Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particularly in the United Kingdom and in the United States. It has its roots in 1940s and 1950s rock and roll, a style which drew on the genres of blues and blues, from country music. Rock music drew on a number of other genres such as electric blues and folk, incorporated influences from jazz and other musical styles. Musically, rock has centered on the electric guitar as part of a rock group with electric bass and one or more singers. Rock is song-based music with a 4/4 time signature using a verse–chorus form, but the genre has become diverse. Like pop music, lyrics stress romantic love but address a wide variety of other themes that are social or political. By the late 1960s "classic rock" period, a number of distinct rock music subgenres had emerged, including hybrids like blues rock, folk rock, country rock, southern rock, raga rock, jazz-rock, many of which contributed to the development of psychedelic rock, influenced by the countercultural psychedelic and hippie scene.
New genres that emerged included progressive rock. In the second half of the 1970s, punk rock reacted by producing stripped-down, energetic social and political critiques. Punk was an influence in the 1980s on new wave, post-punk and alternative rock. From the 1990s alternative rock began to dominate rock music and break into the mainstream in the form of grunge and indie rock. Further fusion subgenres have since emerged, including pop punk, electronic rock, rap rock, rap metal, as well as conscious attempts to revisit rock's history, including the garage rock/post-punk and techno-pop revivals at the beginning of the 2000s. Rock music has embodied and served as the vehicle for cultural and social movements, leading to major subcultures including mods and rockers in the UK and the hippie counterculture that spread out from San Francisco in the US in the 1960s. 1970s punk culture spawned the goth and emo subcultures. Inheriting the folk tradition of the protest song, rock music has been associated with political activism as well as changes in social attitudes to race and drug use, is seen as an expression of youth revolt against adult consumerism and conformity.
The sound of rock is traditionally centered on the amplified electric guitar, which emerged in its modern form in the 1950s with the popularity of rock and roll. It was influenced by the sounds of electric blues guitarists; the sound of an electric guitar in rock music is supported by an electric bass guitar, which pioneered in jazz music in the same era, percussion produced from a drum kit that combines drums and cymbals. This trio of instruments has been complemented by the inclusion of other instruments keyboards such as the piano, the Hammond organ, the synthesizer; the basic rock instrumentation was derived from the basic blues band instrumentation. A group of musicians performing rock music is termed as a rock group. Furthermore, it consists of between three and five members. Classically, a rock band takes the form of a quartet whose members cover one or more roles, including vocalist, lead guitarist, rhythm guitarist, bass guitarist and keyboard player or other instrumentalist. Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two and four.
Melodies originate from older musical modes such as the Dorian and Mixolydian, as well as major and minor modes. Harmonies range from the common triad to parallel perfect fourths and fifths and dissonant harmonic progressions. Since the late 1950s and from the mid 1960s onwards, rock music used the verse-chorus structure derived from blues and folk music, but there has been considerable variation from this model. Critics have stressed the eclecticism and stylistic diversity of rock; because of its complex history and its tendency to borrow from other musical and cultural forms, it has been argued that "it is impossible to bind rock music to a rigidly delineated musical definition." Unlike many earlier styles of popular music, rock lyrics have dealt with a wide range of themes, including romantic love, rebellion against "The Establishment", social concerns, life styles. These themes were inherited from a variety of sources such as the Tin Pan Alley pop tradition, folk music, rhythm and blues.
Music journalist Robert Christgau characterizes rock lyrics as a "cool medium" with simple diction and repeated refrains, asserts that rock's primary "function" "pertains to music, or, more noise." The predominance of white and middle class musicians in rock music has been noted, rock has been seen as an appropriation of black musical forms for a young and male audience. As a result, it has been seen to articulate the concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some exceptions, "rock and roll implies an identification of male sexuality and aggression". Since the term "rock" started being used in preference to "rock and roll" from the late-1960s, it has been contrasted with pop music, with which it has shared many characteristics, but from wh
¡Adios Amigos! is the fourteenth and final studio album by the American punk rock band the Ramones. It was released on July 1995, through Radioactive Records; the Ramones disbanded a year after the subsequent tour. ¡Adios Amigos! Features "Making Monsters For My Friends" and "It's Not For Me to Know" recorded by Dee Dee Ramone on his album I Hate Freaks Like You which he did with I. C. L. C. and "The Crusher" from Dee Dee Ramone's debut album Standing in the Spotlight, as well as a cover of Tom Waits' "I Don't Want to Grow Up" and a cover of Johnny Thunders song "I Love You." The Japanese version of the album features the bonus track "R. A. M. O. N. E. S." Recorded by Motörhead as a tribute to the Ramones on their 1916 album. The American version of the album features a hidden track, "Spider-Man" different from the same song the Ramones recorded for the Saturday Morning tribute album. C. J. Ramone sings lead vocals on tracks two, four and ten, as well as the bonus track "R. A. M. O. N. E. S." Dee Dee Ramone makes his first appearance on a Ramones album since 1989, singing in German and recorded via telephone during the bridge of "Born to Die in Berlin".
