”The Ramones never shied away from a good cover tune, and their tastes were generally confined to ’60s radio pop, girl group, surf, and a touch of psychedelic garage rock. They even went so far as to record an entire album of covers with 1993’s lighthearted Acid Eaters, a set of covers that leaned heavily on masters of psychedelic garage like Love, the Seeds, and the Troggs as well as early-’60s surf classics from the Beach Boys and Jan & Dean. The Ramones: Heard Them Here First is an easy mark, collecting the original versions later recorded by a band whose members wore their influences proudly on their sleeves and were drawn more to genre-defining classics than obscure rarities. The collection is thorough, moving in chronological order from Chris Montez’s “Let’s Dance” (covered on the Ramones’ 1976 debut album) through to Louis Armstrong’s “What a Wonderful World” and the Stooges’ “1969” as covered by Joey Ramone on his posthumous 2002 album, Don’t Worry About Me. Ace did their homework, too, because not even a cover of 1910 Fruitgum Company’s goofy bubblegum hit “Indian Giver” from a late-’80s 12″ B-side was lost in the shuffle. The only covers that aren’t from the golden age of late-’50s and 1960s teen pop and surf are Motörhead’s tribute to the band “R.A.M.O.N.E.S.” and Tom Waits’ wistful Peter Pan tale “I Don’t Wanna Grow Up” from his 1992 masterpiece, Bone Machine. There’s nothing revelatory about the collection, but these classic tracks make sense together as much as they did when covered in a sped-up punked-out fashion by the Ramones, who were a classic band in their own right.” [Fred Thomas]
24 trax comp with originals covered by Ramones + 9 more trax added by Surfadelic for complete overview of bros’ 60’s & 70’s r’n’r favs. Take It As It Comes, Dig!!!
”It landed in a field in Idaho
Where it came from, I don’t know
It did not look like it came from Japan
And out of the dark walked a strange man…”
Huh! Can you believe it’s almost 30 years since this lp was out? ”Time waits for no one, and it won’t wait for me” said some bigmouth poet. Anyways, ’88/89. were pretty cool years for r’n’r – Iggy’s comback with “instinct”, Bowie too with Tin Machine, Keith Richards cool solo slab “Talk is Cheap”, Lou Reed’s ”New York”, then there were underground & alternative rock forces as Pixies with ”Doolittle, Primal Scream, The Jesus & Mary Chain ”Automatic”, The Godfathers ”More Songs About Love & Hate”… In the summer of ’89 I was on trip in Italy where I bought two great records – comeback lp for The Cramps “Stay Sick” and this Ramones 11th studio album. Over the years, I’ve changed my opinion on this record several times and now think it’s a cool one. On ”Brain Drain” [the last lp with Dee Dee] Ramones continued with harder, Motorhead kinda rockin’ style, starting out with the great opener ”I Believe In Miracles” [well I do, alright!] and other favs as killer ”Zero Zero UFO”, ”Don’t Bust My Chops”, fine cover of Freddy Cannon’s ”Palisades Park”. On side B you got ”Pet Sematary” which became one of Ramones biggest hits, and solid tunes like ”Can’t Get You Outta My Mind”, ”Come Back, Baby” and ”Merry Christmas (I Don’t Want To Fight Tonight)”. There are couple of tunes heavily influenced by Motorhead ”Learn To Listen” and ‘‘Ignorance Is Bliss”. Altogether, It’s a pretty solid slab, they don’t make it like that anymore! And remember, Ramones don’t have a lame album. Don’t Bust My Chops ‘n’ Dig!!!
”If you think it’s a pack of lies,
I saw it happen with my own eyes
A million miles from the milky way
A hundred years, a month and a day”
[”Zero Zero UFO”]
”This amphetamine-paced double-LP served as a Ramones career retrospective, smack at their peak, and shows the Queens crew almost stumbling across hardcore around the same time California was inventing it. Over four nights in 1977 at London’s Rainbow Theater, the punk pioneers blasted through 28 songs from their first three albums. (Thanks to their tidily short length, they squeezed in nearly all of ’em.) The final LP version came mostly from the last night, charged with an energy so electric that fans are said to have ripped seats from the floor and thrown them at the stage in enthusiasm. It’s no surprise, as the entire record pulses with American punk’s promise, a spittle-spewing Joey Ramone barely pausing between “Pinhead,” “Do You Wanna Dance?” and “Chain Saw.” He even barely pauses long enough to get out all the lyrics, the band buzzing away behind him like they’re in a machine shop. During post-production, the speed was something with which even the band itself struggled to keep up. In his book, Hey Ho, Let’s Go: The Story of the Ramones, Everett True writes that Dee Dee needed extra fuel to record bass overdubs: an extra-heavy helping of black coffee.” Arielle Castillo
Ahh, sweet memories of teenage years. This was the first R@M0#E$ lp I’ve bought in ’84. while in highschool. It was a time when I was headbanging to the beat of The Clash, The Stranglers, Buzzcocks, Undertones, Blondie, Pistols, Dead Kennedys … It’s a West German issue that was most easier to find in Europe back then. I know you’re over stuffed with R@M0#E$ stuff but then again… they are my no.1 favorite band and this is one of the best live rock lps and Surfadelic vinyl rip is far superior to CD version you can find out there. So… 1-2-3-4 … Dig!!!