Cite error: A <ref>
tag is missing the closing </ref>
(see the
help page). Especially praising the song "53rd & 3rd," Linda later discussed the event with Seymore, which eventually lead up to the Ramones performing in front of Seymore,
Craig Leon, and others from
Sire Records.
[1] After the Ramones sealed the deal with Sire Recordes, they had organized several local shows.
[2] The band began recording in early February 1976.
[2]
[3]The band had a $20,000 budget (an advance from Sire Records), in which they bought needed equipment.
[2]
The Ramones took a temporary break from their performances, in order to prepare to begin recording at Plaza Sound studio.
[4] The album was produced by Craig Leon, and co-produced by drummer
Tommy Ramone.
[5] Conflict arose between guitarist
Johnny Ramone and Tommy Ramone, over the topic of whether to
overdub, a technique used by
recording studios to add a supplementary recorded sound to a previously recorded performance.
[5] The main purpose of overdubbing is to give the recording a more "thick" sound. Tommy Ramone was planning on overdubbing, while Johnny Ramone refused to do it.
[5] The result of the argument was not to overdub.Cite error: A <ref>
tag is missing the closing </ref>
(see the
help page). It was ranked thiry-three on the
Rolling Stone Magazine's
The 500 Greatest Albums of All Time.
[6]
VH1 named the album number fifty-three on their 100 Greatest Albums of Rock & Roll'. The album has three singles: "
Blitzkrieg Bop"/"Havana Affair," "
I Wanna Be Your Boyfriend"/"I Don't Wanna Walk Around With You," and "
53rd & 3rd." Neither of the singles charted.
[7] Despite its lack of airplay in its first few months, the song has been seen in the media on many occasions, and in 2009 it was named the 25th greatest hard rock song of all time by VH1.
[8]
Before the album's release, the Ramones had planned to make an the album cover represent The Beatles's 1964 album Meet The Beatles!. [9] John Holmstrom said that the original idea "came out horribly." The Ramones later met up with Roberta Bayley, at the time a photographer for Punk magazine, to make the album's cover. [9] Holmstrom also noted that "getting the Ramones to pose was like pulling teeth," and also said it turned out to be "the classic Ramones album cover." The cover photo features (from left to right) Johnny Ramone, Tommy Ramone, Joey Ramone, and Dee Dee Ramone. Each stand against a brick wall and are in a straight line. Legs McNeil insists that "Tommy [is] standing on his tip-toes and Joey [is] hunched over a bit." [9]
" Blitzkrieg Bop," the album's opening track, was written by Tommy Ramone. Originally, Tommy named the track "Animal Hop", [10] but after Dee Dee Ramone reviewed the lyrics, the changed the lyrics as well as the name. [11] The song's original concept was "about kids going to a show and having a good time." [11] After Dee Dee reviewed the song, he made the concept related to Nazism. [11] "Beat on the Brat" was described by Dee Dee Ramone as a true story. " Joey saw some mother going after a kid with a bat in his lobby and wrote a song about it." [12] "Now I Wanna Sniff Some Glue" was written about the adolescents of Forest Hills, Queens, who constantly sought cheap thrills to cure their boredom. The Ramones later recorded the similarly themed song "Carbona Not Glue" for their second album, Leave Home. Dee Dee joked that after writing songs like "I Don't Wanna Go Down to the Basement", "I Don't Wanna Be Learned/I Don't Wanna Be Tamed", "I Don't Care", and "I Don't Wanna Walk Around with You", "We didn't write a positive song until 'Now I Wanna Sniff Some Glue.'" [13] The song "53rd and 3rd" is about "Dee Dee turning tricks," said Johnny Ramone. [14] The album's final track, "Today Your Love, Tomorrow the World", refers to a Hitler Youth member. [15] [14]
Several songs from the album features backing vocals from several different guests. Mickey Leigh, Joey Ramone's brother, sings backing vocals on "Judy Is a Punk", "I Wanna Be Your Boyfriend", and in the bridge of "Blitzkrieg." [16] Drummer Tommy Ramone sings backing vocals on "I Don't Wanna Walk Around With You", "Judy Is a Punk", and during the bridge of "Chainsaw." [16] The album's executive producer, Rob Freeman, sings lead vocals for the last refrain of "I Wanna Be Your Boyfriend." The album does not feature overdubbing of any instruments. [16] The album's length is twenty-nine minutes and four seconds, and features fourteen tracks. [17]
In 1976 the album sold about 6,000 units and charted at number 111 on the US Billboard 200. [18]
In the magazine Spin's special issue: 25 Years of Punk, which included a list of The 50 Most Essential Punk Records. The album was listed as number one on the list. [19]
In 2005, the English music magazine Mojo included "Blitzkrieg Bop" in their list of "50 Best US Punk Rockers". [20]
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 being the only concert outside of New York. In early 1976, before the album's recording, the Ramones headlined for very few shows, usually opening for a cover band which played Aerosmith and Boston. At the Brockton, Massachusetts show with the cover band, the audience appeared extremely uninterested in the Ramones so Johnny swore off opening for bands. [21] 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. The band performed with Blondie in New Jersey, and continued their tour to Boston, Massachusetts for three shows. [22]
"Traveling 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 aid of any fan willing to help us load out at the end of the night."
