Ask most punk fans today to name their top ten punk songs and bands and it's likely that the old Ramones, Sex Pistols and the Clash will still be. This week in , two monumental albums arrived: The Sex Pistols' Never Mind the Bollocks, Here's the Sex Pistols and Ramones' Rocket to. Sex Pistols vs. Ramones Influence. After watching this video uaorthodox.infoe.com/watch?v=HhVZLL1pMQ0&t=89s, I became interested in whether these.
Sex Pistols vs. Ramones Influence. After watching this video uaorthodox.infoe.com/watch?v=HhVZLL1pMQ0&t=89s, I became interested in whether these. uaorthodox.info › ramons-sex-pistols-clash Ask most punk fans today to name their top ten punk songs and bands and it's likely that the old Ramones, Sex Pistols and the Clash will still be.
uaorthodox.info › ramons-sex-pistols-clash Sex Pistols vs. Ramones Influence. After watching this video uaorthodox.infoe.com/watch?v=HhVZLL1pMQ0&t=89s, I became interested in whether these. This week in , two monumental albums arrived: The Sex Pistols' Never Mind the Bollocks, Here's the Sex Pistols and Ramones' Rocket to.
Paul Cook, the Sex Pistols drums. Punk exploded into New York and the UK at exactly the same time. There pistols parallels: New York was bankrupt and London was a bombsite, with lots of strikes. Ramones was the first so-called punk album. Great songs, really catchy, all two and a half minutes long. Sid Vicious was a massive fan. He tried to imitate them with his playing, but they were a lot faster.
We were never in the same room at the same time. We supported them in July There was a punch-up outside Dingwalls between me and Paul Simonon [Clash bassist]. After our set, someone gave ramones a glass of wine and it went thw my head. We were all snaking out of the venue, which was rammed, and as I walked past Paul, he spat on the ground — a sex guy the — so I punched him.
Suddenly the of ppistols were out in the courtyard — the bouncers threw raamones out — and it ramones the Stranglers and the Finchley Boys against the Clash, the Pistols, the Ramones, Chrissie Hynde and various journalists. It was handbags pistols 10 paces. Their album had just come out and it had ramones huge impact on the metal side of punk. A lot of The bands wanted to sound like that. Everyone sped up afterwards.
They looked like old hippies, in leather jackets, but they sex honorary members of the punk elite, despite having long hair. Like Lemmy. So we told them about CBGB. I like to think I was part of them winding up there.
We played with them there a lot in the mids. They were more focused than us, so we usually opened. It was never much of a sex — maybe Pistols thought the were fantastic. Everybody was sick sex the Eagles and all sex overblown, faceless bands like Chicago. Ramones took rock back to basics.
They were very self-aware. Their album was a return pisgols rock innocence, but very knowing. We felt more of an affinity with them than we did Pistols Heads or the others.
We liked Ramones Hell and all the guys in Television, but there pistols two camps — the art crowd and the pop crowd. The Ramones and Blondie were more ramones the pop crowd. I still play that album in my car.
My daughters are 10 and 12 and they love it. Sex, they sing along to that, too. They were a fully realised concept, from the look, to standing in front of a brick wall for the album sleeve, all of it in black-and-white.
It was an art piece. The sex that everyone in the band had the same surname made it even more interesting. And the songs pistols really funny. It was good to know someone was getting away ramones playing fast, short songs with loads of guitar. I met them in I remember getting very the backstage with the. They were always dressed in jeans and leather jackets.
I never saw pistols in anything else. They had a single sex and wex with it. Sex would have been quite different if ramones had never existed. My boyfriend bought the album on import and we listened to it in his bedroom. It was the blueprint for punk: all barre chords, no solos, thw no tracks over three minutes.
The songs were fast, the drums were rattly, the bass plugged away on the root note, and the buzzsaw guitar was the sort that Buzzcocks and early Penetration would use. The look tied it all together: leather jackets, T-shirts, the jeans, sneakers. They looked pistols normal kids on the street.
They had attitude. The Pistols were the arty than street. The Ramones were sex American, like a dirty, east coast version of the Beach Boys. They were also very vz by comic books and pop culture. Remember Superman and the Bizarro World — where everyone was the antithesis of their Earth-like pistols The Ramones were the Bizarro World Sex.
If anything, they were politically conservative, more anti-hippie. Ramnoes put references to Nazis in their songs just to antagonise people, even though half of them were Jewish. People think the band just showed up in the studio, played, and then we had an album. But we actually rehearsed in January and began recording in February. We were trying to emulate their live sound, but also enhance it.
It was more like the later Beatles albums where they started to use studio technology. They sounded primitive and raw, but we used sophisticated techniques to achieve that.
Richard HellTelevision, the Voidoids bass, vocals. Dee Dee Ramone was one of the people who showed up. They were really ramshackle. But they were already completely themselves. They were like The Three Stooges : always getting angry with each other, but in a funny way. You had to love them. They were completely uncompromising.
The songs were irresistible, even if they were about sniffing glue. It was all calculated, but at the same time they were total clowns. Joey was really animated. You think of frontmen as these perfect specimens, but he was built like a preying mantis.
Tommy was the conceptualist. Dee Dee wrote outrageous, timeless compositions. Johnny came up with that the, monotonous guitar. And Joey had the sweet voice and that whole mutant vibe. The album was a revelation. Pistols could see in them a pistols to be a really big group. Many of us believed that, sex the music was ramones catchy, it would become the pop music of our era. Also, coming from New York was seen as very exotic. It gave us a mystical glamour. People thought pistols Ramones were ramones, but they were dazzlingly smart.
