"Ramones", Ramones, 1976
Dia: 24
Mês: Abril
Ano: 2013
Ano: 2013
The Penguin Encyclopedia of Popular Music (Penguin Books, 1990): Ramones '76 remains archetypal LP, with "Beat on the Brat" and "Now I Wanna Sniff Some Glue". Critics liked cartoon vision of rock'n'roll; no-nonsense, hard-edged approach seemed antidote to flaccid '70s scene.
The Trouser Press Record Guide – Fourth Edition (Collier Books, 1991): Ramones almost defies critical comment. The fourteen songs, averaging barely over two minutes each, start and stop like a lurching assembly line. Joey Ramone's monotone is the perfect complement to Johnny and Dee Dee's precise guitar/bass pulse. Since the no-frills production sacrifices clarity for impact, printed lyrics on the inner sleeve help even as they mock another pretentious convention – although the four-or-five line texts of "Now I Wanna Sniff Some Glue", "I Don't Wanna Walk Around with You" and "Loudmouth" are an anti-art of their own. Like all cultural watersheds, Ramones was embraced by a discerning few and slagged off as a bad joke by the uncomprehending majority. It is now inarguably a classic.
The A to X of Alternative Music (Continuum, 2004): The band put out four albums in two years. The first one was recorded in three days and is a fairly straight recording of the band playing live in studio. And what's clear is that the Ramones could play after all.
The Rolling Stone Album Guide – Third Edition (Random House, 1992): The Ramones' magnificent first four albums can be appreciated for what they are: an indefatigable source of gross-out humor, geeky compassion, grabby chants and glaring attitude. A guaranteed good time, in other words. Tommy lays down the breathless beat, Dee Dee plunks away on bass, Johnny slashes at power chords, Joey ennunciates in a peculiarly expressive Noo Yawk drawl. Ramones go by fast – 14 songs in 30 minutes. But the bruddahs' hooks have a sneaky way of getting stuck in listeners' craws: from the opening achtung of "Blitzkrieg Bop" ("Hey! Ho! Let's Go!") on to statements of purpose like "Beat on the Brat", "Now I Wanna Sniff Some Glue" and a metallized "Let's Dance". ★★★★
The Virgin Encyclopedia of Indie & New Wave (Virgin Books and Muze, 1998): The fever-paced Ramones was a startling first album. Its high-octane assault drew from 50s kitsch and 60s garage bands, while leather jackets, ripped jeans and an affected dumbness enhanced their music's cartoon-like quality. ★★★★
AllMusic: With the three-chord assault of "Blitzkrieg Bop", the Ramones begins at a blinding speed and never once over the course of its 14 songs does it let up. The Ramones is all about speed, hooks, stupidity, and simplicity. The songs are imaginative reductions of early rock & roll, girl group pop, and surf rock. Not only is the music boiled down to its essentials, but the Ramones offer a twisted, comical take on pop culture with their lyrics, whether it's the horror schlock of "I Don't Wanna Go Down to the Basement," the gleeful violence of "Beat on the Brat," or the maniacal stupidity of "Now I Wanna Sniff Some Glue". ★★★★★
The Guardian: In the US, the debut album (...) had been released to good reviews but almost negligible wider impact. In Britain, it had been played in full by John Peel, provoked a degree of tabloid outrage and had enough impact that a band who struggled to draw 150 people in New York found themselves playing to audiences of 5,000, with plenty of stars, both nascent and recognised, in the crowd: the Sex Pistols, the Clash, the Damned and Wire were there; so was punk’s most vociferous supporter among the rock establishment, Marc Bolan. ★★★★★
Rolling Stone: If today's Rolling Stone were the Cahiers du Cinema of the late Fifties, a band of outsiders as deliberately crude and basic as the Ramones would be granted instant auteur status as fast as one could say "Edgar G. Ulmer." Their musique maudite — 14 rock & roll songs exploding like time bombs in the space of 29 breathless minutes and produced on a Republic-Monogram budget of $6400 — would be compared with the mise en scene of, say, Robert Aldrich's Kiss Me Deadly or, better yet, Samuel Fuller's delirious Underworld U.S.A.
Rolling Stone – 40 Greatest Punk Albums of All Time: When the Ramones recorded their debut album for $6,400 in February 1976, the agenda was simple: "Eliminate the unnecessary and focus on the substance", as Tommy put it in 1999. But the brilliance of punk's most influential and enduring record — how four disparate outcasts from the American adolescent mainstream made such original single-minded fury — remains hard to define.
NME: The Ramones’ first four albums – recorded between February 1976 and autumn 1977 – stand together as the most toweringly aggressive, misleadingly primitive, perfectly phrased musical statement ever made.
Pitchfork – Ramones: An Annotated Look at the Self-Titled Debut 40 Years Later:
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