— Mickey Leigh [22]
At the time, Joey's brother Leigh was road manager, stage manager, chauffeur, head of security. Vega, who contributed to the album 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.
Following their debut album's release, the band performed at over sixty concerts for its promotion. [23] 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 event happen, setting up the band performances in London during the bicentennial of the signing of the United States Declaration of Independence. 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." [24] The band sold out for their first London performance, with an audience of roughly three thousand. [25] Leigh described the Dingwalls gig to be very similar to performances at CBGB. [26] Likewise, these sites would go on to feature other punk bands like The Clash and Sex Pistols. [27] [23] Over 100 concerts were performed the following year. [23]
l 126
was invoked but never defined (see the
help page).{{
cite AV media notes}}
: |format=
requires |url=
(
help); Unknown parameter |bandname=
ignored (
help)
{{
cite journal}}
: CS1 maint: date and year (
link)
{{
cite journal}}
: CS1 maint: date and year (
link)
http://www.rollingstone.com/music/artist/album/news/;kw=[artists,9620,40234,115712]
Ramones (album) ( | talk | history | protect | delete | links | watch | logs | views)
Toolbox |
---|
I am nominating this for featured article because I obviously think that it meets the criteria. The legendary album has gone from a start class article, to GA, and to the current version. The Peer reviewer can't find anything, all the ISBNs are valid, and the article is of good size. Thanks, Crowz RSA 21:15, 23 December 2010 (UTC)
Dab/EL check - no dabs or dead external links; 2 external redirects which have been fixed. -- Pres N 06:09, 24 December 2010 (UTC)
Oppose This article needs a top-to-bottom rewrite; it has problems more fundamental than those that can be fixed by a mere copy-edit or two:
Apart from these there's the long list of grammatical errors ("Soon after the demos release"), MOS errors ("heard separately on the stereo channels — electric bass on the left"), overlinking (punk rock, Rolling Stone and Allmusic are all linked twice in the lead) and, I suspect, incorrectly quoted text ("with women sitting aroing"), among other things.— indopug ( talk) 18:38, 28 December 2010 (UTC)
I would love to see Ramones on the main page of wikipedia, but this article does need a complete rewrite. The introductory paragraph should be enough, from the article, that it suffices for a read about the topic, namely the album. http://en.wikipedia.org/wiki/Ramones_(album) pre-signing by Sire, Lisa Robinson popularizing the band, the band's potential manager, a pre-Ramones demo and its release, then the band "performing under the Sire Records company," there's got to be something about the album in the lead. This album was a major influence on American punk and other music, yet there is no sense of this whatsoever, until a glimmer of hope erupts in the fourth paragraph. As prominent as Lisa Robinson is in the first paragraph, the article might as well be about her, not the album. And who are Danny Fields and Seymour Stein that they deserve mentioning in the lead paragraph without any discussion of who they are?
