RAMONES discography

HEY! HO! LET'S GO!

Greetings, all. Time for another geeky catalog run down from yours truly. I'm not even sure how many Ramones fans we've got up in here, but I figure this thread might smoke some of you out.

Before we get to the good stuff, here's a quick Cliffs Notes version of the band's formative years. The Ramones were formed in 1974 in the working class Forest Hills section of Queens, New York. The original four members had all crossed paths around the neighborhood over the years, playing in rival bands, and eventually bonded through their mutual love of 1960s bubble gum pop, underground garage rock and British Invasion music. By the early 1970s "rock" had been overtaken by over-indulgent progressive bands and the foursome simply wanted to form a group that would bring back that exciting "rock n roll" hit single vibe.

The seeds of the Ramones were first planted when guitarist John Cummings (aka "Johnny") and bassist Douglas Colvin (aka "Dee Dee") invited Jeffrey Hyman (aka "Joey") to join their band. At first, Dee Dee was the rhythm guitarist/vocalist and Joey was the drummer. Before long, Dee Dee admitted that he couldn't handle singing and playing an instrument at the same time. He switched from rhythm guitar to bass, and Joey moved up to the lead vocal spot due to his previous experience as the front man for a local glam band called "Sniper." The drum stool was filled by Tommy Erdelyi, who'd been a previous band with Cummings.

The new combo started rehearsing in the basement of an art gallery owned by Joey's mother. Their musical skills were rudimentary (at best) at the time and when they attempted covers of their favorite songs they found them too hard to learn, so they said "Screw it" and started writing simplistic originals instead. These original songs - characterized by hyper-speed chainsaw guitar riffing (no solos!), frantic, nasal vocals and lyrics inspired by tragic romance, comic books, horror movies and other '60s junk culture - were totally against the grain of what was "happening" in rock 'n' roll at the time. The Ramones have described their music as "trying to write a bubble gum pop song without really knowing how."

Colvin came up with the idea for the band's name, inspired by an alias that Paul McCartney used to use when he signed into hotels - "Paul Ramon." Dressed in identical uniforms of leather jackets, jeans and t-shirts, the band members adopted the surname "Ramone" as an additional sign of unity, which led to the mistaken belief by many fans that they were all brothers.

The Ramones played their first show in March of 1974 at Performance Studios, a rehearsal space in Manhattan, which was attended mainly by friends and family. Then they began a regular residence at a dive bar in the Bowery known as CBGB (the initials stood for "Country, Bluegrass and Blues"). Supposedly CBGB owner Hilly Kristal gave the weird new band a shot simply because business was bad at the time and he would let just about anyone who came in the door up on stage. Their first live gig at CBGB was witnessed by a grand total of five souls (six if you count the bartender's dog). Word got around about the band's minimalist, hit-and-run style of playing (an average Ramones set lasted around twenty minutes) and soon they were the major draw of a new "Scene" in New York based around CBGB, alongside other up-and-coming bands like Blondie, the Talking Heads, Television and the Patti Smith Group.

One of the Ramones' CBGB performances was witnessed by Linda Stein, wife of Sire Records honcho Seymour Stein. Linda's glowing review (and a demo tape passed along by producer Craig Leon) convinced Seymour to sign the band to his label. Linda would also co-manage the band (with Danny Fields) for several years afterward.



Ramones was recorded in February of 1976 at Plaza Sound, a recording studio located inside New York's landmark Radio City Music Hall theater, home of the Rockettes and the annual Christmas Spectacular. (Radio City's famed pipe organ can be heard during the cover of the 1960s bubble gum hit "Let's Dance.") The fourteen songs, recorded in a mere seven days and clocking in at 29 minutes and change, were produced for the paltry sum of $6400. (Seymour Stein has said "If all bands recorded the way the Ramones do, record labels would have no problems whatsoever.") The iconic black and white cover photo of the band was originally shot for a feature in Punk magazine.

