I WANNA BE WELL-- Rocket to Russia 10

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Perhaps for the first time finding the band flirting with the very edge of self parody, I WANNA BE WELL avoids taking the full plunge by unexpectedly excelling in the overachieving cohesion of its humble attributes. Applying already well-worn changes and lyrical subject matter, the song manages an easy, perfect charm which carries it above what is practically throwaway album filler by design.

A far superior application of the bratty, childish approach appearing on the earlier WHAT'S YOUR GAME, I WANNA BE WELL not only alludes to the familial turmoil which is at the core of ROCKET TO RUSSIA's side 1 closer WE'RE A HAPPY FAMILY, but also to the substance abuse detailed in TEENAGE LOBOTOMY. (Interestingly, aside from the CD named ACID EATERS, this is the sole specific reference to the psychedelic LSD on any of the RAMONES' releases.) The aggressively primitive lyric is comically intertwined to purposefully sluggish verse and chorus melodies, both of which are almost identically constructed around 1-4-5 in D-- only an intro buildup of the 5 of A and an unpredictable swoop to C for the punchline ("aint it neat?") breaking up the carefully constructed monotony. This pristine match of sound and substance somehow makes the derivations clearly evident from songs not even three tracks away seem immaterial.

A reliable mainstay in the band's live repertoire up until their very last tours,  I WANNA BE WELL displays the beguiling strengths of the RAMONES at their peak, confidently transcending the obviousness of the composition's ingredients, and concocting a nugget of surprising durability and appeal.












I WANNA BE WELL

DO YOU WANNA DANCE?-- Rocket to Russia 9

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ROCKET TO RUSSIA featured an unprecedented pair of cover versions, one of only a handful of career instances in which the band leaned on more than one oldie per album. Interestingly, their selection of DO YOU WANNA DANCE, a top ten hit for BOBBY FREEMAN in 1958, represents their first experimentation with outside material recorded beyond the borders of their usual comfort zone: roughly, the pre-British Invasion early sixties. This would mark the furthest the band would reach back in time to commandeer tribute material. In the future, as band abilities and confidence increased, genre dabbling would tend more towards the opposite direction's late sixties garage and psychedelic eras, and then beyond.

Similarly to the debut album's LET'S DANCE, the band jettisons virtually all of the source material's groove and feel-- opting instead to strip the composition's core down to its simplest essence, then retooling the arrangement to better fit the RAMONES' driving aesthetic. TOMMY 3-counts (!) a snare intro, then JOHNNY and DEEDEE blast into one of the more strikingly definitive permutations of their beloved 1-4-5-in-A. (Predictably, DEEDEE starts high, then swoops down as JOHNNY bounces up, reaching sublime release each time they converge on E.) JOEY delivers an impassioned vocal, although it could be argued he doesn't quite 'nail' the rhythm of the chorus phrasing with quite the rushed perfection he achieves later in the performance captured for IT'S ALIVE. The deconstructive conceptual primitivsm is subverted by several commercially-eyed production flourishes: winningly mixed backup vocals, and hypnotizing high hat fade-ins with each chorus-ending build up in E. Overall, the crisp, new re-imagining does not compare unfavorably with previous versions by DEL SHANNON or THE BEACH BOYS, both of whom scored minor hits for their respective efforts. (There can be little doubt that the RAMONES were at least somewhat familiar with the latter.)

Achieving an ideal balance between their relentless, bashing approach and their keen ambitions towards mass popularity, DO YOU WANNA DANCE's selection as a 45 ranks indisputably as one of their sharper market decisions. That it failed to score a big hit, like SHEENA IS A PUNK ROCKER and ROCKAWAY BEACH before it, does not diminish what has become clearer with several decades' retrospection: although detractors might dismiss the band as an abominable, aberrational mutation from the path of Rock 'n' Roll's ongoing development, tracks such as this only prove the depth of the RAMONES' connection to the roots of the music's true spirit.












DO YOU WANNA DANCE

TEENAGE LOBOTOMY-- Rocket to Russia 8

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Side 2 of ROCKET TO RUSSIA bursts forth with a track which draws inspiration from the sub genre of 50s exploitation films whose plots correlated adolescent rites of passage with horrific monstrosity-- such as I WAS A TEENAGE WEREWOLF, TEENAGE ZOMBIE, and  I WAS A TEENAGE FRANKENSTEIN. Having previously already covered shock treatments, this offering also sets out to explore & lampoon the only remaining institutional procedure with potentially more devastating effects to the mentally struggling patients being treated: the Lobotomy.

