The Ramones

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The Ramones

And how they ruined punk forever

 

Now I know they have become something of a sacred cow and that a lot of people I respect rate them very highly, but I have something to say. The Ramones were awful. Not only that, but they had a disastrous effect on punk from which it never recovered. I know, I know, but let me explain…

 

First of all, punk was a major life changing event for me, without it I would not be the person I am of have lived the life I have. I owe it a lot and I love it dearly. But the punk that had this impact on me was as inventive as it was incendiary, as thoughtful as it was terrifying. For me, The Ramones were not part of this and, as their shadow crept more and more into the new wave of bands arriving almost daily in 76/77, a lot of the things I love about it were lost.

 

I can understand them seeming revolutionary in 1975 and 1976, both the breakneck speed and the brevity of their songs going against the prevailing mood of the times, but to my ears that’s where any kind of break with the past started and finished. I acknowledge too that the movers and shakers of what was to be Britain’s punk scene were all on board very quickly, and their gigs in London were a rallying point for many of the early faces. I understand too that if you picked up a guitar for the first time as an angry teenager in the late 70s, Ramones songs were an easy role model to follow. But, their cartoon-rock takes on Beach Boys melodies had no whiff of revolution, no agenda and nothing really to say. My main point of concern is that the first wave of British punk bands were making music that was different to each other and didn’t conform to a pattern, and the Ramones influence on the bands that followed contributed to the uniformity that dogged certain parts of the scene all too quickly.

 

Early gigs by the Sex Pistols seem to have a had an almost messianic effect on some of the audience, Steve Jones recalled seeing people coming to shows with long hair and flared jeans, only for them to turn up to subsequent shows with short spiky hair, drainpipes and home made t-shirts; clearly things were changing. (Incidentally, it is very telling that the only Sex Pistol who really fell for the Ramones was Sid, and we all know how that one turned out). The bands that formed in the Sex Pistols’ wake picked up the call for individuality and set about creating bands and songs of their own. This first wave included Buzzcock’s spiky pop, the Clash’s urgent attack, the Slits’ defiant noise and X Ray Spex’s sax driven songs of consumerist concerns, all notable for creating their own style as they went along. Other early bands formed in these heady days were Wire, Subway Sect and The Damned, all with their own identity, agenda and reason for being. This is not to say that there were no three-chord –thrash bands around, there were, but looking back it is striking to think how different it all sounds, particularly as the prevailing wisdom of the time, at least for those set against the new movement, was that it all sounded the same. John Peel once described the Slits as being where an inability to play met a determination to play, whereas The Ramones were proficient musicians pretending to be bad ones, dumbing down their abilities. One gets the feeling that if the Slits were as skilled at their instruments the music they made would have made the most of these skills, not played them down

 

 

 

 

 

 

 

 

 

 

 

You may well think that without The Ramones the brits would never have had the confidence to pick up their guitars and form bands without first trying to play like Jimmy Page, but I disagree. The punk scene that started here was a reaction against what was going on at the time rather than picking up on any ideas from America. And there were rumblings going on across the country with bands such as Manchester’s Buzzcocks and Liverpool’s Big In Japan forming for similar reasons, away from the capital. Those who did pick up instruments and formed bands in those early days then learnt to play them in public and, initially at least, made a noise that was all their own.

 

 

 

 

 

 

 

 

 

 

 

 

 

How did we get from this spirit of inventiveness, this instinctive need to create something that was new and different to the desire to play something that sounded like punk put together by Sun readers. Listen to The Slit’s New Town, and then to The Exploited’s Dead Cities. How did we get from one to the other? Well we could blame The Ramones.

 

To be fair to the band, we could lay a fair amount of blame at the feet of new bands taking the easy option to sound like The Ramones rather than taking up the call of the early British punks to be individual and think for themselves, plus it must certainly be easier. The Ramones themselves can not really be held accountable for the way their own style was picked up and imitated, but the real message behind early punk was Be Yourself, Be Individual and I do wonder what would have happened to punk if The Ramones had not existed or so looked up to. I do think it would still have happened without them, but would have evolved differently. Patti Smith, Television and Blondie were also held in high esteem by Britain’s early punks, but for some annoying reason it was The Ramones who seem to have set a blueprint. To me The Ramones embody dumbing down, playing up stupidity rather than treating your intelligence as your biggest and best weapon. “D U M B everyone’s accusing me” is no God Save The Queen.

Let’s take a look at lyrics. Caroline Coon tells a story of seeing an early Pistols gig and realising Rotten was a poet and it’s easy to see what she means. Looking at his lyrics there is intelligence, cynicism, anger, disgust... what's not to love?

 

When there's no future, how can there be sin?

We're the flowers in the dustbin

We're the poison in your human machine

We're the future. YOUR future!

I don't believe illusions, too much is real

Claustrophobia; there’s too much paranoia

There's too many closets

So when will we fall

 

 

 

 

 

 

 

 

 

 

 

 

The only Ramones record I ever bought was Rockaway Beach, where they proclaim

 

Chewing out a rhythm on my bubble gum

The sun is out and I want some

It's not hard, not far to reach, we can hitch a ride to Rockaway Beach

Up on the roof, out on the street

Down in the playground, the hot concrete

Bus ride is too slow, they blast out the disco on the radio

Rock-rock, Rockaway Beach

Rock-rock, Rockaway Beach

Rock-rock, Rockaway Beach

We can hitch a ride to Rockaway Beach

 

Is it any wonder I never bought any more of their records?

 

 

 

 

 

 

 

 

 

 

 

 

For me it is an intriguing idea to think of an alternative punk timeline, where the Lurkers or Sham 69 never existed and where the creative heart of punk was never overrun. Where the art (for want of a better word) of early punk was allowed to flourish and became what it was known for and where being a punk meant more than wearing a leather jacket, ripping the knees of your jeans and playing dumb.

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