Ramones was released in April of '76 and contains some of the band's most beloved tracks, including the signature songs "Blitzkrieg Bop," "Beat on the Brat," and "53rd and 3rd." "Blitzkrieg Bop" and "I Wanna Be Your Boyfriend" were released as singles, but neither got much radio play (remember, this was the age of Debby Boone and disco!). The album received rave reviews from Rolling Stone, The Village Voice and other influential publications, but the album didn't catch fire on the charts, only reaching #111 on Billboard. Needless to say, the album's reputation has only grown by leaps and bounds over the years, influencing legions of punk, alternative and metal bands and regularly topping critics' lists of seminal/most important rock 'n' roll albums.

On July 4, 1976, the Ramones celebrated America's Independence Day in England, playing a show at London's famed Roundhouse. Members of the Sex Pistols, the Damned and the Clash were in the audience, and to hear them tell it, witnessing the Ramones' fiery performance inspired them to kick their own bands' presentations up a few notches. Sadly, many of the English bands would eventually eclipse the Ramones in popularity and lead many to believe that Punk was strictly a British phenomenon. In the end, it doesn't really matter. Punk rock was officially born, and the revolution had begun!!





In a nutshell: it doesn't matter if you're a metal dude, an alternative dude, a blues dude, whatever kind of music you're into ... this album was a game changer and it belongs in everyone's collection.

My Ramones cd collection is sorely lacking. I have the 2-disc anthology that I spin quite frequently and a few later-era releases. But their early stuff is sadly missing. I plan on getting them all when that lottery ticket finally pays off.

A few years ago, I was in the local used shop and most, if not all of their early discs were in the "just in" box. They were all the new re-mastered versions with bonus tracks and all. Open, but in mint shape. The problem is that the shop is cash only, no credit cards. Otherwise I would've scooped 'em all up that day. *sigh*

MetalGuy71 wrote:

My Ramones cd collection is sorely lacking. I have the 2-disc anthology that I spin quite frequently and a few later-era releases. But their early stuff is sadly missing. I plan on getting them all when that lottery ticket finally pays off.

A few years ago, I was in the local used shop and most, if not all of their early discs were in the "just in" box. They were all the new re-mastered versions with bonus tracks and all. Open, but in mint shape. The problem is that the shop is cash only, no credit cards. Otherwise I would've scooped 'em all up that day. *sigh*

I feel your pain, MG. I'm still missing two of the remasters (Leave Home and Subterranean Jungle) myself... I have earlier CD pressings of both albums but I wanna get the re-do's cuz they're loaded with extra goodies and I love the liner notes.

I'm also irritated that Rhino Recs. never continued that remaster series beyond the Too Tough To Die album. They should've continued 'em through to the end of the band's Sire catalog (i.e. Animal Boy, Halfway to Sanity and Brain Drain)

I love the Ramones and this disc rules.

No wonder Johnny Rotten and Steve Jones, future Sex Pistols loved this disc.

Short, catchy songs, that told a story in 3 minutes or less.

Johnny Ramones classic buzz saw guitar, Dee Dee counting off every other tune, and Joey Ramone, who's lyrics were humorous and heartfelt at the same time.

Very little variation from song to song, but who gives a rat's ass, this is rock n roll at its pureist, and this album rules.

They did more then one song? I'm not a huge punk fan other then Social D but I do have a greatest hits by these guys and it's a fun listen.

Everytime I listen to the anthology disc, I say, "Ya know, I really got get me their other discs one of these days". Sadly, "one of these days" never comes.

Maybe if you weren't so sedated you'd do it.

I don't own a single Ramones CD - I am looking forward to this thread so I can start collecting some Ramones!!!

Dark Horseman wrote:

Maybe if you weren't so sedated you'd do it.

Don't make me beat on you, brat.