Kicking off with perhaps the most tribal & unusual of any of the RAMONES' classic drum intros, JOEY then follows, intoning a bizarre chant-- ludicrously blase, and dripping with studio effects. This triggers a dizzying trio of three chord blasts from DEEDEE & JOHNNY: the first is rooted in B, the second in A, the third in D. Though distinctively dissimilar, all three are 1-4-5 distortions, and the guitar and bass play in uncharacteristically non-divergent unison. It's another sharp, overachieving sequence, and only through the band's ever increasing dexterity does the illusion of effortlessness again appear to be cast.

The verses then commence on top of a surprisingly simple progression, which serves to accentuate the rushed complexity of the other sections once they return (note how the nearly identical verse of CRETIN HOP serves a similar, but less strikingly apparent function.) JOEY's execution of one of the bands most indisputably hilarious lyrics hits the perfect note of in-character humor, as he swings from slow-wittedly simplistic recitations of unmelodic phrasing to unexpectedly jubilant exhortations at the conclusion of each stanza. And although perhaps 'sophistication' wouldn't be quite the correct term to describe the flowering comedic touch on display here, knowing familiarity with stages of collegiate achievement, an above average grasp of anatomical terminology, and an awareness of ecologically dangerous chemical repercussions would all seem to undercut the group's affectations of unlearned idiocy. JOHN HOLMSTROM's grinningly demented rubber room caricature perfectly compliments the inspired lunacy of the proceedings.

One of ROCKET TO RUSSIA's superior mixes captures an electric, streamlined charge of sound-- certainly this song would have benefited little from LEAVE HOME's denser mix (perhaps only the overly dry percussion is a singular detriment). Add this to a group performance of exceptional exuberance, a composition full of impressively unique twists, and a lyric once again amusingly inverting and championing what previously might only have appeared nightmarishly depressing, and one relishes yet another unforgettable benchmark exemplifying the RAMONES' unmatchable allure.






TEENAGE LOBOTOMY

WE'RE A HAPPY FAMILY-- Rocket to Russia 7

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There can be little doubt that WE'RE A HAPPY FAMILY was intended to be a sequel of sorts to the previous album's PINHEAD: another bizarre lyrical tableau of shattered normalcy, another maddening melody of mercilessly zigzagging chord patterns, another outsider chantalong fadeout featuring demented sound effects. Even the placement in LEAVE HOME's playlist is mirrored-- although, as previously noted, that such apparently natural closers would wind down the first sides of their respective LPs, instead of appearing as satisfying second side finales, remains baffling.

The three part composition flaunts the band's twisted ambitions, striving to concoct outlandish barre chord constructions, all performed with unrelenting locomotion and exactitude. Opening with a not untypical three chord thrust, the introduction moves quickly to a second instrumental section-- a tongue twister alternating between Fsharp and E with matching A-B and G-A connections. Now, on a guitar Fsharp and G are only one fret apart, but since JOHNNY has rooted the next song segments in his higher register, this means he swings almost an entire octave, absolutely unnecessarily, every time they charge through this change. Were it not so exhilarating, it would border on the nonsensical, this odd determination of the RAMONES to wrench the wildest melodies possible from within the confines of their limited (but always sharpening) abilities. Make no mistake, after all of the criticisms of description, all the bemoaning of three chords, of unshakable primitivism, of artless amateurishness, we arrive here at guitar work so confounding that their movements are bound to be unmatchable for any guitarist initially attempting them- other than those who have accustomed themselves to working inside the RAMONES' sound realm.

Without pause the verse suddenly commences. Coming off of the previous section's last G-A, the transition to the dizzying E-G-E-A-E-G-D sequence could be tricky, but the band conquer it into a seamless, seeming effortlessness. As on the previous section, DEEDEE wields his trademark secret weapon, swooping up to higher octaves each time JOHNNY swings down, creating a subliminal, uneasy lack of center, where only the performance's precision maintains an exact point of focus.

Then finally, the lyric begins, a tragicomic cataloguing of failing familial dysfunction. As usual, the humor is sufficiently farfetched enough that the band could reasonably deflect the probability that many of the grim details might actually have personal resonance. Of course, while associations with the leaders of the free world and the catholic church were patently unlikely, the desperate hunger of a chilly Queens, or the distance of an untrustworthy father, or the loneliness of self-medicating while dealing on the side, all ring uneasily true in RAMONES circles. (JOHN HOLSTROM's memorable accompanying illustration ironically portrays a grinning, hyper-mundane clan.) At least a couple of in-jokes optimistically refer to their supposedly soon to be improving fortunes and notoriety, as once again the band mystifyingly transforms the disastrous into the celebratory.

