百张史上最具革命性的专辑
033 - Ramones - 1976 - Ramones
Original Release Date: 1976
Number of Discs: 1
Label: Rhino / Wea
纵使美国纽约市传奇性punk-Rock乐队Ramones的乐队生涯，亦随着其告别巡回演出之完满结束而在96年划上句号，但在这年间，我们却感觉到乐队的音乐精神仿佛仍没有离开过。闻说歌手joey Ramone正在灌录他的首张个人大碟;鼓手Marky Ramone及其乐队the Intruders刚在早前发表了他们的the Answer To Your Problems专辑。更重要的是，随着一套Ramones的anthology式双cd专辑hey Ho Let's Go!之面世，一方面是对这对乐队崩乐先驱做出崇高的致敬意义，同时也好比悄悄地燃起一次Ramones热似的。
从74年组成到96年解散，经历了二十二年的长路远征，毋庸置疑的Ramones事实上最历史悠久，最长寿的punk Rock乐队，但不要忘记，Ramones也是最早出现在乐坛上的punk Rock队伍，在这个双重意义下，才是他们最难能可贵之处。
姑且无论早年曾有过the Stooges或thewho这些获誉为proto Punk的乐队存在，但Ramones才是摇滚式上第一队开宗明义的punk Rock乐队;三个chord的简约摇滚曲式，短小精悍的平均不超过两分钟的歌曲长度，急激快板的节奏，嘈噪的吉他声，口号似的歌唱，Yobbish的态度，简单的黑白唱片封套设计，只花雕了六千二百美元的唱片制作成本，在他们与76年发表的首张同名专辑里已标志着这种punk Rock之蓝本。而他们永远是皮褛加窄身牛仔裤加冬菇式长发的打扮，亦俨如成为乐队别树一帜的标记。
Ramones的出现促使了纽约市的punk Scene的形成，被公认为纽约崩坛头号乐队的他们，那仿佛是继the Velvet Undergroud后埋藏在地下音乐圈的另一颗炸弹。早年发迹且活跃于纽约市曼克顿区bowery Street之表演场地cbgb的Ramones (他们曾是cbgb的驻场乐队)，便在当年联同television，Patti Smith Group，Blondie，The Dead Boys，Talking Heads等队缔造了这块传奇性纽约崩乐胜地。甚至笔者所收集到的一套摄制与78年的cbgb纪录片，便更实行以Ramones的成名作 blitzkrieg Bop为标题，可见他们之代表性。然而Ramones之影响力不独在于美国本土上，他们的启蒙性甚至被视为英国punk Movement之源头----乐队在76年7月首次登陆英伦，于伦敦roundhouse之演出，正式触发起英伦punk Movement衍生的历史性时刻，随即冒起的sex Pistols，The Clash，Buzzcocks等乐队身
上都不难找到源自 Ramones的熏陶。在近期于uncut杂志的访问中，Joey Ramone便不讳言的说:"Ramones触发了punk的开始，当我出道时我想我们是世上最积极的乐队，是punk Movement的蓝本，是malcolm Mclaren取材的源头，我犹记得我听闻达一个说法是sex Postole表示过:'我们希望做出犹如Ramones的声音。'即使joe Strummer也说过the Clash是听着Ramonesde唱片下学习弹奏音乐的"。Ramones影响着英国punk Scene的爆发，然后英国则令punk变成一股一发不可收拾的音乐文化革命。
Punk Rock的出现是因为一种年轻乐队认为那些是七十年代的恐龙级/大使级摇滚乐太高不可攀，从而锐意重拾回rock 'N' Roll最原始基本的音乐精神，Ramones亦是如此。本身热衷于六十年代摇滚乐的他们，Ramones的音乐风格其实是改良自早在六十年代初期的 rock 'N' Roll根源曲式，只是他们透过粗犷，吵杂，急激而不修饰的手法演奏出来。同时亦带出了犹如60's-Pop于surf-Pop般的快板节奏，Joey的主唱曲调往往是以调子流畅押韵见称，加上他们在歌词见透过虚无主义的笔触下所流露出的黑色幽默题材，Ramones的音乐所予人是绝对愉快的聆听经验，亦开启了所谓punk-Pop的门户。乐队在76年至78年间所发表的四张专辑:Ramones，Leaves Home，Rocket To Russia和road To Ruin，都是他们最典范的作品，像blitzkrieg Bop，Judy Is A Punk，Pinhead，Sheena Is A Punk
Ricker，Rockaway Beach，I Wanna Be Sedated，Suzy Is A Headbanger等Ramones的"国歌"，便是这个时期的作品，到了九十年代，像green Day，Rancid，The Offapring等西岸punk Pop巨星，便显然是承袭了与仿效着Ramones的乐风而来。此外，在日本大阪市，有"女版reamones"之称的shonen Knife;在北京，也有大唱<<你是我的雷蒙斯>>的新裤子。
来自纽约市皇后区的Ramones，也由歌手 ramone(原名jeffey Hyman)，吉他手jonny Ramone(原名john Rcummings)和鼓手tommy Romone，低音吉他手dee Dee Ramone(原名douglas Colvin)作构成的阵容最为原装。其实原先他们是一队只有joey，Johhy和dee Dee三人的乐队，而tommy则是其经理人，后来经过执位后才变成这个Ramones的经典阵容。但像每一队历史悠久的乐队般，Ramones亦饱尝成员进进出出的经历，尤以鼓手的位置最不稳定。在77年的rocket To Russia后，Tommy便离队变成乐队的间歇性唱片监制，鼓手空缺由来自voidoids的marky Ramone补上;在乐队于83年发表过第七张大碟subterrnean Jungle后，Marky一度退出，鼓手位置便由richie Ramone取代;但合作了三张专辑后，Richie有为之告辞，虽然空缺曾由blondie的clem Burke取代;但最后还是由marky归队补上，而低音吉他的dee Dee亦在89年的brain Drain专辑后离队，并化名为dee Dee King作个人发展(曾出版过一张声名狼藉的rap Music唱片)，由cj Ramone(原名christopher John Ward)取代他的位置，直至最后因joey亦有意离队，乐队便做出了解散的决定。
在乐坛上屹立了二十多载，纵使Ramones仍一直把持着鲜明的punk Rock的旗帜，但却不代表他们是一队一成不变的乐队。队员的替换跟不同的唱片监制合作，仍往往令Ramones的每张专辑能出现或多或少的不同。 Marky加入后所发表的road To Ruin不但在音乐质感上有所提升，连歌曲长度也相对地增加，成为他们首张超过半小时长度的专辑;由phil Spector监制的第五张专辑end Of The Century让他们重拾回60's Pop的根源，也是他们最富装饰性的一张唱片;81年pleasant Dreams由英国乐队10cc成员graham监制下，令他们的手法倾向重型，唯独一曲we Want The Airwaves却流露了多少new Wave式倾向。83年的subterranean Jungle时的两位监制ritchie Cordell和glen Kokotkin是生产p0wer Pop的美国独立唱片品牌beserkley之创办人，故此也令他们重投punk的原始张力;在84年too Tough To Die里既可看到他们对西岸的hardcore Scene作回想(Endless Vacation)，也显示了一种post-Punk的低调趋向(I'm Not Afraid Of Life)，而碟内由eurythmics成员dave Stewart监制的howing At The Moon则是他们向电气化new Wave曲式作探讨之意图;甚至乎连前卫乐手bill Laswell，也曾为他们在brian Darain(89年)是时期为乐队监制过i Believe In Miracles这首平平无奇之作。当然，Ramones所为人津津乐道的典故还有他们在80年代带来过rock 'N' Roll High School这套b级电影，而他们另一次跟电影扯上关系，便是89年为stephen King的电影pet Sematary撰写主题曲。
Hey Ho Let's Go!(名字取自blitzkrieg Bop内的一句口号)这张anthology专辑是对roamones二十多年来的音乐历程做出的总结。八十多页厚的书册正记载了乐队的历史故事与珍贵照片，而双cd内所选辑的五十八首作品，那几乎集齐所有Ramones的代表作，然而也倒有一些漏网之鱼，像欠缺了suzy Is Headbanger和用作炮轰里根总统的bonzo Goes To Bitberg，便总有多少美中不足。
有人说过punk Rock乐队只能是昙花一现，每每总会随着青春的消逝而终结。但Ramones在二十年来却能矢志不渝的坚守着punk Rock的态度，从没有像主流妥协也没有变质，他们在乐队的告别专辑adios Amigos里重玩tom Waits的i Don't Wanna Grow Up，你会发觉是那么寓意深刻。