My cousin ruined the Ramones for me. He was such a huge fan it put him on major "DIK" status. I raced downhill skateboards when this came out. Lots of skaters gravitated towards that sound but I kept on stayin true to my beloved Zeppelin, UFO, Rush, KISS, and Aerosmith. I have been able to begin listening to these guys on occasion. Still makes me wanna sock my cousin.

kinda/sorta like them old old doublemint commercials.........double the pleasure....double post

I have the greatest hits but I want to get more. The Ramones are one of those bands that I have never really gotten around to collecting. Looking forward to this thread and hoping to pick up some good direction.

I'm basically in the same boat as everyone else in the thread. I enjoy the Ramones, and I have the 2-disc Anthology but I hardly ever listen to it.
I'm rarely ever in a punk mood, and when I am I reach for hardcore punk or crossover thrash.

The Ramones' second album, Leave Home, was released in January of 1977. Once again, the album was recorded quickly in New York City so the band could get back out on the road as soon as possible.

Leave Home contains 14 cuts, many of which have become classics, including "Gimme Gimme Shock Treatment," "Commando," "Pinhead," (inspired by the 1932 horror film Freaks, this track added the chant "Gabba gabba, we accept you, one of us!" to the Ramones lexicon) and a barn burnin' cover of the 60s chestnut "California Sun."

The album also provided the band's first taste of controversy thanks to the track "Carbona Not Glue," an ode to sniffing a famous-name brand of spot remover/cleaner instead of airplane glue, as was the fashion in punk circles at the time. The Carbona company didn't take kindly to their copyrighted name being used in such a fashion and threatened the band with a lawsuit; thus, only the first pressing of Leave Home contains the song. Subsequent re-pressings of the album replaced the track with "Babysitter" (a single B-side) and eventually the shoulda-been-a-hit "Sheena Is A Punk Rocker" (which had been recorded for a non-LP single and was intended to go on the band's next album, Rocket To Russia). Despite the controversy, "Carbona Not Glue" still found its way into Ramones set lists for many years afterwards (it even appears on their 1992 live album, "It's Alive," though it's not on the album's track listing...) and was referred to in the film "Rock N Roll High School" when a stoned Ramones concert goer is heard to ask "Who's got the Carboooooo-na?"


When Rhino Archives reissued Leave Home in 2001, "Carbona Not Glue" was re-instated to its original place in the running order, and "Babysitter" was included as a bonus track. Presumably by then the manufacturers of Carbona had gotten over themselves or they just didn't care anymore.

Like its predecessor, Leave Home received great reviews and was warmly received by the band's loyal cult of fans but it failed to make an impression on the charts. Undaunted, the band continued truckin' around the world building their reputation as a live act until it was time for album #3.




Useless trivia: the album's co-producer, Tony Bongiovi, is a second cousin of the not-yet-famous-at-this-time Jon Bon Jovi.

WNEW-FM in New York City refused to play the song "Glad To See You Go" on the air due to its reference to murderous cult leader Charles Manson.

In addition to "Babysitter" and the re-instated "Carbona Not Glue," the 2001 Rhino Records reissue of the album includes a fifteen-song live set as bonus tracks, recorded at The Roxy in Hollywood in 1976.

You write so pretty I want to say something nice in reply but i've only heard a couple songs off this album.

'Carbona Not Glue' also made it to the 2 disc anthology, which I believe is also a Rhino Records release, so it makes sense. I'd have to check the date, but I think the antholgy was released right around the time (or shortly before) Rhino re-issued their whole catalog.

I have a feeling this discography is gonna cost me some money. I'm itching to get me some more Ramones. If I miss a car payment because of this, I'm blaming you, FF.

MetalGuy71 wrote:

If I miss a car payment because of this, I'm blaming you, FF.

That's what I do these discography threads for - to make you spend money!!

Fat Freddy wrote:

MetalGuy71 wrote:

If I miss a car payment because of this, I'm blaming you, FF.

That's what I do these discography threads for - to make you spend money!!

I knew it!! Unlike the moon landing debate, who shot JFK, 9/11 truthers, etc, this is a conspiracy theory I can get behind.

The first 7 Ramones albums are musts. The subsequent discs are all good, but not quite as solid. But really, they never put out a bad album. I like Joey Ramone's solo stuff too.