Blasting full on at the quickest tempo found amongst their trio of classic initial releases (only GIMME GIMME SHOCK TREATMENT barrels by in a higher gear), WE'RE A HAPPY FAMILY finds the the RAMONES at an early apex of studio confidence. JOHNNY, DEEDEE and TOMMY perform at a practiced peak of impassioned perfection, while JOEY wrests great humor-- and briefly, even surprising pathos-- from recitation of the litany of troubles which have befallen his kinfolk. One of the most potent and effective mixes on ROCKET TO RUSSIA captures the lightning of the track's crisp drive. As repetitions of the chorus catchphrase swell into the coda, the track takes one more nod to the previous PINHEAD, and psychedelic studio production touches swirl into another logjam of babbling, group dialogue non sequitirs, and cinema verite sound effects of household clamor ('Where's my underwear??'). Interestingly, the CD reveals a longer fadeout than the original LP, and the aural clutter which outlasts even the band's concluding chord are now audible.

Noted by TOMMY as a convincing example of the RAMONES' collaborative songwriting strengths, WE'RE A HAPPY FAMILY outshines its calculating conception, and stands as one of the band's definitive compositions and recordings. Swinging for the fences and connecting in virtually every way, the song exemplifies the beguiling combination of ludicrous hilarity and musical ferocity which defines the group's essence. With PINHEAD delegated to the closer of the live set proper, WE'RE A HAPPY FAMILY almost immediately found a permanent home as the climax of the last encore, joyfully sending the audience of disaffected outsiders home with a final affirmation of communal acceptance. As well, it also served to deliver the band a self aware declaration of reasserted solidarity. The necessity of both gestures would become more and more meaningful in the hard years which lie ahead.













RAMONES WE'RE A HAPPY FAMILY

SHEENA IS A PUNK ROCKER-- Rocket to Russia 6

 

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The manner in which this project is sequenced brings us to an awkward situation with SHEENA IS A PUNK ROCKER, one of the RAMONES' greatest and best loved songs. Previous consideration of the CARBONA NOT GLUE quagmire has already mapped out this song's appearance (see CARBONA NOT GLUE), and the wrongheaded programming of the SHEENA 45 mix as an extra on the deluxe edition of the ROCKET TO RUSSIA cd instead of LEAVE HOME (where it clearly would have made more sense) requires that we now evaluate this LP variant, released months later, several entries before we arrive at the original--arguably, the definitive rendition. To maintain some semblance of order, this discussion shall concern itself with SHEENA compositionally, and the upcoming blog for the initial SHEENA single version will concentrate on the performance and production, including a comparison of the two differing mixes.

To briefly recap: JOEY composed SHEENA shortly after the release of LEAVE HOME, and it was, at SIRE's behest, quickly recorded and rushed out as a single. (Ultimately this caused market confusion as the song, and its b-side BABYSITTER, were jumbled around newer pressings of the LP, replacing the supposedly poisonous CARBONA NOT GLUE.) Despite being hurriedly written in an inspirational rush, the song is striking in the perfections of its constructions-- perhaps the only detectable flaw being the torrent of syllables occurring in the second line of verse, as opposed to the perfectly spaced pacing of the first. It's interesting to note that omitting 'au go-go' would have made the phrasing more of a workable match, and maintained the rhyme, but this would have sacrificed the 60's flavor of the scenario being invoked.

One of the RAMONES' most triumphant accomplishments in the doo-wop derived surf music idiom, the melodic progression of SHEENA was presaged by OH OH I LOVE HER SO, and the further developments evident within the subsequent ROCKAWAY BEACH would later culminate into ROCK 'N' ROLL HIGH SCHOOL-- debatably, the apex of this experimentation. Unlike ROCKAWAY BEACH, which starts with a few bars in the 4 of the root key, or ROCK 'N' ROLL HIGH SCHOOL, which kicks off in its 5, SHEENA commences in its actual pitch: C. Swinging invigoratingly up to G instead of the expected 4 (F) after a few lines, the verse then turns to a repetition of A and the anticipated F before returning to C. After a buildup in 5 ('oh yeah'), the chorus blasts off into a sturdy variation of the standard BLITZKRIEG BOP 1-4-5. This framework of four chords is the very essence of doo-wop, although unsurprisingly, JOHNNY eschews adherence to the minor variation of A which strict genre parameters would dictate. Unlike YOU'RE GONNA KILL THAT GIRL, a more exacting homage to the doo-wop style, SHEENA draws its strength from unique chord selections made inside the limited options.