The album cover of ¡Adios Amigos!, which features two Allosaurus wearing sombreros, is a digitally altered version of a painting by artist Mark Kostabi, named Enasaurs, which features the dinosaurs wearing yellow witch hats. Johnny Ramone added that the dinosaurs were "what we felt like," referring to the band's decline in popularity at the time; the back cover shows the band bound before being executed by a firing squad. The Mexican man seated next to the band is their longtime road manager Monte Melnick. ¡Adios Amigos! received mixed to positive reviews from several publications such as Rolling Stone and Uncut, being viewed by many fans as a return to form for the band. The song "I Don't Want to Grow Up" composed by Tom Waits, managed to become somewhat of a hit for the group, reaching the top 40 of Billboard's modern rock chart. In contrast to the Ramones' long-running inability to break through single charts, it was a top No. 30 hit on Billboard's modern rock list. Joey Ramone – lead vocals, backing vocals Johnny Ramone – guitar C. J. Ramone – bass guitar, backing vocals, lead vocals Marky Ramone – drums Dee Dee Ramone – co-lead vocals
All the Stuff (And More) Volume One
All the Stuff Volume One is a compilation album by the Ramones. It includes their first two albums and Leave Home, in their entirety, with the exception of "Carbona Not Glue," a song, on the original release of Leave Home but was removed from the album under pressure from the Carbona company and replaced with an early mix of "Sheena is a Punk Rocker." Included are a handful of bonus tracks of varying origins: "I Don't Wanna Be Learned/I Don't Wanna Be Tamed" and "I Can't Be" were early unreleased demos. Single and was the first replacement of "Carbona Not Glue". Liner notes were written by Oedipus of Boston punk fame. All songs written except where indicated. "Blitzkrieg Bop" – 2:12 "Beat on the Brat" – 2:31 "Judy Is a Punk" – 1:30 "I Wanna Be Your Boyfriend" – 2:15 "Chain Saw" – 1:55 "Now I Wanna Sniff Some Glue" – 1:35 "I Don't Wanna Go Down to the Basement" – 3:37 "Loudmouth" – 2:14 "Havana Affair" – 1:56 "Listen to My Heart" – 1:57 "53rd & 3rd" – 2:21 "Let's Dance" – 1:52 "I Don't Wanna Walk Around With You" – 1:43 "Today Your Love, Tomorrow the World" – 2:10 "I Don't Wanna Be Learned / I Don't Wanna Be Tamed" – 1:03 "I Can't Be" – 1:51 "Glad to See You Go" – 2:10 "Gimme Gimme Shock Treatment" – 1:38 "I Remember You" – 2:15 "Oh Oh I Love Her So" – 2:03 "Sheena Is a Punk Rocker" – 2:44 "Suzy Is a Headbanger" – 2:08 "Pinhead" – 2:42 "Now I Wanna Be a Good Boy" – 2:10 "Swallow My Pride" – 2:03 "What's Your Game" – 2:33 "California Sun" – 1:58 "Commando" – 1:51 "You're Gonna Kill That Girl" – 2:36 "You Should Never Have Opened That Door" – 1:54 "Babysitter" – 2:45 "California Sun" – 1:45 "I Don't Wanna Walk Around With You" – 1:35
Ramones Mania is a compilation album by the American punk rock band the Ramones. It was released on May 31, 1988 through Sire Records and consists of 30 Ramones songs, including some single versions, a single B–side and one unreleased song; the album contains a booklet with a short history of the Ramones, including the release dates of all their albums. Their best-selling album, it was the only certified Gold in the United States, until their debut album went Gold in 2014. Ramones Mania was re-released on multi-colored vinyl for Record Store Day in 2010. A sequel was released in Japan in 2000. A tribute album titled Ramones Maniacs was released in 2001. Ramones Joey Ramone – lead vocals Johnny Ramone – guitar Dee Dee Ramone – bass, backing vocals, lead vocals on "Wart Hog" Marky Ramone - drums Tommy Ramone - drums Richie Ramone - drums, backing vocals on "Wart Hog" Album Billboard