Who cares how much it cost to make the album? Oh, wait, back then it cost a lot more than that to produce a cheap single, that's not much money. The costs are meaningless without any comparison. Cool that the cover art is so great, one of my all time favorites, but that's just one more thing that's primary to the music, and, really, that's what an album is: music.
Then the next section. Robinson wrote about the Ramones in Rock Scene, but the fact that she was an editor at twice-wikilinked Hit Parader takes more prominence than whatever she wrote in Rock Scence.
What are ""progressive" force bands from Europe under contract"? The instruments took three days to do what? Or it took three days to record the instrumental tracks? Is that unusually long? No, it's a very short time. The Joey comment is good, but it needs backed up. This was discussed in the music industry for a long time, and is still discussed today, how little time and money was spent for an album of such long-lasting impact on the music industry.
The Beatles comparison sentences needed a direct citation to one of them. What's the significance of using the same mic locations as orchestras? Live orchestra recordings? Studio orchestra recordings? How's it different from rock recordings? What are "four-track recording representation of the devices," of what "devices?" What does that mean? The album was "expanded by Mickey Leigh and Craig Leon for percussion effects"? What does that mean, they added more percussion tracks? Whose?
Who's Arturo Vega? What's a passport photo machine?
"In 1974, the band performed at thirty gigs, that were nearly all at CBGB. All but one of the band's 1975 gigs were booked for New York City, with Waterbury, Connecticut being the only concert outside of New York. In 1976, over seventy concerts were performed, each to support Ramones. There were over a hundred concerts performed in 1977 by the band.[28]"
It's a recitation of numbers. About gigs. Not about the album.
Beat on the Brat was sung in a video camera mode. This makes no sense.
"Ramones was released April 23, 1976.[55][56][57][58]" I'm glad we've confirmed the release date with 4 sources, to be certain, but how about a single authoritative citation?
The Reception section is difficult to follow and jumbled up with contemporaneous and later reviews. Most of the article is not ordered well. I don't think it's close to a FA, as much as I would love to see it on the main page. -- Kleopatra ( talk) 01:39, 29 December 2010 (UTC)
Oppose, sadly. The article, especially the lead, is very disjointed, with short disconnected 'bullet-point' like sentences. It has fourteen tracks and is twenty-nine minutes and four seconds long. The group covered the song "Let's Dance" by Chris Montez. Several of the tracks have backing vocals which were sung by Mickey Leigh, Tommy Ramone, and executive producer/engineer Rob Freeman.. The legacy section seems underdeveloped, given the lasting impact of the album. Ceoil 15:11, 1 January 2011 (UTC)
No. | Title | Writer(s) | Notes | Length |
---|---|---|---|---|
1. | "Blitzkrieg Bop" | Tommy, Dee Dee | Leigh | 2:12 |
2. | "Beat on the Brat" | Joey | 2:30 | |
3. | "Judy Is a Punk" | Joey | Leigh, Tommy | 1:30 |
4. | "I Wanna Be Your Boyfriend" | Tommy | Leigh, Freeman | 2:24 |
5. | "Chain Saw" | Joey | Tommy | 1:55 |
6. | "Now I Wanna Sniff Some Glue" | Dee Dee | 1:34 | |
7. | "I Don't Wanna Go Down to the Basement" | Dee Dee, Johnny | 2:35 |
No. | Title | Writer(s) | Backing vocals | Length |
---|---|---|---|---|
8. | "Loudmouth" | Dee Dee, Johnny | 2:14 | |
9. | "Havana Affair" | Dee Dee, Johnny | 2:00 | |
10. | "Listen to My Heart" | Dee Dee | 1:56 | |
11. | "53rd & 3rd" | Dee Dee | 2:19 | |
12. | "Let's Dance" | Jim Lee | 1:51 | |
13. | "I Don't Wanna Walk Around with You" | Dee Dee | Tommy | 1:43 |
14. | "Today Your Love, Tomorrow the World" | Dee Dee | 2:09 | |
Total length: | 29:04 |
No. | Title | Writer(s) | Notes | Length |
---|---|---|---|---|
1. | "Blitzkrieg Bop" | Tommy, Dee Dee | Produced by Craig Leon | 2:12 |