Another uncommon maneuver awaits as the song enters its middle eight. Hopping up to the 4 (F), it immediately becomes apparent that earlier the verse avoided this change in order to keep the melody of this section distinctive. After moving through typical 1-4-5 devices, a sudden swoop down to A sharp throws a nervy curveball before the return to the verses. Once again, the band's comfort in dexterously moving around their boxlike barre chord patterns had brought them to a subtly unorthodox melodic choice-- one which would be highly unlikely to a guitarist prone to performances within only the standard open chords, but would have made perfect sense in the adventurously rulebreaking playfulness of the early BEATLES. Of course the RAMONES hurtle along at their characteristic velocity through these changes as if little of note is happening, but it would be a mistake to underestimate the cunning underneath the onslaught.

Although JOHN HOLMSTROM's lyric sheet illustration harkens back to the IRISH MCCALLA TV show SHEENA: QUEEN OF THE JUNGLE from the 50s, JOEY's lyric concerns itself with the rite of passage necessitated by the abandonment of the next era's trappings, be they 60's surfboards, or somewhat more ambiguously dated 'discotheques,' for the excitement of the modern 'punk' age. (The 50's are briefly alluded to, in the form of obsolete terminology for drug use, which would end up hurting the 45's fortunes-- more on this in the future SHEENA post.) Of course, the RAMONES themselves were fond of anachronistic nostalgia, and there is something vaguely celebratory about the life our protagonist is leaving behind. This elicits an exhuberant empathy from the listener-- even those with no concrete shared experience with either SHEENA's past or future adventures. It is telling that it would be more than a decade before the group would attempt another completely new name-specific personalization, perhaps conceding that this bullseye was untoppable. For the band had concocted, with this character, the ultimate avatar of their existential and aesthetic struggles. In the near-mythical archetype of SHEENA, the RAMONES and their fans found the very embodiment of joyous reinvention that successive generations of misfits would cherish, and seek to emulate.






RAMONES SHEENA IS A PUNK ROCKER

I DON'T CARE-- Rocket to Russia 5

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If I DON'T CARE wasn't the very first stab at songwriting by JOEY, it was among the twentyish hopeful's very earliest attempts. According to the oft-repeated legend, his younger brother MICKEY LEIGH stripped an acoustic guitar down to just the low E and A strings, making the strumming of rudimentary melodies with approximated barre chords simpler for his novice sibling. Shortly afterward, he then taught his older brother the basics of his favorite song: ALICE COOPER's I'm Eighteen. The following day he was surprised to find that JOEY had written a new tune by shamelessly distorting the changes he'd learned, and adding a few phrases of childish-- but stunning-- lyrics. In time, the blunt composition would find a comfortable home inside the primitive outsider rock of the RAMONES.

Transposing the source melody from the original's E-C-D to the more power chord friendly A-F-G (and unsurprisingly ignoring any minor shadings), JOEY had unthinkingly stumbled onto a foundation he would utilize continually in decades to follow. Eventually the framework would dominate his songcraft, and become one of the stock melodic tactics the band wielded with regularity, along with 1-4-5, and its related 'doowop' changes. Later applications would include some of their most famous material-- I JUST WANT TO HAVE SOMETHING TO DO, PET SEMATARY, WE WANT THE AIRWAVES, I BELIEVE IN MIRACLES, to name only a few. This is not to suggest that all of these songs end up sounding the same. After all, the appearance of I DON'T CARE shortly after HERE TODAY GONE TOMORROW-- another extremely early piece by JOEY built around a similar grouping of chords-- in the running order of ROCKET TO RUSSIA hardly makes any resemblance conspicuous. If anything, it makes their dissimilarity more pronounced, despite their common lineage. Such was the dexterity with which the band tinkered with fretboard patterns.

Quickly embraced after the band's formation, I DON'T CARE was amongst the tracks first attempted at the RAMONES' initial 1976 demo session (see I DON'T CARE demo). Although steps were taken to beef up the sound for ROCKET TO RUSSIA's official version, including an extra overdub of guitar crunch, in the end it falls into the cache of numbers which might have benefited from LEAVE HOME's heavier production. An almost comedically weak response vocal from DEEDEE detracts considerably, and the effectively affected tone of JOEY's earlier blase performance is not matched. The demo is also pitched a step down lower in G, adding to its sludgier superiority.