Over the course of two astonishing albums, Perfume Genius, aka Seattle native Mike Hadreas, cemented his place as a singer-songwriter of rare frankness, creating songs that, while achingly emotional, offered empathy and hope, rather than judgment or handwringing. Sparse, gorgeous and with Hadreas’ quavering vocals often only accompanied by piano, 2010’s Learning and 2012’s Put Yr Back N 2 It told uncommonly beautiful tales of a life lived on the dark side –
Too Bright, however, is something else altogether. Less self-conscious, and less concerned with storytelling and easily-digested melodies, it is a bold and unpredictably quixotic exploration of what Hadreas calls “an underlying rage that has slowly been growing since age ten and has just begun to bubble up”. This sharp U-turn came early in the writing process, when Hadreas grew creatively frustrated and uninspired writing what he thought people might want to hear – as he describes it, “mid-tempo Adele songs, carefully plotting each chord and lyric like math” –and focused instead on writing what came naturally, 100% visceral and unfiltered, no matter what the potential reception might be. “I looked to PJ Harvey,” he recalls, “how powerful and raw she can be, and thought, ‘what is my version of that?’”
The resultant album is a stunning about-face which brings to mind audacious career-shift albums like Kate Bush’s The Dreaming or Scott Walker’s Tilt, records which walk the tightrope between pure songwriting and overt experimentation. Here, Hadreas is aided in his efforts by not one, but two unlikely conspirators – John Parish, who plays drums on several tracks, and Portishead’s Adrian Utley, who, as producer, brought the physical resources to flesh out the songs ininnovative ways. According to Hadreas, Utley was the key to unlocking unexplored terrain on the album, using both synths and organic instrumentation to push the tracks to darker and more unreal heights. The album is also rounded off with key contributions from longtime touring band members Alan Wyffels and Hervé Bécart. The fragile yet defiant “I Decline” opens the album, draped in hushed, languorous beauty, but it is an outlier. On the following track (and first single) “Queen”, the line “Don’t you know your queen?” booms out over ominous guitars, not so much a genuine question as a rhetorical one, as Hadreas proceeds to deconstruct gay panic with relish. Even with a wordless (albeit soaring and cacophonous) symphony of a chorus it sounds huge and anthemic, a gleeful kiss-off. He says, “I sometimes see faces of blank fear when I walk by...if these fucking people want to give me some power – if they see me as some sea witch with penis tentacles that are always prodding and poking and seeking to convert the muggles – well, here she comes”.
That mischievous sense of defiance runs rampant through the album. A surreal threat hangs over songs like “My Body” and “Grid”, with piercing screams, tribal drums and electronic stabs highlighting disturbing lyrics of self-destruction and temporary respite from the darkness. On “Fool,” meanwhile, deceptively swinging doo-wop rhythms disguise a story of social mutiny, with Hadreas tearing into the stereotype of “a walking, talking candelabra”, and rejecting it for something much more volatile and dangerous. “I've met people that laugh at EVERYTHING I say,” he muses. “I could be talking about OJ or Munchausen’s Syndrome or bloody stool – I am still just the cutest thing. Here only to enrich their lives, not have one of my own. Make their dress, tell them how great their boobs look and then peace. Isn't he the best?”
Which is not to say that Hadreas has completely abandoned the shimmering, exquisite piano ballads that he is so known for. “No Good” is a heartbreaking meditation on a difficult life lived on the outside but “spent looking in”, while the somber closer “All Along” is a resigned yet firm rebuke to acceptance and reassurance from external forces, preferring instead to find refuge from within – “I have my love,” Hadreas asserts, “and I apply it where I need to”.
This, in fact, is the overarching theme of Too Bright; the connective tissue loosely joining up these 11 stunning, weird and wonderful tracks – the discovery of strength and power where previously he felt he had little. As he puts it, during the making of the album, it felt “like I had woken some ancient beast which began to rattle and threaten to rise.” With this record, consider the demon awoken.