2. | "Beat on the Brat" | Joey | Produced by Craig Leon | 2:30 |
3. | "Judy Is a Punk" | Joey | Produced by Craig Leon | 1:30 |
4. | "I Wanna Be Your Boyfriend" | Tommy | Produced by Craig Leon | 2:24 |
5. | "Chain Saw" | Joey | Produced by Craig Leon | 1:55 |
6. | "Now I Wanna Sniff Some Glue" | Dee Dee | Produced by Craig Leon | 1:34 |
7. | "I Don't Wanna Go Down to the Basement" | Dee Dee, Johnny | Produced by Craig Leon | 2:35 |
8. | "Loudmouth" | Dee Dee, Johnny | Produced by Craig Leon | 2:14 |
9. | "Havana Affair" | Dee Dee, Johnny | Produced by Craig Leon | 2:00 |
10. | "Listen to My Heart" | Dee Dee | Produced by Craig Leon | 1:56 |
11. | "53rd & 3rd" | Dee Dee | Produced by Craig Leon | 2:19 |
12. | "Let's Dance" | Jim Lee | Produced by Craig Leon | 1:51 |
13. | "I Don't Wanna Walk Around with You" | Dee Dee | Produced by Craig Leon | 1:43 |
14. | "Today Your Love, Tomorrow the World" | Dee Dee | Produced by Craig Leon | 2:09 |
15. | "I Wanna Be Your Boyfriend" (demo) | Produced by Marty Thau; First issued on "I Wanna Be Your Boyfriend" United Kingdom single, recorded at 914 Studios | 3:02 | |
16. | "Judy Is a Punk" (demo) | Produced by Marty Thau; First issued on "I Wanna Be Your Boyfriend" United Kingdom single, recorded at 914 Studios | 1:36 | |
17. | "I Don't Care" (demo) | Produced by Tommy; Previously Unissued | 1:55 | |
18. | "I Can't Be" (demo) | Produced by Tommy; First issued on All The Stuff (And More!) Volume 1, Sire #26220 | 1:56 | |
19. | "Now I Wanna Sniff Some Glue" (demo) | Produced by Tommy; Previously Unissued | 1:42 | |
20. | "I Don't Wanna Be Learned/I Don't Wanna Be Tamed" (demo) | Produced by Tommy; First issued on All The Stuff (And More!) Volume 1, Sire #26220 | 1:05 | |
21. | "You Should Never Have Opened That Door" (demo) | Produced by Tommy; Previously Unissued | 1:54 | |
22. | "Blitzkrieg Bop" (single version) | Produced by Craig Leon; First issued on "Blitzkrieg Bop" single | 2:12 |
Ramones was released on April 23, 1976 through Sire Records and was well received by critics. [1] [2] [3] [4] Paul Nelson of Rolling Stone wrote that the album is similar to early rock and roll, and is constructed using rhythm tracks of great intensity. [5] Jeff Tamarkin of AllMusic said that the album ignited the punk rock era, writing: "rock's mainstream didn't know what hit it." Critic Joe S. Harrington declared that the album was a huge landmark for music history with his proclamation of "[it] split the history of rock 'n' roll in half." Theunis Bates, a writer for Time magazine, 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." Bates also said that it "is the ultimate punk statement." Charles M. Young, an employee for the Rolling Stone, regarded Ramones as "one of the funniest rock records ever made and, if punk continues to gain momentum, a historic turning point." [6]
"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 [7]
Music critic Robert Christgau gave the album an "A" and continued with a positive review, specifically writing about the album's themes and sound quality. [7] It was awarded five out of five stars by AllMusic's Stephen Thomas Erlewine, who said the album "begins at a blinding speed and never once over the course of its 14 songs does it let up." He also noted that the album is about "speed, hooks, stupidity, and simplicity." [8]
Despite this critical acclaim, Ramones was not as successful commercially. It only reached number 111 on the US Billboard 200, [9] and sold 6,000 units in its first year. [10] Outside the US, the album peaked at number 48 on the Swedish Sverigetopplistan chart. [11]
christgau
was invoked but never defined (see the
help page).allmusic
was invoked but never defined (see the
help page).Cite error: A <ref>
tag is missing the closing </ref>
(see the
help page). Especially praising the song "53rd & 3rd," Linda later discussed the event with Seymore, which eventually lead up to the Ramones performing in front of Seymore,
Craig Leon, and others from
Sire Records.