The unprecedented, understated nihilism of the four sentence lyric ironically brings the band to the verge of self parody, despite the song's prototypical stature. JOEY's unschooled approach landed him onto a title phrase of deeply obvious personal resonance, however, his ceaseless usage of those three words in comparable later material (such as I DON'T WANT YOU and WHAT'D YOU DO) would finally beg the question: Didn't the defensive repetition indicate that he actually cared quite a bit? Still, that here, on perhaps his very earliest attempt, JOEY managed to help codify not only the RAMONES' trademark raw musical approach, but also the bleak humor of their outcast world view, remains impressive. In their disdain for even 'these words,' the RAMONES staked a claim where few bands, even as a joke, would dare to go.












RAMONES I DON'T CARE

LOCKET LOVE-- Rocket to Russia 4

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While the first two RAMONES lps each featured one stab at pure, energetic pop (see LISTEN TO MY HEART and SWALLOW MY PRIDE), ROCKET TO RUSSIA upped the ante with a duo of melodic, catchy confections: I CAN'T GIVE YOU ANYTHING and LOCKET LOVE. Over clean-- even acoustic-- guitars, these British Invasion-influenced attempts at hitmaking (or at least, album filling) exhibited sly lyrical maneuvers designed to subvert the standard romantic storylines. I CAN'T GIVE YOU ANYTHING would draw its strength by way of outright denouncement of typical pathos. LOCKET LOVE, on the other hand, would undermine genre cliches with subtler undercurrents of morbid sexual deviance and threats of physical harm.

Musically, the pair are strikingly similar. Both are built upon riffs which, though constructed within 1-4-5 frameworks, playfully resist being restrictively rooted to their '1' base. If I CAN'T GIVE YOU ANYTHING is slightly more adventurous, and has an overall harder edge, LOCKET LOVE has superior tunefulness, and a more distinctly memorable middle eight. (The lighter arrangement effectively disguises the considerable resemblance to BLITZKRIEG BOP's corresponding section.) The impressively crisp production heightens the appeal of potent performances, and the capable arrangements puts the pigeonholing of the group as mere primitive savants into serious jeopardy. Particular note must be made of the outstanding background vocals, which here reach a pre-SPECTOR era peak.

The final common attribute of the twin tracks is the creation of unlikely rhymes via the ungrammatical omission of key words at the end of familiar phrases, and if this amplifies the later tough guy stance of I CAN'T GIVE YOU ANYTHING, the sum coherence of the present composition suffers somewhat as a result. Still, LOCKET LOVE represents one of the last gasps in the band's efforts to cohere their driving energy into charmingly developed (and perhaps, commercially motivated), unpunk product. In the future, the cut and dried lines dividing 'pop' and 'rock' material in the RAMONES' landscape would rarely allow for the overlapping coexistence evident here, but the upcoming machinations of both the New Wave and 60's Revivalist sub-genres would find precedent in the group's nostalgic adherence to a previous musical era's commitment to album filler exuberance.












RAMONES LOCKET LOVE

HERE TODAY GONE TOMORROW-- Rocket to Russia 3

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Little that the RAMONES had recorded up to this point could have prepared their audience for the stunning terrain which would be embarked upon with ROCKET TO RUSSIA's next track, HERE TODAY GONE TOMORROW. Perhaps somewhat anticipated by the forthright honesty of LISTEN TO MY HEART, or the detailed realism of BABYSITTER, or the pained remorse of I REMEMBER YOU, this unprecedentedly serious portrait of doomed romantic failure represented the starkest departure from their predominant approach thus far.

An early composition by JOEY, the tune shows him working around his favorite melodic pattern, a stripped down triumvirate of chords adopted from the chorus of ALICE COOPER's I'm Eighteen, and immediately utilized on his inaugural songwriting attempt: I DON'T CARE. He would fall back on this barre chord foundation often over the years (the A-G-F driven I JUST WANT TO HAVE SOMETHING TO DO is a famous application of it), but this recording arguably illustrates his most effective and unique utilization of the template. Rooting the song in D on guitar leaves open the option of swooping down to the other chords of E and Fsharp instead of climbing up in blocks (surely JOEY's original approach). The unsettling drama of the melody rests upon the arresting drone of this change.

Unfolding an unfamiliar aura of abnormal solemnity with the first, sad strokes of a hi-hat (!) countoff, the band maintains startling, restrained gravity throughout the track-- their longest so far. The impressively layered guitars draw a curtain of slowly swelling overtones, and when the presence of this undercurrent becomes more ominous during the second verse, it signals that there will be no letup from the lyric's sober stare. By the time they reach the pause preceding the instrumental break, the foreboding hum has gradually increased its volume into practically a separate instrument, and as this crescendo lurches into the final chorus it is apparent that any expected punchline shall be absent.

