Ramones’ “Ramones”

I’ve been listening to the Ramones’ 1976 self-titled debut album this week for lessons I can learn as a songwriting musician. This album definitely provides a contrast from the modal jazz of last week’s Miles Davis album. I got my introduction to the Ramones through the “Ramones Mania” collection. I liked most of the thirty tracks; However, the songs seemed musically redundant. I mostly wrote them off. When I met my wife 18 years ago, she reintroduced me to her favorite band the Ramones. Thankfully, they had a broader range than I’d originally thought. So, what about their debut album?

Some see punk rock as a rebellion against disco banality and prog rock excesses. Some focus on punk as a revival of rock n roll, from which disco and prog had originated but drifted far away. The Sex Pistols, especially Johnny Rotten, probably leaned more toward the rebellion side. The Ramones were more perhaps more revival. On their debut album, the Ramones music bears elements of their influences like the Ronettes, the Beach Boys, and 1910 Fruitgum Company. The members of the Ramones heard these pop bands on the radio through their childhood. By the mid-70s, they’ve also been influenced by harder music like “Communication Breakdown” by Led Zeppelin. The Ramones brand of punk music strips early rock n roll and pop music down to its basic elements; They create short songs with catchy melodies, simple direct lyrics on adolescent themes, I-IV-V chord progressions, and basic rhythms.

The drummer plays minimalist beats with little to no flourish. The bass further drives the rhythm staying almost constantly on the tonic note of each chord. The guitar, likewise, provides a nonstop barrage of distorted barre chords. These give the music a wash of rock n roll sound, creating a style by opting out of stylistic additives.

The band will emphasize two consecutive beats in some songs, which is a distinctly Ramones rhythmic technique. They achieve this usually through the following. Throughout the rest of the measure (or two), the bass will drive along with constant eighth notes while the guitar is likewise being played with non-stop down-strokes. The snare will hit every 2nd and 4th beat with a kick every 1st and 3rd and maybe a downbeat in-between. To emphasize the two beats, the bass will play quick quarter notes and the guitar will strike then rest on both.  Usually this will be the V and IV chords of the key. The snare will hit on both, accompanied by a cymbal. This pattern gets repeated every two bars.

Joey’s vocal make these songs worth listening to. His melodies are simple, yet catchy. His style incorporates a variety of approaches while always sounding very much like Joey Ramone. They are fed by a desire to mix early rock n roll with a 1970s New York cool. He’s often crooning like Elvis Presley incorporating vibrato and tremolo.  Lines are punctuated with odd rockabilly hiccups and sputters, and occasional spits and snarls. All of these style in the vocals keeps the songs engaging while the rest of the instruments provide a utilitarian background.

The song “Blitzkrieg Bop” opens the album as a perfect introduction. The Ramones “Hey Ho Let’s Go” gets us “revved up and ready to go.” The lyrics “What they want, I don’t know” combined with the earlier lines “They’re piling in the back seat, They’re generating steam heat, Pulsating to the back beat.” sum up a lot of the album. These songs are soaked in a mixture of energetic anger, adolescent apathy, world-weariness, 50s rock n roll mythology, and naïvety. There’s that sense of seeing that the adult world sucks, but we’re not children anymore, so we’re going to have a good time in between.

The mid-album track “I Wanna Be Your Boyfriend” differs from the rest of the album. This slow song overtly wears more of the Phil Spector inspiration. Johnny Ramone even shows off an ability to play guitar beyond constant downstrokes.  True, it’s still a I-IV-V chord progression, but the Ramones are built on stripped down rock n roll. I also like that this song features one of my favorite instruments, the glockenspiel. However, the mix buries the bells.

These are great rocking songs with the most basic of essentials. All of them work, not in spite of, but because of their simplicity.  These very direct songs get the job done and get out. On the other hand, listening to them several times a day for a full week started to get boring. So, I learned that you can do a lot with very little. I don’t want to say these songs are without substance, but there’s just not enough there to keep them interesting.

