THE RAMONES - The Ramones (Sire Records)
1. "Blitzkrieg Bop" Tommy Ramone, Dee Dee Ramone Leigh 2:12
2. "Beat on the Brat" Joey Ramone 2:30
3. "Judy Is a Punk" Joey Ramone Leigh, Tommy 1:30
4. "I Wanna Be Your Boyfriend" Tommy Ramone, Leigh, Freeman 2:24
5. "Chain Saw" Joey Ramone Tommy 1:55
6. "Now I Wanna Sniff Some Glue" Dee Dee Ramone 1:34
7. "I Don't Wanna Go Down to the Basement" Dee Dee Ramone, Johnny Ramone 2:35
8. "Loudmouth" Dee Dee Ramone, Johnny Ramone 2:14
9. "Havana Affair" Dee Dee Ramone, Johnny Ramone 2:00
10. "Listen to My Heart" Dee Dee Ramone 1:56
11. "53rd & 3rd" Dee Dee Ramone 2:19
12. "Let's Dance" Jim Lee 1:51
13. "I Don't Wanna Walk Around with You" Dee Dee Ramone Tommy 1:43
14. "Today Your Love, Tomorrow the World" Dee Dee Ramone 2:09
Produced by Craig Leon.
Associate producer Tommy Erdelyi.
Engineered by Rob Freeman.
1. "Blitzkrieg Bop" Tommy Ramone, Dee Dee Ramone Leigh 2:12
2. "Beat on the Brat" Joey Ramone 2:30
3. "Judy Is a Punk" Joey Ramone Leigh, Tommy 1:30
4. "I Wanna Be Your Boyfriend" Tommy Ramone, Leigh, Freeman 2:24
5. "Chain Saw" Joey Ramone Tommy 1:55
6. "Now I Wanna Sniff Some Glue" Dee Dee Ramone 1:34
7. "I Don't Wanna Go Down to the Basement" Dee Dee Ramone, Johnny Ramone 2:35
8. "Loudmouth" Dee Dee Ramone, Johnny Ramone 2:14
9. "Havana Affair" Dee Dee Ramone, Johnny Ramone 2:00
10. "Listen to My Heart" Dee Dee Ramone 1:56
11. "53rd & 3rd" Dee Dee Ramone 2:19
12. "Let's Dance" Jim Lee 1:51
13. "I Don't Wanna Walk Around with You" Dee Dee Ramone Tommy 1:43
14. "Today Your Love, Tomorrow the World" Dee Dee Ramone 2:09
Produced by Craig Leon.
Associate producer Tommy Erdelyi.
Engineered by Rob Freeman.
Arturo Vega
rturo Vega who some claim was the 5th Ramone
was the "art director" of the Ramones, Vega had a
key role in the creation of the visuals that were an
integral part of the group's identity. His taste for heraldic
designs perfectly complemented the Ramones' bad-boy image and the military
precision that characterized their music and stage act.
Vega's most famous creation was the Ramones' eagle logo based on the Great Seal
of the United States. By substituting the words "Hey Ho Lets Go" for the Latin phrase
"e pluribus unum," and exchanging a baseball bat for the arrows in the eagle's talons,
Vega created a logo that was both aggrandizing and funny. The seal served as the
backdrop for the Ramones' stage set, its effect enhanced by a dramatic lighting
scheme that Vega loosely adapted from Albert Speer's "cathedral of light."
The logo was also used with many variations on the group's T-shirts designed and
marketed by Vega. During the early years of the group, the sale of the T-shirts often
rivaled the sale of records, underscoring the important role that Vega’s visuals played
in the group's popularity.
rturo Vega who some claim was the 5th Ramone
was the "art director" of the Ramones, Vega had a
key role in the creation of the visuals that were an
integral part of the group's identity. His taste for heraldic
designs perfectly complemented the Ramones' bad-boy image and the military
precision that characterized their music and stage act.