TOMMY's exceptional studio professionalism and arrangement expertise (the group inched ever closer to an uneasy comfort with guitar solos with the primitive arpeggio picked out over the instrumental section) prudently match the hypnotic incantation of JOEY's impassioned vocal. Wrenching maximum heartbreak out of the contradictory resignation present in the lyrics, JOEY wields effective touches with consistent flair. He imbues the repetitive, monosyllabic cliche of the verses with strikingly dextrous melodrama (choruses too: 'for-EVer'), and he knowingly holds back the key catchphrase for the startling musical pauses which end each stanza. The poetic economy of JOEY's phrases-- effectively painting broad strokes of evocative remembrance with just over 40 words-- embodies one of his most underappreciated triumphs.

JOHN HOLMSTROM's accompanying illustration attempts to inject some levity into the proceedings, but the imagery of dismissive graveyard laughter-- 'Here Lies Someone's Dead Body' reads an epitaph-- unexpectedly underlines the only hinted-at morbidity of the song's mood. (Perhaps it should be noted that the 'Ritchie Ramone' headstone refers to an early, brief bandmate-- not the future drummer.) It would rank as the least effectively matched of his ROCKET TO RUSSIA insert designs with little probable debate.

But surely, that is far from surprising- for this was a sharp detour from the RAMONES' traditional comic book landscapes. Here, suddenly, the blunt realities of everyday pain were sized up and confronted-- without the usual aid of accelerated tempos, or cartoonish caricatures, or distracting distortions of personality flaws (or guitar tones). In retrospect, the unflinching realism of HERE TODAY GONE TOMORROW demonstrated a clear turning point. The following decades would find the band struggling to preserve an ideal balance between their trademark twisted humour, and the expulsion of hard truths absorbed as the ensuing years unleashed their unforeseen struggles (and resultant acrimony). For the moment, however, the RAMONES bravely widened their emotional palette-- and broadened their followers' palates. Humbly brandishing the fewest chords and words necessary, the RAMONES constructed a monument to the determined, seemingly unlimited, power which could be manifested through minimalism's hidden, stunning strengths. And the atypical HERE TODAY GONE TOMORROW-- as precise as a Japanese Haiku, as stark as the rain dampened streets of Film Noir, and as mesmerizing as a meditative mantra-- would tower through the coming tomorrows as one of the band's outstanding achievements.












RAMONES HERE TODAY GONE TOMORROW

ROCKAWAY BEACH-- Rocket to Russia 2

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Diminished in stature only by the later appearance of a superior derivative (ROCK 'N' ROLL HIGH SCHOOL), ROCKAWAY BEACH is another top notch early classic-- confidently constructed upon its simplistic foundation and full of evocative summertime imagery. Although minor weaknesses become apparent upon closer clinical examination, it is easy to agree with the selection of this track for the LP's leadoff single. (However, the ludicrous appearance of this 45 during the dead of winter was a typical RAMONES career timing misfire.)

Another effective retooling of the 1-4-5 progression in A, the song throws the listener off balance by starting with a few measures of 4 in D. (Note how ROCK 'N' ROLL HIGH SCHOOL cunningly improves on this tactic, strumming introductory measures on the 5 of that track's root key instead.) The RAMONES' re-appropriation of the BEACH BOYS' favorite CHUCK BERRY-style derivations is sidelined only twice for brief, bridging blasts of slightly off rhythm punk riffing-- probably the least commercial trait of this proposed 'hit.' The first appearance of this powerful change-- G to D, then F to C-- is followed by an abrupt swing down to Fsharp. The subsequent, doo-wop-driven middle eight makes clear genre sense, but in the context of where the preceding 'punk' section is rooted, it represents surprising movement between keys. The growing dexterity of the band's barre-chord-patterned approach occasionally brought them to unpredictable melodic inventions; some unlikely to be matched by even the more studied competition. The simultaneous slide by DEEDEE and JOHNNY to the lower register as JOEY delivers a repeated line of lyric in the new pitch (which ironically punctuates that it's neither 'hard' nor 'far' to 'reach'--despite the accomplished octave-wide distance the melody has just bounded) leaves the listener with an impression of effortlessness-- a considerable deception.

The persuasively concise performances come into play again as the instrumental 'punk' section reappears towards the finale. This time the G-D to F-C is followed by a matching D to A, stunningly returning the song to the home key--where the band then halts so that TOMMY can count off the coda of final choruses. Once again, the dynamic execution succeeds in making the atypical arrangement seem natural, almost inevitable. ROCKET TO RUSSIA's sharper mix also proves ideal for boosting the overall appeal, as the background vocals impressively augment an already notable amount of hooks, and the crisper tone of the instruments heightens the cartoonier feel of the arrangement- while sacrificing hardly any of the overall strength and drive.