[1] After the Ramones sealed the deal with Sire Recordes, they had organized several local shows.
[2] The band began recording in early February 1976.
[2]
[3]The band had a $20,000 budget (an advance from Sire Records), in which they bought needed equipment.
[2]
The Ramones took a temporary break from their performances, in order to prepare to begin recording at Plaza Sound studio.
[4] The album was produced by Craig Leon, and co-produced by drummer
Tommy Ramone.
[5] Conflict arose between guitarist
Johnny Ramone and Tommy Ramone, over the topic of whether to
overdub, a technique used by
recording studios to add a supplementary recorded sound to a previously recorded performance.
[5] The main purpose of overdubbing is to give the recording a more "thick" sound. Tommy Ramone was planning on overdubbing, while Johnny Ramone refused to do it.
[5] The result of the argument was not to overdub.Cite error: A <ref>
tag is missing the closing </ref>
(see the
help page). It was ranked thiry-three on the
Rolling Stone Magazine's
The 500 Greatest Albums of All Time.
[6]
VH1 named the album number fifty-three on their 100 Greatest Albums of Rock & Roll'. The album has three singles: "
Blitzkrieg Bop"/"Havana Affair," "
I Wanna Be Your Boyfriend"/"I Don't Wanna Walk Around With You," and "
53rd & 3rd." Neither of the singles charted.
[7] Despite its lack of airplay in its first few months, the song has been seen in the media on many occasions, and in 2009 it was named the 25th greatest hard rock song of all time by VH1.
[8]
Before the album's release, the Ramones had planned to make an the album cover represent The Beatles's 1964 album Meet The Beatles!. [9] John Holmstrom said that the original idea "came out horribly." The Ramones later met up with Roberta Bayley, at the time a photographer for Punk magazine, to make the album's cover. [9] Holmstrom also noted that "getting the Ramones to pose was like pulling teeth," and also said it turned out to be "the classic Ramones album cover." The cover photo features (from left to right) Johnny Ramone, Tommy Ramone, Joey Ramone, and Dee Dee Ramone. Each stand against a brick wall and are in a straight line. Legs McNeil insists that "Tommy [is] standing on his tip-toes and Joey [is] hunched over a bit." [9]
" Blitzkrieg Bop," the album's opening track, was written by Tommy Ramone. Originally, Tommy named the track "Animal Hop", [10] but after Dee Dee Ramone reviewed the lyrics, the changed the lyrics as well as the name. [11] The song's original concept was "about kids going to a show and having a good time." [11] After Dee Dee reviewed the song, he made the concept related to Nazism. [11] "Beat on the Brat" was described by Dee Dee Ramone as a true story. " Joey saw some mother going after a kid with a bat in his lobby and wrote a song about it." [12] "Now I Wanna Sniff Some Glue" was written about the adolescents of Forest Hills, Queens, who constantly sought cheap thrills to cure their boredom. The Ramones later recorded the similarly themed song "Carbona Not Glue" for their second album, Leave Home. Dee Dee joked that after writing songs like "I Don't Wanna Go Down to the Basement", "I Don't Wanna Be Learned/I Don't Wanna Be Tamed", "I Don't Care", and "I Don't Wanna Walk Around with You", "We didn't write a positive song until 'Now I Wanna Sniff Some Glue.'" [13] The song "53rd and 3rd" is about "Dee Dee turning tricks," said Johnny Ramone. [14] The album's final track, "Today Your Love, Tomorrow the World", refers to a Hitler Youth member. [15] [14]
Several songs from the album features backing vocals from several different guests. Mickey Leigh, Joey Ramone's brother, sings backing vocals on "Judy Is a Punk", "I Wanna Be Your Boyfriend", and in the bridge of "Blitzkrieg." [16] Drummer Tommy Ramone sings backing vocals on "I Don't Wanna Walk Around With You", "Judy Is a Punk", and during the bridge of "Chainsaw." [16] The album's executive producer, Rob Freeman, sings lead vocals for the last refrain of "I Wanna Be Your Boyfriend." The album does not feature overdubbing of any instruments. [16] The album's length is twenty-nine minutes and four seconds, and features fourteen tracks. [17]
In 1976 the album sold about 6,000 units and charted at number 111 on the US Billboard 200. [18]
In the magazine Spin's special issue: 25 Years of Punk, which included a list of The 50 Most Essential Punk Records. The album was listed as number one on the list. [19]
In 2005, the English music magazine Mojo included "Blitzkrieg Bop" in their list of "50 Best US Punk Rockers". [20]
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 being the only concert outside of New York. In early 1976, before the album's recording, the Ramones headlined for very few shows, usually opening for a cover band which played Aerosmith and Boston. At the Brockton, Massachusetts show with the cover band, the audience appeared extremely uninterested in the Ramones so Johnny swore off opening for bands. [21] 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. The band performed with Blondie in New Jersey, and continued their tour to Boston, Massachusetts for three shows. [22]
"Traveling 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 aid of any fan willing to help us load out at the end of the night."
