Rocket To Russia (40th Anniversary Remastered Deluxe Edition) Ramones
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- Remastered Original Mixes:
- 1Cretin Hop (Remastered)01:55
- 2Rockaway Beach (Remastered)02:06
- 3Here Today, Gone Tomorrow (Remastered)02:49
- 4Locket Love (Remastered)02:11
- 5I Don't Care (Remastered)01:39
- 6Sheena Is A Punk Rocker (Remastered)02:49
- 7We're A Happy Family (Remastered)02:40
- 8Teenage Lobotomy (Remastered)02:01
- 9Do You Wanna Dance? (Remastered)01:55
- 10I Wanna Be Well (Remastered)02:28
- 11I Can't Give You Anything (Remastered - 44.1 kHz)02:01
- 12Ramona (Remastered)02:37
- 13Surfin' Bird (Remastered)02:37
- 14Why Is It Always This Way? (Remastered)02:19
- 40th Anniversary Tracking Mix:
- 15Cretin Hop (Tracking Mix)01:57
- 16Rockaway Beach (Tracking Mix)02:07
- 17Here Today, Gone Tomorrow (Tracking Mix)02:46
- 18Locket Love (Tracking Mix)02:16
- 19I Don't Care (Version 2) (Tracking Mix)01:51
- 20It's A Long Way Back To Germany (Version 1) (Tracking Mix)02:23
- 21We're A Happy Family (Tracking Mix)02:38
- 22Teenage Lobotomy (Tracking Mix)02:04
- 23Do You Wanna Dance? (Tracking Mix)01:54
- 24I Wanna Be Well (Tracking Mix)02:30
- 25I Can't Give You Anything (Tracking Mix)02:13
- 26Ramona (Tracking Mix)03:06
- 27Surfin' Bird (Tracking Mix)02:53
- 28Why Is It Always This Way? (Tracking MIx)02:44
- Mediasound/Power Station Rough Mixes:
- 29Why Is It Always This Way? (Mediasound Rough, Alternate Lyrics)01:58
- 30Rockaway Beach (Power Station Rough)02:06
- 31I Wanna Be Well (Power Station Rough)02:28
- 32Locket Love (Power Station Rough)02:15
- 33I Can't Give You Anything (Power Station Rough)02:02
- 34Cretin Hop (Power Station Rough)01:55
- 35We're A Happy Family (Power Station Rough)02:14
- 36Ramona (Mediasound Rough, Alternate Lyrics)03:06
- 37Do You Wanna Dance? (Mediasound Rough)01:52
- 38Teenage Lobotomy (Mediasound Rough)02:02
- 39Here Today, Gone Tomorrow (Mediasound Rough)02:47
- 40I Don't Care (Version 2)01:46
- 40th Anniversary Extras:
- 41Here Today, Gone Tomorrow (Acoustic Version)02:48
- 42It's A Long Way Back To Germany (Version 1)02:24
- 43Ramona (Sweet Little Ramona Pop Mix)03:07
- 44Surfin' Bird (Alternate Vocal)02:40
- 45Teenage Lobotomy (Backing Track)02:06
- 46We're A Happy Family (At Home With The Family)01:02
- 47Cretin Hop (Backing Track)01:58
- 48Needles And Pins (Demo Version)02:44
- 49Babysitter (B-Side Version)02:45
- 50It's A Long Way Back To Germany (B-Side Version)02:21
- 51Joey RTR Radio Spot Promo00:52
- 52We're A Happy Family (Joey & Dee Dee Dialogue)01:12
- Live at Apollo Centre, Glasgow, Scotland, 12/19/1977:
- 53Rockaway Beach 03:00
- 54Teenage Lobotomy 02:08