Subterranean Jungle is the seventh studio album by the American punk rock band the Ramones, released by Sire Records on February 23, 1983. The album appealed to a hardcore punk rock style rather than featuring several pop oriented pieces; the recording sessions saw disputes between band members because many of them were dealing with alcohol addiction, or, in bassist Dee Dee Ramone's case, drugs. The album begins with two cover songs, features a third on Side 2. Lyrics circle various themes, while the structuring of the songs shifted towards hard rock, psychedelic rock; the album was deemed by critics to be an attempt to retreat to the band's roots and received positive reviews. Subterranean Jungle was not successful commercially, peaking at number 83 on the US Billboard 200 and failing to chart internationally; the singles released from the album did not chart either. This is the last album by the band to feature Marky Ramone on drums until the 1989 album Brain Drain. Unlike previous albums, Subterranean Jungle shifted the band's sound output focus towards getting back to their punk rock roots, rather than trying to expand fan-base by releasing more pop-oriented songs.
This change is due to guitarist Johnny Ramone obtaining more priority over the style choice. Johnny felt as though the band needed to "be focused and stop worrying about getting played and just make a good record." Since lead singer Joey Ramone was not given as much stylistic freedom, the album lacks the sense of pop-influence which previous releases had contained and instead was shaped by Johnny's hard rock background. Johnny obtained more control over the musical style because the band members experienced conflict amongst themselves rooted in each member—excluding Johnny—facing issues with addiction. Both Joey and drummer Marky Ramone were dealing with alcoholism, while bassist Dee Dee Ramone was addicted to cocaine and was undergoing psychotherapeutic treatment. Since the Ramones' previous two releases had producers which proved disappointing to the members, they were skeptical of the upcoming producer. Marky relates: "I hated the production, I hated the producer."The artwork for Subterranean Jungle features an image of the band inside a subway car.
The photograph was taken by George DuBose at the subway station on 57th Street and Sixth Avenue in Manhattan. This cover concept was designed by Dubose, who suggested that since the B Sixth Avenue Express train stopped at the empty station for about 20 minutes. In the photograph, Marky is featured peering out the subway window—Marky was positioned this way after Johnny asked DuBose to do so because "they were kicking him out of the band, but he didn't know it yet." Marky recalled that he "liked that shot, but knew something was up." "I was lying on my bed, watching Kojak when Joey calls me and says,'Mark, I feel bad about this, but, uh, you can't be in the band anymore.' I deserved it. Joey was okay about the others, forget it. No one called me after that. If it was today, Joey would've said,'Why don't we take off for a month and you get sober?' But I didn't want to tell Joey or the band about my being in rehab, because I would've been admitting my guilt." The internal conflicts during recording sessions would cause band members to fire Marky during the album's recording substituting him with drummer Billy Rogers on "Time has Come Today."
Johnny recounts, "We were having trouble with Mark because his drinking problem was bad. So we did "Time Has Come Today" with a different drummer, Billy Rogers, from Walter Lure's band." "Time Has Come Today" became the only Ramones' song to have three drummers involved: Marky Ramone on the album credits, Billy Rogers on recording and Richie Ramone on the music video. The album opens with two cover songs. Subterranean Jungle is the first Ramones' release to begin with a song not written by the band—this track list structure was criticized by author Everett True, who said that it was "disorientating." Johnny thought that the fact that the album featured three covers was a bad idea, saying, "we shouldn't have, but I was happy with the guitar sound on it." The album's third track, "Outsider", was written by Dee Dee and, in 2002, it was covered by Green Day on Shenanigans. "What'd Ya Do?" was track number four, was described by music journalist Chuck Eddy as "crudely metallic." Eddy deemed the next track, "Highest Trails Above", as "AOR-mystic."
