01 0 McNeil Legs McCain Gillian 2006 Please Kill Me The Uncensored Oral History of Punk Grove Press ISBN 978 0 8021 4264 1 Meyer Frank Melnick Monte 2007 On the Road with the Ramones Bobcat Books ISBN 978 1 86074 514 0 Needs Kris July 1976 The Ramones Ramones Sire Import ZigZag Retrieved October 29 2021 via Rock s Backpages Patell Cyrus 2011 Some Girls 33 Continuum International Publishing Group ISBN 978 1 4411 0291 1 Porter Dick 2004 Ramones The Complete Twisted History Plexus Publishing ISBN 978 0 85965 326 8 Ramone Dee Dee 2003 Legend of a Rock Star A Memoir Da Capo Press ISBN 978 1 56025 389 1 Ramone Dee Dee Kofman Veronica 2000 Lobotomy Surviving the Ramones 2nd ed New York City Thunder s Mouth Press ISBN 978 1 56025 252 8 Rombes Nicholas 2005 Ramones 33 Continuum International Publishing Group ISBN 978 0 8264 1671 1 Roach Martin 2003 This is It The first Biography of the Strokes Omnibus Press ISBN 978 0 7119 9601 4 Sabin Roger 2002 Punk Rock So What The Cultural Legacy of Punk Routledge ISBN 978 0 203 44840 3 Savage Jon 2001 England s Dreaming Anarchie Sex Pistols Punk Rock St Martin s Griffin ISBN 978 0 312 28822 8 Smith Chris 2009 101 Albums that Changed Popular Music Oxford University Press ISBN 978 0 19 537371 4 Strong Martin 2006 The Essential Rock Discography Complete Discographies Listing Every Track Recorded by More Than 1 200 Artists Canongate Books ISBN 978 1 84195 860 6 Strongman Phil 2008 Pretty Vacant A History of UK Punk Chicago Review Press ISBN 978 1 55652 752 4 Thompson Dave 2000 Alternative Rock Third Ear The Essential Listening Companion BackBeat Books ISBN 978 0 87930 607 6 True Everett 2005 Hey Ho Let s Go The Story of the Ramones Omnibus Press ISBN 978 1 84449 413 2 Popoff Martin 2016 Ramones at 40 Sterling Publishing ISBN 978 1 4549 1834 9 Further reading EditDayton Chip 2004 Ramones London Omnibus Press ISBN 978 1 903399 81 1 Stephens Simon 2010 Punk Rock A amp C Black ISBN 978 1 4081 3342 2 External links EditRamones at Discogs list of releases Retrieved from https en wikipedia org w index php title Ramones album amp oldid 1118129516, wikipedia, wiki, book, books, library,

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