- 55Blitzkrieg Bop 02:03
- 56I Wanna Be Well 02:21
- 57Glad To See You Go 01:51
- 58Gimme Gimme Shock Treatment01:37
- 59You're Gonna Kill That Girl02:27
- 60I Don't Care 01:40
- 61Sheena Is A Punk Rocker 02:26
- 62Carbona Not Glue 01:34
- 63Commando 01:58
- 64Here Today, Gone Tomorrow 03:14
- 65Surfin' Bird 02:23
- LP: 40th Anniversary Tracking Mix:
- 66Cretin Hop 01:45
- 67Listen To My Heart 01:38
- 68California Sun01:48
- 69I Don't Wanna Walk Around With You 01:24
- 70Pinhead 03:47
- 71Do You Wanna Dance?01:41
- 72Chain Saw 01:31
- 73Today Your Love, Tomorrow The World03:25
- 74Now I Wanna Be A Good Boy 02:03
- 75Judy Is A Punk 02:21
- 76Now I Wanna Sniff Some Glue 01:22
- 77We're A Happy Family 02:26
Info for Rocket To Russia (40th Anniversary Remastered Deluxe Edition)
Es war ihr zweites Album im Jahr 1977 und ihr drittes insgesamt. Am 4. November ‘77 warfen RAMONES Rocket To Russia auf den Markt und setzten damit dem ereignisreichen Punk-Jahr ‘77 die Krone auf. Als eines der bei den Fans beliebtesten RAMONES-Alben stellte es dem damals schon beschworenen Untergang des Punk große Klassiker entgegen: Sheena Is A Punkrocker und Rockaway Beach aber auch rotzige Coverversionen wie Do You Wanna Dance und Surfin‘ Bird. Zugleich war es aber auch das letzte Album, das von allen vier Gründungsmitgliedern aufgenommen wurde, denn kurz nach den Aufnahmen verließ Tommy Ramone die Band, um sich auf Songwriting und Producing zu konzentrieren.
Der Deluxe Edition präsentiert die remasterte Version des Original-Stereo-Mixes und den 2017 40th Anniversary Mix von Ed Stasium: Eine "Back To Basics"-Version des Albums mit einem vom 77er-Original abweichenden Tracklisting.
Auf dem Album findet man zwei Dutzend rare und unveröffentlichte Aufnahmen, darunter Rohmixe von den Sessions im „Mediasound“ und in „The Power Station“. Dazu gibt es eine frühe Version von Needles And Pins mit Tommy am Schlagzeug, den B-Seiten-Singlemix von Babysitter, eine alternative Version von "It’s A Long Way Back To Germany", die von Dee Dee gesungen wird, ein Original-Radiopromo mit Joey Ramone und viele andere bisher nicht erhältliche Tracks.
Ein Highlight der Deluxe Edition ist das vollständige, bisher unveröffentlichte Konzert. Diese nie zuvor gehörte Mehrspur-Aufnahme der Show im Apollo Centre im schottischen Glasgow vom 19. Dezember 1977 zeigt die Ramones nur wenige Tage, bevor sie ihren Live-Klassiker "It’s Alive" aufnahmen. Es wurde für die 40th Anniversary Edition ebenfalls von Stasium gemixt. In Glasgow spielten Ramones Songs aus allen drei bisherigen Studioalben, darunter "Blitzkrieg Bop", "Judy Is A Punk", "Gimme Gimme Shock Treatment" und "California Sun".
