Ramones
Mondo Bizarro

THE REVIEW

First of all, it is necessary to clear the field of any potential misunderstandings or misconceptions. In my opinion, the Ramones ARE punk.

Sure, they may not have the same dissident provocative energy of the Pistols and other English bands, they may have a more street metal image with their long hair and leather jackets adorned with pins on full display, but ultimately, there must be a reason why in my elementary school music book, to briefly explain what punk was, the photo was of the Ramones and not Sid Vicious or the Clash.

The Ramones’ punk was certainly more genuine and spontaneous than the English punk. Behind them was only themselves, with their instruments bought with the proceeds of some part-time jobs in the unsuccessful attempt to cover the Who or the Rolling Stones, and not that farsighted commercial operator known as Malcom Mclaren.
The fact that all this happened in the mid-70s, and, that is, some time before the explosion of British punk, is just a statistical detail that supports this thesis. A thesis, moreover, confirmed by Joe Strummer who knowingly stated that the Ramone brothers played before everyone what is commonly believed to have arisen in England.

After this small but necessary introduction, let's move on to the discussion of the album being reviewed. “Mondo Bizarro” is rightly considered the album of the Ramones' second youth. After creating albums that will be remembered in the whole history of music like their self-titled debut album, “Leave Home,” “Rocket To Russia” and the live, indeed, “It’s Alive,” the 80s were very controversial and full of ups and downs. Between experiences with drugs and alcohol that undermined their health, various brawls, and issues with the American political entourage due to Joey Ramone’s heavy criticisms of former President Reagan, but also arenas packed with spectators during their concerts, especially in Europe (in this sense, the performance in Amsterdam was symptomatic, with almost 250,000 spectators attending), the 80s decade was consumed between highs and lows.

At the end of the decade, Dee Dee Ramone's mystical crisis towards rap music led him to leave the band, and he was replaced by C.J. Ramone. “Mondo Bizarro” is the first Ramones’ work without the founding bassist (even though some of the songs on this album were composed by him) and with his replacement C.J., who, among other things, delights us with his voice in “Main Man” and “Strength To Endure”. It is an energetic, visceral, punk rock album to the nth degree, like all the music and nature of the Ramones.
How can one not be overwhelmed by the energy of “Censorshit”, a fierce diatribe against censorship, the anger of “The Job ate in my Brain”, the obsessive “Anxiety” (I’m crazy, crazy, crazy, in a crazy world…), the riffs of “It’s Gonna Be Alright” and “Heidi is a Headcase”? Not to mention “Cabbies on Crack”, a fantastic example of a song that slightly departs from the usual punk rock standards with a riff almost of heavy style, and the fast-paced and irreverent cover of the Doors' "Take it As it Comes.” But the peak of the album, in my opinion, is reached with the engaging melody of the sophisticated "Poison Heart,” which one cannot help but sing along to.

In conclusion, I extend a heartfelt invitation to all the kids who believe that punk rock is that shabby and commercial form of pop that MTV forces upon them. Guys, open your eyes to what real punk rock is. Do like I did when I discovered the genre and the band precisely with this album. After awakening to new life from this discovery, go back and listen to the historic masterpieces of both the Ramone brothers and all true punk. The real one.