— Mickey Leigh [22]
At the time, Joey's brother Leigh was road manager, stage manager, chauffeur, head of security. Vega, who contributed to the album 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.
Following their debut album's release, the band performed at over sixty concerts for its promotion. [23] 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 event happen, setting up the band performances in London during the bicentennial of the signing of the United States Declaration of Independence. 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." [24] The band sold out for their first London performance, with an audience of roughly three thousand. [25] Leigh described the Dingwalls gig to be very similar to performances at CBGB. [26] Likewise, these sites would go on to feature other punk bands like The Clash and Sex Pistols. [27] [23] Over 100 concerts were performed the following year. [23]
l 126
was invoked but never defined (see the
help page).{{
cite AV media notes}}
: |format=
requires |url=
(
help); Unknown parameter |bandname=
ignored (
help)
{{
cite journal}}
: CS1 maint: date and year (
link)
{{
cite journal}}
: CS1 maint: date and year (
link)
http://www.rollingstone.com/music/artist/album/news/;kw=[artists,9620,40234,115712]
Ramones (album) ( | talk | history | protect | delete | links | watch | logs | views)
Toolbox |
---|
I am nominating this for featured article because I obviously think that it meets the criteria. The legendary album has gone from a start class article, to GA, and to the current version. The Peer reviewer can't find anything, all the ISBNs are valid, and the article is of good size. Thanks, Crowz RSA 21:15, 23 December 2010 (UTC)
Dab/EL check - no dabs or dead external links; 2 external redirects which have been fixed. -- Pres N 06:09, 24 December 2010 (UTC)
Oppose This article needs a top-to-bottom rewrite; it has problems more fundamental than those that can be fixed by a mere copy-edit or two:
Apart from these there's the long list of grammatical errors ("Soon after the demos release"), MOS errors ("heard separately on the stereo channels — electric bass on the left"), overlinking (punk rock, Rolling Stone and Allmusic are all linked twice in the lead) and, I suspect, incorrectly quoted text ("with women sitting aroing"), among other things.— indopug ( talk) 18:38, 28 December 2010 (UTC)
I would love to see Ramones on the main page of wikipedia, but this article does need a complete rewrite. The introductory paragraph should be enough, from the article, that it suffices for a read about the topic, namely the album. http://en.wikipedia.org/wiki/Ramones_(album) pre-signing by Sire, Lisa Robinson popularizing the band, the band's potential manager, a pre-Ramones demo and its release, then the band "performing under the Sire Records company," there's got to be something about the album in the lead. This album was a major influence on American punk and other music, yet there is no sense of this whatsoever, until a glimmer of hope erupts in the fourth paragraph. As prominent as Lisa Robinson is in the first paragraph, the article might as well be about her, not the album. And who are Danny Fields and Seymour Stein that they deserve mentioning in the lead paragraph without any discussion of who they are?