"Somebody Like Me" was called a "full-on rock anthem" by Everett True, who went on to say that the lyrics contained "no-nonsense lines." Side B of the album begins with "Psycho Therapy", written by both Johnny and Dee Dee. Dee Dee recalled: "I knew we needed a real'Ramones song' for the album, I knew was depressed about how things were going, he needed that song to get excited about the band again." The next track is another cover song, "Time Has Come Today", recorded by the soul music group The Chambers Brothers. The Ramones' version of the song featured a psychedelic rock influence, was said by Eddy to have more of a "garage" feel to it, as compared to the original. "My-My Kind of a Girl" was directed toward the band's female fandom. The lyrics were written by Joey about meeting a girl on 8th Street in Manhattan and wanting to spend his life with her. In Vanity Fair, the song was regarded as a "lingering
Garage rock is a raw and energetic style of rock and roll that flourished in the mid-1960s, most notably in the United States and Canada, has experienced various revivals since then. The style is characterized by basic chord structures played on electric guitars and other instruments, sometimes distorted through a fuzzbox, as well as unsophisticated and aggressive lyrics and delivery, its name derives from the perception that groups were made up of young amateurs who rehearsed in the family garage, although many were professional. In the US and Canada, surf rock—and the Beatles and other beat groups of the British Invasion—motivated thousands of young people to form bands between 1963 and 1968. Hundreds of acts produced regional hits, some had national hits played on AM radio stations. With the advent of psychedelia, a number of garage bands incorporated exotic elements into the genre's primitive stylistic framework. After 1968, as more sophisticated forms of rock music came to dominate the marketplace, garage rock records disappeared from national and regional charts, the movement faded.
Other countries in the 1960s developed similar grass-roots rock movements that have sometimes been characterized as variants of garage rock. During the 1960s garage rock was not recognized as a distinct genre and had no specific name, but critical hindsight in the early 1970s—and the 1972 compilation album Nuggets—did much to define and memorialize the style. Between 1971 and 1973, certain American rock critics began to retroactively identify the music as a genre and for several years used the term "punk rock" to describe it, making it the first form of music to bear the description, predating the more familiar use of the term appropriated by the punk rock movement that it influenced. "Garage rock" came into use at the beginning of the 1980s and gained favor amongst devotees. The genre has been referred to as "proto-punk". In the early to mid-1980s, several revival scenes emerged featuring acts that consciously attempted to replicate the look and sound of 1960s garage bands. In the decade, a louder, more contemporary garage subgenre developed that combined garage rock with modern punk rock and other influences, sometimes using the garage punk label and otherwise associated with 1960s garage bands.
In the 2000s, a wave of garage-influenced acts associated with the post-punk revival emerged, some achieved commercial success. Garage rock continues to appeal to musicians and audiences who prefer a "back to basics" or "do-it-yourself" musical approach; the term "garage rock" used in reference to 1960s acts, stems from the perception that many performers were young amateurs who rehearsed in the family garage. While numerous bands were made up of middle-class teenagers from the suburbs, others were from rural or urban areas or were composed of professional musicians in their twenties; the term "garage band" is used to refer to musical acts in this genre. Referring to the 1960s, Mike Markesich commented "...teenge rock & roll groups proliferated Everywheresville USA". Though it is impossible to determine how many garage bands were active in the era, their numbers were extensive on a still unprecedented scale in what Markesich has characterized as a "cyclonic whirlwind of musical activity like none other..."
According to Mark Nobles, it is estimated that between 1964-1968 over 180,000 bands formed in the United States, several thousand US garage acts made records during the era. Garage bands performed in a variety of venues. Local and regional groups played at parties, school dances, teen clubs. For acts of legal age, bars and college fraternity socials provided regular engagements. Groups had the opportunity to open at shows for famous touring acts; some garage rock bands went on tour those better-known, but lesser-known groups sometimes received bookings or airplay beyond their immediate locales. Groups competed in "battles of the bands", which gave musicians an opportunity to gain exposure and a chance to win a prize, such as free equipment or recording time in a local studio. Contests were held, locally and nationally, three of the most prestigious national events were held annually by the Tea Council of the U. S. A. the Music Circus, the United States Junior Chamber. Performances sounded amateurish, naïve, or intentionally raw, with typical themes revolving around the traumas of high school life and songs about "lying girls" being common.
