I began listening to the Ramones on January 1st, 2022.
Ramones (1976): A+ [Originally: A]
Leave Home (1977): A- [Originally: B+]
Rocket to Russia (1977): A-
Road to Ruin (1978): A-
End of the Century (1979): B-
Pleasant Dreams (1981): B-
Subterranean Jungle (1983): B
Too Tough to Die (1984): B-
Ramones (1976):
Ever since a certain Dylan revolutionized lyrics in the early 60s, dimwits in every corner of the rock scene have felt obligated to attain some deeper lyrical and poetic meaning in their songs. The Ramones know their limits and say to hell with that, usually doing away entirely with verses and writing choruses as simple as "I don't wanna walk around with you/So why you wanna walk around with me?" and "Next time I'll listen to my heart/Next time I'll be smart." So many meaningless lyrics prove the brief flirtations with violence and Nazi imagery are simply jokes and certainly reflect no deeper significance or seed of hate. Though the instrumental amateurism of Johnny and his staunch stance against guitar solos provide a musical satisfaction I didn't know was possible, it's Joey's barely pronunciation of lyrics such as "Well I'm a shock trooper in a stupor, yes I am" that really elevates this record to be one of the funniest and most powerful rock records to be released since prog took over the radio. A+
Leave Home (1977):
Although the higher production value, Joey's clearer annunciation, and catchier hooks make this unique enough to be a strong and worthwhile sophomore effort, there are times when the lack of development in songwriting disappoints. There's a follow-up to the glue joke, the horror lyric, and the ballad. All three are pretty good and so is another joke "Oh Oh I Love Her So," where Joey falls in love at the soda machine of a Burger King, but in terms of humor and power, this record packs less of a punch. Almost everything rings true in the pop environment but such a similar album to their debut makes it easy to choose a favorite. A-
Rocket to Russia (1977):
Because the Ramones know the dangers of doing the same thing thrice, for this album, they've racked their brains and taken inspiration from... the Beach Boys? I suppose it only makes sense considering the band’s regular consumption of DDT and Joey’s "Teenage Lobotomy," which went so incredibly he's now got all the girls and is pursuing a PhD. In addition to covering "Surfin' Bird" and "Do You Wanna Dance," the band expresses their love for California music by writing New York City's first ever (albeit highly ironic) surf song: "Rockaway Beach." Besides a punk's healthy dose of disillusionment ("I Don't Care"), the band also seems to have a more positive outlook on life since their debut, turning an insult into an anthem ("Cretin Hop"), wishing to be well ("I Wanna Be Well"), and trying to hang on a little bit longer ("Locket Love"). And although all the jokes are great, their best one seems to be a wink at my criticism of their second album: they do another ballad. A-
Road to Ruin (1978):
Where their second album initially hit me as somewhat of a sell-out, it is immediately obvious from the crystal-clear production to guitar overdubs to several guitar solos that this is the band's true sell-out if they ever released one. I've loved it from the get-go. The band were very crude musicians and songwriters initially (and they still are no doubt) but there are noticeable improvements in their playing and writing that help vary this record and the clean production just doubles to keep this band sounding fresh. Plus, the humor isn't so one-dimensional anymore--"I Wanted Everything" starts out like a classic Ramones joke but ends with a desperate truck driver robbing a supermarket. A-
End of the Century (1979):
The Ramones should have never agreed to have Phil Spector produce one of their albums but that's about all the blame I put on the band for this disappointing release (okay, the songwriting is also clearly the worst they have yet to bring to the table but I regress). Once Spector and his pistol entered the studio, there was no turning back and the band were basically at the mercy of Spector's erratic taste, which doesn't turn out as distasteful or controlling as it often is. "Chinese Rock" and "Let's Go" are the only great rockers and the only good Spector cut is "Do You Remember Rock 'n' Roll Radio?" although "Baby, I Love You" is also fine no matter how much the band hates it. B-
Pleasant Dreams (1981):
There's a few worthwhile songs to take from this LP--"We Want the Airwaves," "The KKK Took My Baby Away," and "Sitting in My Room"--and the production is nearly as well executed as Road to Ruin's. The band has basically returned to playing punk rock after the Spector side-tracked them but, in general, the songs are too pop-orientated and Joey's performances are particularly disappointing. As Johnny said, "it's too light." B-
Subterranean Jungle (1983):
This album has about as many great songs as the last one but, thanks to Johnny, this one is generally harder rock, which makes it their best album front to back since Road to Ruin. But even as I listen to the most-played song on the album ("Psycho Therapy"), I can hardly call this essential stuff. Plus, Dee Dee, who takes lead vocals for an entire song for the first time in the band's history, hasn't gotten any better at singing since their debut but I didn't notice the mike-change until the fourth listen. B
Too Tough to Die (1984):
This represents their best songwriting since The End of the Century and there's no doubt this form relates to the return of collaboration between Dee Dee and Johnny. Simultaneously, Joey's decay from punk god to depleted rocker is complete. He more or less nullifies any improvements the band has made since their last album. Admittedly, his vocals aren't unlistenable but after recently mentioning him in conversation as one of my favorite singers, I can't help but dwell on his downfall. B-