Sex Pistols’ “Never Mind the Bollocks, Here’s the Sex Pistols”

Sex Pistols' Never Mind the Bollocks album coverThis past week, I’ve been listening to the Sex Pistols’ 1977 debut (and only) album “Never Mind the Bollocks, Here’s the Sex Pistols” for lessons I can learn to improve my craft as a songwriting musician. Admittedly, that statement isn’t very punk rock and seems antithetical to the idea of the Sex Pistols. I’m not very punk rock either. Still, John Lydon (aka Johnny Rotten) spoke of the importance for musicians to know their craft and the work of others. I do that every week.

The album opens with the sound of troops marching as “Holiday in the Sun” begins. The dirty distorted guitars buzz in, providing a fantastic start to an album. Here comes the first line “Cheap holiday in other people’s misery” during the intro riffs. It hints at the tone of the album and introduces the listener to singer Johnny Rotten’s vocal style. His voice confidently delivers an attitude at turns sardonic, accusatory, witty, disgusted and angry. That single opening line expresses all of that really well before the actual lyrics even start. Most of the lyrics attack an institution of some kind, whether it’s the royal family, classicism, social norms, government, or even the music industry. This album gives voice to the disaffected frothing with disillusionment.

Twenty years ago, I thought it was sounded universal and fresh, now it definitely sounds 1970s and British. It’s the sound of youth, but it’s the youth of today’s youth’s grandparents. I imagine to a younger generation it might even have all the quaintness that “Rock Around the Clock” had to me at their age. Still, the Sex Pistols music is so infused with rebellion that it still carries some sense of danger, however outmoded.

The distinguishing riff of “Holiday in the Sun” follows the Andalusian cadence; This is a descending I5-VII5-VI5-V5 progression; Of course, the V (G5 in this case) provides a perfect return back to the I (C5) so it sounds great to our ears. It’s always been one of my favorites. This solid progression can provide a sense of menace as it does here. The Ventures’ “Walk Don’t Run” provides a much less menacing example. A verses repeat a V chord, dropping down to IV for rhythmic emphasis, and the choruses are I-II. This sounds a lot of like  I-IV-V, giving the song a solid rock n roll feel.

The track “Pretty Vacant” has always been one of my favorites. The song opens with the guitar playing a distinctive broken A-chord. Undoubtedly, the opening riff provide some inspiration to Kurt Cobain of Nirvana. A I5-VII5-IV5-I5-VII5-V5 chord progression supports the verses. The choruses follow another descending riff: IV5-IIIb5-I. I notice here playing the chords within the key is not necessarily a conscious concern. As with Nirvana, the Pistols like wrote songs by finding movements of power-chords along the frets that sound good.  Basically, for rock n roll, sometimes you gotta get your head out of the books and your fingers on the guitar.

The closing track “EMI” has also been one of my favorites since I first heard it. Johnny’s catchy vocal delivery instantly makes the song lovable. Plus, who doesn’t love a good middle-finger to the record company track? Well, okay, it could be pretty lame and come across as cry-baby whining that the average listener can’t relate to. I appreciate the audaciousness involved in blatantly naming the company. They lyrics involve too some admonitions regarding pop culture and the music industry for everybody’s ears. That and the song gets strength from its fantastic mixture of anger and fun. One can get a lot of musical miles out strong vocals, a chorused (or is it double-tracked?) overdriven guitar, bass, and drums.

The final song of the Sex Pistols final concert (not counting reunions) was an emotional expression of disappointment and disgust. For an encore they performed a cover of The Stooges’ song.  Appropriately, this song was “No Fun.”  I’ve never heard the original, but I’ve always liked the Pistol’s covers of it. I won’t go into the background stories of the Winterland concert, but suffice it to say Johnny had had enough; He was facing that realization and the last few minutes of that performance were the result.  The Pistols weren’t built to last, but they produced a powerful album during their short existence.