'We would love for this music to make our fans feeeeel something, for it to stir some sh*t up inside of them, whatever that may be,' says singer Karen O. 'SO much feeling went into this record, it was the rope ladder thrown down into the ditch for us to climb up and dust ourselves off. I hope others can climb up it too; we're excited to share the good vibes.'
The band, whose members were once lovingly labeled by Rolling Stone as the 'goth, the nerd and the slut' have recorded three studio albums: All 3 albums were nominated for a GRAMMY award for Best Alternative Music Album. The first, 'Fever to Tell', was named as the best album of the year by The New York Times. The Patrick Daughters-directed video 'Maps' was nominated for four MTV Video Music Awards. The certified-Gold album was named by Rolling Stone, Pitchfork Media, and NME as one of the best albums of the decade. The second, 'Show Your Bones', was named the second best album of the year by NME. Rolling Stone magazine named it the one of the best album of the year, while Spin Magazine ranked it in their 40 best albums of 2006. Their third studio album, 'It's Blitz!', was named the second best album of the year by NME magazine, It's Blitz! was named as the second best album of 2009 by Spin Magazine and third best of 2009 by NME along with the single 'Zero' from the album listed as the best track of the year by both. And onto 'Mosquito!'

Built on the powerful songwriting of Christopher Owens and the ethereal production of Chet "JR" White, Girls recorded Album in a variety of bedrooms and rehearsal studios in their adopted hometown, San Francisco. The resulting 12 tracks are the perfect San Fran summer record, evoking a narcotic, sunny afternoon in Dolores Park, yet promising the eventual hangover of summer's departure. Album is self-described as "honest, loose, ethereal, obnoxious and perfect," it is a sincere tribute to the majesty of great pop music and the healing power of rock and roll.

Their 1992 reunion featuring members Tom Verlaine, Richard Lloyd, Fred Smith, and Billy Ficca.

Taken from the 2001 album, Is This It. The title track is backed with two non-LP demos, 'Alone Together' & 'Is This It'.

Details TBA. Lizard King. 2004.

On September 27, 2013, it was announced through Billboard that "Unconditionally" will be the album's second official single. It will be released on October 22, 2013, the same day as the album.[2] The first televised performance of "Unconditionally" will be at the 2013 MTV Europe Music Awards on November 10, 2013.

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