Despite sorely lacking a second stanza, the potency of the RAMONES' street poetry is striking. Driven by unrelentingly rhythmic phrasing and attention to situational detail, the lyrical ambience is arresting from the very first unforgettable line. (Unfortunately, the second line fumbles the flow somewhat, syllabically insufficient at an unwise juncture amidst a verseful of compelling couplets.) Eliciting sweeping familiarity via era-specific and domain-exact minutiae, DEEDEE's lyric transforms the seasonal compulsion towards, in all reality, a rather seedy destination into an inclusive, worldwide anthem of sunburned excitation. The defiance of actuality is reflected in JOHN HOLMSTROM's accompanying illustration, where the protagonists are altered into comical, non-human (but somehow familiar) characters. And similarly, the power of ROCKAWAY BEACH is the metamorphosis of the observational specificity detailed from DEEDEE's sweaty, mid-70s New York environment into a universal, utopian mindset and locale, which resonates personally with each of the group's fans-- no matter how far removed from Disco-era Queens in July they actually are.










RAMONES ROCKAWAY BEACH

CRETIN HOP-- Rocket to Russia 1

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The RAMONES' trademark LP kicks off with an extremely uncharacteristic barrage of open chord, power strummed, lone guitar. The unsettling absence of '1-2-3-4' is atoned for once the chorus chant kicks in, and it becomes apparent that it's been omitted to prevent unnecessary repetition. The aural adjustment compared to LEAVE HOME is recognizable immediately: the guitars are still layered- but more focused, the bass is drier and less overbearing, and the drums are doctored with fewer effects, leaving them more crisply defined in the mix. The promise of ROCKET TO RUSSIA's fresh approach was so utterly fulfilled-- and the popularity of this track was so instantaneous-- that it is easy to overlook how much CRETIN HOP might have benefited from the previous album's heavier crunch.

One of the most simplistic of all the RAMONES' classics (which IS saying something), the song's melody offers only a three chord verse aside from the opening riff, with an exemplary tribal drummed exaltation for the second part (which again utilizes the repeated intro.) Inspiration for the minimal lyric seems to have sprung from a trip to a St. Paul, Minnesota gig, where the band was amused by road signage referring to the local Cretin-Derham Hall High School, and the adjacent Cretin Avenue. These were all named after a historically prominent area bishop, Joseph Cretin.

For the chorus, the band retools a common playground nursery rhyme, to humorous effect. This couplet had already appeared during the side two 'suite' of the BEATLES' Abbey Road, but as the RAMONES had previously mentioned Charles Manson in a lyric (see RAMONES- GLAD TO SEE YOU GO), it's worth noting that Vincent Bugliosi's definitive 1974 account of the murders, HELTER SKELTER, featured a prominent illustration of an interesting piece of evidence: a door from the Family's home at Spahn Ranch graffiti'd with several phrases, including '1 2 3 4 5 6 7 All good children (go to heaven?)'--another possible source. (At first this may seem like a prime example of Manson's obsession with the BEATLES, but the scrawled slogan seems to predate Abbey Road's release by some time, and indeed Manson was in custody within weeks of that LP's appearance.)

While CRETIN HOP commences the proceedings admirably, the closing of side one with the perfect climax (WE'RE A HAPPY FAMILY) and the starting of side two with the ideal opener (TEENAGE LOBOTOMY) leaves it almost feeling as if the LP's sides should have been reversed. (Of course, on LEAVE HOME, PINHEAD seemed to terminate the incorrect side as well.) A personal admission: so often in the LP age did I personally swap the sides that now, years later, well after the rise of the CD format, I am still momentarily taken aback when ROCKET TO RUSSIA begins with its actual opener. Amusing, but true.

Another rousing call to arms for the RAMONES' disaffected fan base (JOHN HOLMSTROM's accompanying illustration appropriately captures an assortment of amusing misfits), CRETIN HOP was quickly embraced as a key live anthem. The explosive performances of the song on IT'S ALIVE and other concert documents may have eventually overshadowed the studio take somewhat, but with the song permanently added to the set virtually as soon as it was debuted, even the relatively restrained, original version's declaration could not be denied-- For CRETIN HOP, there would be NO stoppin'.