The lyrics and delivery were more aggressive than the more polished acts of the time with nasal, growled, or shouted vocals, sometimes punctuated by shrieks or screams at climactic moments of release. Instrumentation was characterized by basic chord structures played on electric guitars or keyboards distorted through a fuzzbox, teamed with bass and drums. Guitarists sometimes played using aggressive-sounding bar chords or power chords. Portable organs such as the Farfisa were used and harmonicas and hand-held percussion such as tambourines were not uncommon; the tempo was sped up in passages sometimes referred to as "raveups". Garage rock acts were diverse in both musical ability and in style, ranging from crude and amateurish to near-studio level musicianship. There were regional variations in flourishing scenes, such as in California and Texas; the north-western states of Idaho and Oregon had a distinctly recognizable regional sound with bands such as the Sonics and Paul Revere & the Raiders.
In the 1960s, garage rock had no name and was not thought of as a genre, but
Mondo Bizarro is the twelfth studio album by the American punk band the Ramones, released in 1992. It is the first to feature their new bassist, C. J. Ramone, who replaced departed member Dee Dee Ramone; the album was re-released in the UK by the record label Captain Oi! on August 10, 2004, with the band's cover of the Spider-Man theme song as a bonus track. Mondo Bizarro was the group’s first studio album in three years, having left Sire Records for a new contract with Radioactive Records; the original "Mondo Bizarro" was the title of a 1966 film sequel to "Mondo Cane". Two singles from the album were released. Although Dee Dee Ramone had left the band, he provided the songs "Poison Heart", "Main Man", "Strength To Endure", as payment for bailing him out of jail due to his long drug addiction; when Johnny Ramone was interviewed about the album for the End of the Century documentary, he states, "I don't like it. I don't like it at all." This contradicts a statement from a 1992 interview in an Argentine newspaper, quote: "Generally I always find two or three songs that I hate.
From Mondo Bizarro, I like all the songs and I am satisfied with the result." Again, this album, along with "Brain Drain" was graded by Johnny in his autobiography, "Commando" that ended up being at "C" as "The songs are the weak spots on the album. C. J. was in the band. I didn't like the lyrics on "Censorshit." It was stupid. I liked the song, though. Joey wrote this song about Vice President Al Gore's wife, Tipper Gore he went on and voted for Bill Clinton." The album was certified gold in Brazil in 2001. The song "Censorshit" was written by Joey Ramone about how rock and rap albums were being censored by the Parents Music Resource Center, a group of Washington wives out to put warning labels on records, a practice which has become standard, it has a reference to Frank Zappa. Quote: "Ask Ozzy, Zappa, or Me. We'll show you what it's like to be free." The song is addressed to wife of former Tennessee Senator and Vice President Al Gore. "Take It as It Comes" is a cover song recorded by The Doors in 1967.
"Spider-Man," while having never appeared on the original release but as a bonus track on the CD version, is a cover of the theme song from the original Spider-Man animated series. It was released as an unlisted Bonus track on the original release of ¡Adios Amigos! and a different version was available on the Saturday Morning compilation in 1995. "Heidi is a Headcase" was written by Daniel Rey. According to an interview on the podcast "Ramones of the Day," CJ Ramone stated the song is about a girl named Heidi who both Joey and CJ dated for a period of time. Ramones Joey Ramone – lead vocals Johnny Ramone – guitar C. J. Ramone – bass, backing vocals, lead vocals Marky Ramone – drumsAdditional musicians Vernon Reid – guitar solo Joe McGinty – keyboards Flo & Eddie – backing vocals Additional personnel Bryce Goggin – assistant engineer Joe Warda – assistant engineer Gary Kurfirst – executive producer Greg Calbi – mastering Ed Stasium – mixing, producer Paul Hamingson – engineer Eugene Nastasi – assistant engineer Garris Shipon – assistant engineer George DuBose – art direction, design