„‘Ramones’ provided the blueprint and ‘Leave Home’ duplicated it with lesser results, but the Ramones’ third album, ‘Rocket to Russia’, perfected it. Rocket to Russia boasts a cleaner production than its predecessors, which only gives the Ramones’ music more force. It helps that the group wrote its finest set of songs for the album. From the mindless, bopping opening of “Cretin Hop” and “Rockaway Beach” to the urban surf rock of “Sheena Is A Punk Rocker” and the ridiculous anthem “Teenage Lobotomy,” the songs are teeming with irresistibly catchy hooks; even their choice of covers, “Do You Want to Dance?” and “Surfin’ Bird,” provide more hooks than usual. The Ramones also branch out slightly, adding ballads to the mix. Even with these (relatively) slower songs, the speed of the album never decreases. However, the abundance of hooks and slight variety in tempos makes ‘Rocket to Russia’ the Ramones’ most listenable and enjoyable album. It doesn’t have the revolutionary impact of their debut LP, but it’s a better album and one of the finest records of the late ’70s.” (AMG)
Joey Ramone, lead vocals
Johnny Ramone, guitar
Dee Dee Ramone, bass, backing vocals
Tommy Ramone, drums
Recorded August – September 1977 at Media Sound Studios, Midtown Manhattan
Produced by Tony Bongiovi, Tommy Ramone
Remastered, engineered and re-mixed by Ed Stasium
were loud and fast - Everyone knows that, even the poor, blind saps who never loved the band. But the Ramones were many things, and gloriously so, from the moment of their inception in Forest Hills, New York, in 1974, until their final concert, 2,263, in Los Angeles on August 6, 1996.
They were prolific - releasing 21 studio and live albums between 1976 and 1996 - and professional, typically cutting all of the basic tracks for one of those studio LPs in a matter of days. They were stubborn, a marvel of bulldog determination and cast-iron pride in a business greased by negotiation and compromise. And they were fun, rock n' roll's most reliable Great Night Out for nearly a quarter of a century. Which seems like a weird thing to say about about a bunch of guys for whom a show, in 1974 or '75, could be six songs in a quarter of an hour.
The Ramones were also first: the first band of the mid-'70's New York punk rock uprising to get a major-label contract and put an album out; the first to rock the nation on the road and teach the British how noise annoys; the first new American group of the decade to kick the smug, yellow-bellied shit out of a '60s superstar aristrocracy running on cocaine-and-caviar autopilot.
Above all, the Ramones were pop: stone believers in the Top 40 7-inch-vinyl songwriting aesthetic; a nonstop hit-singles machine with everything going for it - hammer-and-sizzle guitars and hallelujah choruses played at runaway-Beatles-velocity - except actual hits. According to an August 1975 article in England's Melody Maker about the crude, new music crashing through the doors of a former country-and-bluegrass bar in lower Manhattan named CBGB, the local press was already hailing the Ramones as - get this - "potentially the greatest singles band since the Velvet Underground." A peculiar compliment since the Velvets' own few 45s were all crushing radio bombs.
But there was one thing you could never, ever say about the Ramones: that they were dumb. In their time, in their brilliantly specialized way, the Ramones - the founding four of Johnny (guitar), Joey (voice), Tommy (drums), and Dee Dee (bass); along with Marky, who spent 15 years and 11 albums behind the drums beginning with "Road To Ruin" and who was inducted into the Rock and Roll Hall of Fame along with the original four; - later followed by CJ, who stepped out of the Marine Corps and into Dee Dee's king-sized sneakers in 1989; and Richie, who kept the beat while Marky was on hiatus between '83 and '87 - were the sharpest band on the planet. Fully evolved as musicians and songwriters. Confident in their power and the importance of what they had.
The atomic-mono impact of Johnny's Mosrite guitar; Joey's commanding, sour-Queens vocal delivery; the unity of wardrobe and identity; right down to the original, collective songwriting credits and the mutually assumed surname - they were the result of a very simple philosophy. As Tommy puts it: "Eliminate the unneccesary and focus on the substance." That is precicesly what the group did on every record it ever made, on every stage it ever played.
The Ramones' place in rock 'n' roll history was already assured by 1978 with their first three albums: Ramones, Leave Home, and Rocket To Russia, all made in the span of 18 months, between February 1976 and the fall of '77. When it was time to make records, Tommy says, "our art was complete." The art was the combined product four strangely aligned personalities - all living within shouting distance of each other in the conservative, middleclass enclave of Forest Hills, where their mutual needs as fledgling musicians and bored delinquents far the mess of differences and civil wars that could never quite bust them apart. Once a Ramone, always a Ramone.
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