Who cares how much it cost to make the album? Oh, wait, back then it cost a lot more than that to produce a cheap single, that's not much money. The costs are meaningless without any comparison. Cool that the cover art is so great, one of my all time favorites, but that's just one more thing that's primary to the music, and, really, that's what an album is: music.
Then the next section. Robinson wrote about the Ramones in Rock Scene, but the fact that she was an editor at twice-wikilinked Hit Parader takes more prominence than whatever she wrote in Rock Scence.
What are ""progressive" force bands from Europe under contract"? The instruments took three days to do what? Or it took three days to record the instrumental tracks? Is that unusually long? No, it's a very short time. The Joey comment is good, but it needs backed up. This was discussed in the music industry for a long time, and is still discussed today, how little time and money was spent for an album of such long-lasting impact on the music industry.
The Beatles comparison sentences needed a direct citation to one of them. What's the significance of using the same mic locations as orchestras? Live orchestra recordings? Studio orchestra recordings? How's it different from rock recordings? What are "four-track recording representation of the devices," of what "devices?" What does that mean? The album was "expanded by Mickey Leigh and Craig Leon for percussion effects"? What does that mean, they added more percussion tracks? Whose?
Who's Arturo Vega? What's a passport photo machine?
"In 1974, the band performed at thirty gigs, that were nearly all at CBGB. All but one of the band's 1975 gigs were booked for New York City, with Waterbury, Connecticut being the only concert outside of New York. In 1976, over seventy concerts were performed, each to support Ramones. There were over a hundred concerts performed in 1977 by the band.[28]"
It's a recitation of numbers. About gigs. Not about the album.
Beat on the Brat was sung in a video camera mode. This makes no sense.
"Ramones was released April 23, 1976.[55][56][57][58]" I'm glad we've confirmed the release date with 4 sources, to be certain, but how about a single authoritative citation?
The Reception section is difficult to follow and jumbled up with contemporaneous and later reviews. Most of the article is not ordered well. I don't think it's close to a FA, as much as I would love to see it on the main page. -- Kleopatra ( talk) 01:39, 29 December 2010 (UTC)
Oppose, sadly. The article, especially the lead, is very disjointed, with short disconnected 'bullet-point' like sentences. It has fourteen tracks and is twenty-nine minutes and four seconds long. The group covered the song "Let's Dance" by Chris Montez. Several of the tracks have backing vocals which were sung by Mickey Leigh, Tommy Ramone, and executive producer/engineer Rob Freeman.. The legacy section seems underdeveloped, given the lasting impact of the album. Ceoil 15:11, 1 January 2011 (UTC)
No. | Title | Writer(s) | Notes | Length |
---|---|---|---|---|
1. | "Blitzkrieg Bop" | Tommy, Dee Dee | Leigh | 2:12 |
2. | "Beat on the Brat" | Joey | 2:30 | |
3. | "Judy Is a Punk" | Joey | Leigh, Tommy | 1:30 |
4. | "I Wanna Be Your Boyfriend" | Tommy | Leigh, Freeman | 2:24 |
5. | "Chain Saw" | Joey | Tommy | 1:55 |
6. | "Now I Wanna Sniff Some Glue" | Dee Dee | 1:34 | |
7. | "I Don't Wanna Go Down to the Basement" | Dee Dee, Johnny | 2:35 |
No. | Title | Writer(s) | Backing vocals | Length |
---|---|---|---|---|
8. | "Loudmouth" | Dee Dee, Johnny | 2:14 | |
9. | "Havana Affair" | Dee Dee, Johnny | 2:00 | |
10. | "Listen to My Heart" | Dee Dee | 1:56 | |
11. | "53rd & 3rd" | Dee Dee | 2:19 | |
12. | "Let's Dance" | Jim Lee | 1:51 | |
13. | "I Don't Wanna Walk Around with You" | Dee Dee | Tommy | 1:43 |