I love this album because it does not sound that different from the previous album plus 'Commando' is one of the coolest songs in rock history

The Ramones' third album, Rocket To Russia, was released in 1977 and was their second release of that year. Recorded once again in New York City, Rocket was expected to be the album that would finally launch the Ramones into mainstream success. Rocket had a higher production budget (reportedly $25,000) than the previous two albums combined, and their label Sire Records had just entered into a distribution deal with a major (Warner Brothers), which provided the band with an extra promotional push. Of course, it also helped that the band had brought some of their strongest songs yet to the table.

While it doesn't stray from the formula the band had already set on their first two albums, Rocket definitely has more sonic "punch" than their previous output due to the improved production. The ferocity of tracks like "Cretin Hop," "Rockaway Beach" (Dee Dee's ode to a particularly sleazy seashore area in New York) and the now-classic "Teenage Lobotomy" ("Guess I'll have to break the news that I got no mind to lose!!") hit unsuspecting listeners straight between the eyes! In addition to the aforementioned crushers, the album also contains two of Joey's trademark tender ballads ("Ramona" and "Here Today, Gone Tomorrow") and a pair of classic rock 'n' roll covers, "Do You Wanna Dance" (a hit for the Beach Boys) and the Trashmen's "Surfin' Bird," which would remain a Ramones live set mainstay till the end of their careers.

"Sheena Is A Punk Rocker" was released as the first single from the album and though hopes were high that it would hit big at radio, it barely managed to make a dent on the charts, achieving a high position of #81.

Rock critics were kind to the album which was now becoming business as usual, but the record buying public still ignored the band.

Making a disappointing situation even worse, the Ramones never had much of an opportunity to build on the foundation that Rocket To Russia was setting up, because Joey Ramone was injured backstage prior to a gig at the Capitol Theater in Passaic, New Jersey shortly after the album's release. As was his pre-show custom, Joey was loosening up his vocal cords by breathing the steam from a tea kettle that had been fashioned into a homemade vaporizer. The contraption suddenly blew up in Joey's face, resulting in severe burns to his head and neck. Amazingly, Joey performed the show anyway despite the agonizing pain (roadies slathered the burned side of his face in Vaseline) before going to the hospital. The second and third degree burns he'd suffered naturally took the band off the road while he recovered.

In a classic example of the Ramones' bad luck, British punk blew up big time while Joey was out of commission. Never Mind the Bollocks, Here's the Sex Pistols was released only a few weeks prior to Rocket to Russia and the spitting, foul mouthed, headline-grabbing Brits quickly became the "faces" of the punk rock movement as far as the world at large was concerned. The Ramones' thunder was officially stolen. Rocket To Russia should've been the band's big chance to make their mark on the world but sadly, they missed the boat due to bad timing and circumstance.

Bad luck aside, Rocket To Russia has gone on to become one of the Ramones' definitive albums and though the Sex Pistols may have burned brighter, they also faded quickly, while the Ramones continued to carry on the punk rock flame for many years afterwards.



The 2001 Rhino/Warner Archives reissue of Rocket To Russia includes numerous non-LP bonus tracks including the alternate version of "Sheena Is A Punk Rocker" that had originally appeared on some pressings of Leave Home.

Quote :

The Ramones' third album, Rocket To Russia, was released in 1977 and was their second release of that year.

2 classic album released within the same year. Remember when bands used to do that? Ah, the good old days.

Excellent album and one of my fav Ramones disc, sadly I no longer own it but need to get it again to add to my collection.

Rocket To Russia is my favorite Ramones album, classic from start to finish. I used to crank "Surfin' Bird" at ridiculous volume back in the 80s and thrash around the living room like an idiot. Fun times.

It was one of my favorite LPs to spin at parties.

S.D. wrote:

It was one of my favorite LPs to spin at parties.

...and Ramones LPs were so short that if your neighbors called the cops to complain about the noise, the album would be over by the time they arrived.