Ramones
Road To Ruin

THE REVIEW

After three albums that are still an unsurpassed example of the most unrestrained and exuberant rock'n'roll primitivism, in 1978 the Ramones found themselves in a situation well-known to many other legendary bands: immense respect from their peers, a decent hardcore base of loyal fan-disciples, a myriad of other groups born from their three chords, but few bucks in their pockets and no significant chart success. It's a situation that often pleases fans more than the band, and in fact, our heroes didn't quite like it, especially because they were well aware they were making music far from devoid of commercial potential (and, in light of the resounding success garnered two decades later by pale epigones like Green Day or Blink 182, one cannot but agree with them). Hence, after replacing drummer Tommy, a victim of tour stress, with ex-Voidoids Marc Bell (Marky Ramone), the four recorded "Road To Ruin". Another example of rock'n'roll primitivism, but a tad more thought out. 

Although the longer duration of the songs (which more than once exceed the 3-minute barrier), the cleaner production (among other things greatly benefiting Johnny's sound), and the presence of acoustic guitars and even micro-guitar solos scandalized some punk purists at the time, the rock essence of the Ramones was in fact not at all compromised. A certain craftsmanship is there, and you can feel it, but even the most pop-leaning tracks, namely "Don't Come Close", "Questioningly", and the acoustic cover of "Needles & Pins" by the Searchers, draw liberally from the rock'n'roll of the origins, from those 50s and 60s so dear to the Ramones, and do not sound awkward or affected at all (unlike the next three albums, which suffered from the often overwhelming presence of external producers).

Moreover, the arrival of Marky, who had played hard rock with the Dust, sometimes led to the adoption of more "heavy" and dragging rhythms: as in the initial "I Just Wanna Have Something To Do", which must have been loved by quite a few grunge bands. But the true gem of the album, which alone is worth the purchase (come on, it's 9.90 euros!) is "I Wanna Be Sedated", one of the band's iconic songs, probably their last great misfit anthem: unforgettable riff, melody, and chorus, a one-note solo (Johnny's ingenious response to those who accused him of not being able to play solos), all punctuated by Joey's "pa-pa-papa-pa-papa-papa". These things alone drink up entire discographies of the aforementioned 90s "punk" groups, and more.

If the review seems too emphatic to you, it's because yours truly was initiated into Rock by these individuals. And first love, etcetera etcetera.