14. | "Today Your Love, Tomorrow the World" | Dee Dee | 2:09 | |
Total length: | 29:04 |
No. | Title | Writer(s) | Notes | Length |
---|---|---|---|---|
1. | "Blitzkrieg Bop" | Tommy, Dee Dee | Produced by Craig Leon | 2:12 |
2. | "Beat on the Brat" | Joey | Produced by Craig Leon | 2:30 |
3. | "Judy Is a Punk" | Joey | Produced by Craig Leon | 1:30 |
4. | "I Wanna Be Your Boyfriend" | Tommy | Produced by Craig Leon | 2:24 |
5. | "Chain Saw" | Joey | Produced by Craig Leon | 1:55 |
6. | "Now I Wanna Sniff Some Glue" | Dee Dee | Produced by Craig Leon | 1:34 |
7. | "I Don't Wanna Go Down to the Basement" | Dee Dee, Johnny | Produced by Craig Leon | 2:35 |
8. | "Loudmouth" | Dee Dee, Johnny | Produced by Craig Leon | 2:14 |
9. | "Havana Affair" | Dee Dee, Johnny | Produced by Craig Leon | 2:00 |
10. | "Listen to My Heart" | Dee Dee | Produced by Craig Leon | 1:56 |
11. | "53rd & 3rd" | Dee Dee | Produced by Craig Leon | 2:19 |
12. | "Let's Dance" | Jim Lee | Produced by Craig Leon | 1:51 |
13. | "I Don't Wanna Walk Around with You" | Dee Dee | Produced by Craig Leon | 1:43 |
14. | "Today Your Love, Tomorrow the World" | Dee Dee | Produced by Craig Leon | 2:09 |
15. | "I Wanna Be Your Boyfriend" (demo) | Produced by Marty Thau; First issued on "I Wanna Be Your Boyfriend" United Kingdom single, recorded at 914 Studios | 3:02 | |
16. | "Judy Is a Punk" (demo) | Produced by Marty Thau; First issued on "I Wanna Be Your Boyfriend" United Kingdom single, recorded at 914 Studios | 1:36 | |
17. | "I Don't Care" (demo) | Produced by Tommy; Previously Unissued | 1:55 | |
18. | "I Can't Be" (demo) | Produced by Tommy; First issued on All The Stuff (And More!) Volume 1, Sire #26220 | 1:56 | |
19. | "Now I Wanna Sniff Some Glue" (demo) | Produced by Tommy; Previously Unissued | 1:42 | |
20. | "I Don't Wanna Be Learned/I Don't Wanna Be Tamed" (demo) | Produced by Tommy; First issued on All The Stuff (And More!) Volume 1, Sire #26220 | 1:05 | |
21. | "You Should Never Have Opened That Door" (demo) | Produced by Tommy; Previously Unissued | 1:54 | |
22. | "Blitzkrieg Bop" (single version) | Produced by Craig Leon; First issued on "Blitzkrieg Bop" single | 2:12 |
Ramones was released on April 23, 1976 through Sire Records and was well received by critics. [1] [2] [3] [4] Paul Nelson of Rolling Stone wrote that the album is similar to early rock and roll, and is constructed using rhythm tracks of great intensity. [5] Jeff Tamarkin of AllMusic said that the album ignited the punk rock era, writing: "rock's mainstream didn't know what hit it." Critic Joe S. Harrington declared that the album was a huge landmark for music history with his proclamation of "[it] split the history of rock 'n' roll in half." Theunis Bates, a writer for Time magazine, 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." Bates also said that it "is the ultimate punk statement." Charles M. Young, an employee for the Rolling Stone, regarded Ramones as "one of the funniest rock records ever made and, if punk continues to gain momentum, a historic turning point." [6]
"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 [7]
Music critic Robert Christgau gave the album an "A" and continued with a positive review, specifically writing about the album's themes and sound quality. [7] It was awarded five out of five stars by AllMusic's Stephen Thomas Erlewine, who said the album "begins at a blinding speed and never once over the course of its 14 songs does it let up." He also noted that the album is about "speed, hooks, stupidity, and simplicity." [8]
Despite this critical acclaim, Ramones was not as successful commercially. It only reached number 111 on the US Billboard 200, [9] and sold 6,000 units in its first year. [10] Outside the US, the album peaked at number 48 on the Swedish Sverigetopplistan chart. [11]
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