RAMONES CRETIN HOP

RAMONES-- ROCKET TO RUSSIA

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The RAMONES maintained a frenzied work rate through 1977, releasing their third LP ROCKET TO RUSSIA 18 months and change after the appearance of the debut record. The troubled distribution difficulties faced with LEAVE HOME may have somewhat deflated that album's potential, but encouraging signs were otherwise numerous. The band was met with substantial critical notoriety in the press, their initial UK performances had been explosive, and the new single SHEENA IS A PUNK ROCKER had stirred decent chart action, threatening the Top 20 in England and busting the Hot Hundred in America. (No doubt that they had hoped for even better, but considering their relative stature as something of a fringe act, these were significant inroads.) The notion that the breakthough could be just a few more stepping stones away drove them relentlessly, and perhaps sensing that the window of opportunity would be brief, they heightened their labours with determined focus, commencing work on ROCKET RUSSIA almost immediately after the release of the SHEENA 45.

Another fortuitous development was the acquisition of their label SIRE's distribution from ABC to the considerably more powerful WARNER BROS, and for the moment the conglomerate seemed willing to roll the dice with the budding act. Armed with another jump in production budget, TOMMY and the group once again enlisted the aid of ED STASIUM and TONY BONGIOVI, this time setting up shop at the high quality MEDIA SOUND and POWER STATION facilities. Wanting to optimize commercial appeal for the new songs, the heavy crunch of LEAVE HOME was retracted for a drier, more streamlined and consistent sound. This unexpectedly played to the strengths of the new songs, written, more often than not, amidst the frenzy of touring. Many new, structurally impressive classics bore the stamp of collaborative compositional craft, and a majority of the fresh material exhibited an overall sharper sense of humour and melodic progression.

Hoping to strike impressively on all fronts, the RAMONES refused to neglect the packaging of ROCKET TO RUSSIA. Never again would they pay such close attention to their product's dressing. Clearly wishing to replicate the effectiveness of ROBERTA BAYLEY's debut LP photo, the front cover design features a similarly posed shot by manager DANNY FIELDS. Even more dazzling, the band recruited JOHN HOLMSTROM of PUNK magazine to illustrate impressively hilarious, cartoon style artwork for the back cover and lyric sheet- where his familiarity and understanding of the RAMONES' flavor and attitude suits the songs admirably. The sleeve image clearly reflects the group's yearning for worldwide dominance and success. HOLMSTROM's other pieces so inextricably compliment their respective tracks, they will warrant further comment here as their place in the running order is reached.

Additionally indicative of the predominant mindset is the care apparent in the selection of the LP's singles. ROCKAWAY BEACH and DO YOU WANNA DANCE were not only commercial standouts in the new set, they also met the aesthetic demands of what the RAMONES were likely to amicably excel at promoting in their concert performances. ROCKAWAY BEACH unforgettably evoked the band's NYC hometown atmosphere, and DO YOU WANNA DANCE was another effective, stripped down retooling of a relatively well known oldie (originally a hit for BOBBY FREEMAN in 1958). Perhaps only the wintertime release of the sunny, summer tailored ROCKAWAY BEACH undermined the coherence of this marketplace strategizing.

So many details, all encouragingly congealing all at once- a Xmastime release date, a headlining return to England planned for New Year's Eve (with the possibility of recording some shows for a live album looming), and WARNER's even willing to foot the bill for enormous promotional cutouts of the ROCKET TO RUSSIA cover to be shipped for display in record stores nationwide.

But then: disappointment. ROCKET TO RUSSIA failed to outperform the previous LP in the UK, and though they scored the highest position for any of their albums thus far in the US, they still could not crack the top 40. Both singles placed roughly as well as SHEENA in the US, but met less notoriety overseas. All things considered, hardly disastrous, but far from the breakthrough they had hoped for. One of the reasons is that the reactionary English version of Punk Rock was beginning to steal headlines, and the more outwardly political nihilism of this music seemed to overshadow the RAMONES in a way, sadly making their heightened melodicism and sharpened, zany humor less significant. And instead of attempting to match the upstarts, the bewildered RAMONES turned to an even more polished sound on their next effort ROAD TO RUIN, where they experimented even father outside of their established strengths. An acceptable strategy as long as the music maintained high quality, but doomed to muddle their efforts in the future, as shall be seen.

But that is getting well ahead of the story. At the time it was unleashed, it was heralded then as has been borne out in the decades since: The RAMONES' superlative work. It took some time for everybody to come around, but to simply let the needle fall into the grooves is to verify that riding atop this ROCKET, the RAMONES had reached their apex. And in the perfection of their finest moment, the coincidental failure to achieve immediate mainstream success eventually came to seem utterly inconsequential.