Vega's most famous creation was the Ramones' eagle logo based on the Great Seal
of the United States. By substituting the words "Hey Ho Lets Go" for the Latin phrase
"e pluribus unum," and exchanging a baseball bat for the arrows in the eagle's talons,
Vega created a logo that was both aggrandizing and funny. The seal served as the
backdrop for the Ramones' stage set, its effect enhanced by a dramatic lighting
scheme that Vega loosely adapted from Albert Speer's "cathedral of light."
The logo was also used with many variations on the group's T-shirts designed and
marketed by Vega. During the early years of the group, the sale of the T-shirts often
rivaled the sale of records, underscoring the important role that Vega’s visuals played
in the group's popularity.
Roberta Bayley
Roberta Bayley was a photographer with close connections to
the musicians at CBGB. During the informal early years of the
club, Roberta sometimes collected money at the door on
behalf of her musician friends. When she was hired by CBGB
owner Hilly Kristal to do the job full-time, she moved to the
heart of the scene, always handling with diplomatic ease the
difficult task of determining who was allowed in for free and
who was charged admission. For the naturally talented Bayley
photography was an avocation, something she initially did for
fun and as a favor for musician friends who needed pictures
for publicity. Many of Roberta's pictures were for Punk
Magazine, where she soon earned the title of photo editor and
distinguished herself as the magazine's most reliable
photographer.
Bayley had a low-key approach to photography, working
closely in collaboration with musician subjects who were
usually good friends. During a photo session for Punk Magazine, Bayley photographed the
Ramones against a graffiti-covered brick wall in the alley outside of CBGB. A picture from the
session was used as the cover of the Ramones' first album and is still the best-known portrait
of the group.
Roberta Bayley was a photographer with close connections to
the musicians at CBGB. During the informal early years of the
club, Roberta sometimes collected money at the door on
behalf of her musician friends. When she was hired by CBGB
owner Hilly Kristal to do the job full-time, she moved to the
heart of the scene, always handling with diplomatic ease the
difficult task of determining who was allowed in for free and
who was charged admission. For the naturally talented Bayley
photography was an avocation, something she initially did for
fun and as a favor for musician friends who needed pictures
for publicity. Many of Roberta's pictures were for Punk
Magazine, where she soon earned the title of photo editor and
distinguished herself as the magazine's most reliable
photographer.
Bayley had a low-key approach to photography, working
closely in collaboration with musician subjects who were
usually good friends. During a photo session for Punk Magazine, Bayley photographed the
Ramones against a graffiti-covered brick wall in the alley outside of CBGB. A picture from the
session was used as the cover of the Ramones' first album and is still the best-known portrait
of the group.
| It wasn't until the 21st century that The Ramones debut album sales figures matched its cultural significance. On April 30th, 2014, almost exactly 38 years after it was released, 'Ramones' was certified gold by the Recording Industry of America after selling 500,000 copies. Despite critical acclaim the Ramones debut album on initial release sold little and slowly. It peaked at No 111 on the Billboard chart, selling only 6,000 copies in its first year. Since then, though, it has come to be regarded as one of the most influential rock albums ever made! |
An arty close up of Arturo's
white leather belt buckle
which incorporates the
Golden eagle from the
Great Seal appears on the
back of the debut album.
And also on the inner
sleeve which was blown up
from a series of photo
booth snaps he'd taken
see below left.
white leather belt buckle
which incorporates the
Golden eagle from the
Great Seal appears on the
back of the debut album.
And also on the inner
sleeve which was blown up
from a series of photo
booth snaps he'd taken
see below left.
| The Ramones check out some mixes during the recording process with Craig Leon and John Freeman at the mixing desk Sound Plaza, NY. Below are some of the fantastic reviews the album garnered .... |
| Joey Ramone laying down his iconic vocal tracks. He's wearing a prototype Ramones t-shirt without the famous design which Arturo would incorporate onto t-shirts later during the bands career. |
| Johnny Ramone lays down the blitzkrieg guitar tracks and mostly in one take to save time and money but we wouldn't have it any other way. |
Roberta Bayley
relaxes in front of her
classic Ramones
image.
relaxes in front of her
classic Ramones
image.
The Ramones contemplate on what have they
unleashed?
unleashed?