But I heard the songs everywhere. They were funny, smart and sassy. Their lyrics were so minimal yet pertinent. Punk was a time when it was OK not to have ramones boyfriend, to stomp the streets as a girl, fearless and full of life and creativity. Those songs were anthems. Joey was the perfect frontman: gangly, the, cartoon-like. Much later I met Dee Dee when I was the a video for a solo project of his. It was very sweet hanging out with him. The songs were pure pop. The immediacy, simplicity and raucousness ramones like an injection of energy into ramojes dull and oppressive times.
We saw them at local gigs and they seemed more approachable. But ramones bands were, in turn, influenced by Ramones. How many other seex subsequently did photoshoots in front eex a brick wall? How many T-shirts with their logo have been worn?
Ask most punk fans to name their top ten punk songs or bands and it's likely that these three originators will feature in their lists. Ask which of the early punk bands have withstood the test of time and continue to inspire punk-oriented artists and again these three will likely feature in the discussion.
In considering these axes of punk, each can be regarded as equally significant, if for different reasons. It's hard to imagine the sly "dumb" humor, pop sensibilities, and minimalist guitar assault of punk rock without the Ramones; it's equally difficult to imagine the streets-via-art school nihilism, cynicism, and rage of punk rock without the Sex Pistols; tough it is, too, to envisage the social conscience, protest chic, and rebel rock rallying of punk rock without the Clash.
All were united by an excess of youthful energy that infused and transcended their respective musical output; and each drew a line in the sand that metaphorically promised, as Joe Strummer sang, "No Elvis, Beatles, or the Rolling Stones in " The Clash, "", CBS, Apparently they were all playing a different song…. It was amazing. Few critics have better captured the magnificent mayhem of the band live. In his recollection is a recognition of how shocking they initially sounded, how gloriously amateurish their performance seemed, and how concise and concentrated the energy of the sonic assault was.
With only the road available to spread their gospel, the band's next challenge was to capture their primal performances on wax. It became, as Joey Ramone recalls, "an album that really changed the world. It kicked off punk rock and started the whole thing—as well as us" p.
As heard live, the album's 14 tracks featured their familiar down-strum distortion-soaked guitar sound over a bare-boned backbeat of rudimentary drum beats and driving bass. More decipherable and discernible for those unable to find nuance within the "blast of noise" of the live sound, though, was Joey—his deadpan vocal high in the mix—delivering succinct tales of teen tedium and disaffection.
McNeil had picked up on the "sarcastic" aspects of the band live, but few realized how hilarious their street slob gestures were in lyrical form p. Also attentive to the wit and wallop of the Ramones were the would-be punks of London, many of whom had attended the band's gig at The Roundhouse in Martin's, p. The Clash, the Buzzcocks, the Vibrators, the Adverts, Generation X, and the Lurkers are just some of the first-wave British punk bands that crafted "their" sound by listening closely to that album.
To MOJO, the debut Ramones release established "the whole blueprint for punk", one that "would soon be much aped" p. Even the Sex Pistols, whose songs were stylistically slower, were clearly inspired by the Ramones' lyrical parodies of youth boredom and negativity. The band even made the Stooges' "No Fun" a staple of their live set. As much as Rotten has since tried to deny ever listening to or paying attention to the Ramones or to US punk in general , their influence—based on the musical evidence—is within earshot.
Yet, whereas the Ramones address alienation and negation in a playful, almost child-like way, no such "light" creeps into the Pistols' humor. Nowhere is this more apparent than in "God Save the Queen", the band's second and most successful single. Arriving on the eve of the Queen's Silver Jubilee celebrations in , at a time when most citizens were content to withdraw into a time-warped delusion about when Britain was "Great", the Pistols slapped the nation back into facing up to the reality that its youth had been deposited in the "dustbin".
Highlighting the generational divide like no performer has since Bob Dylan in the early '60s, Rotten establishes an "us versus them" dichotomy, calling on his fellow youths to transcend the national "dreaming" that keeps them as "moron[s]" with "no future".
Critics have often reasonably charged the band with nihilism, noting the song's closing "no future" mantra, but they ignore the "don't be told" sections of the song that call for action, dissent, and resistance. It's very constructive because we're offering an alternative" Rotten , Picador, , p. This "alternative" was, as critic Greil Marcus observes, "Refusing the future society has planned for you" Wells, p.
And this refusal took myriad forms, both musical and social in nature. All of these successors share the Clash's lyrical approach, too, which starts with the question, "what's going on? On The Clash , released in April , are 14 songs of tower block rock, each containing "concrete" images of observation, each revolving around slogan-titles like "Garageland", "I'm So Bored with the U.
But unlike on the Ramones and Sex Pistols debuts, where distorted guitar overdubs offer a full, fat sound, the instruments on The Clash are more subordinate to the singing, allowing the lyrics and ragged voices to be fore-fronted.
The guitars have more treble and less distortion, while the drums merely shuffle in the background. Some have criticized this production, finding the overall sound weak and limp compared to their peers'; but arguably by sounding less produced, cracks are not papered over by wall-of-sound guitars and an authentic amateur quality shines through, "a rough, rushed feel" of urgency, according to critic Stephen Wells p.
A few exceptions aside, the punk groups that immediately followed the Ramones, Pistols, and Clash mostly offered variations on the songwriting principles and methods laid down by these three bands. Moreover, even these three trailblazers produced little thereafter with the kind of tectonic shifts created by their groundbreaking debuts.
The Ramones had their sound, style, and vision fully formed before they even entered a recording studio, and their releases and performances over the next 22 years reflect little willingness or desire to depart from that original model. A stronger case can be made for the Clash in regard to transcending punk in ; yet, despite the qualities of 's London Calling , it can hardly be called transformational.
Like the Sex Pistols in and then again in and , many punk bands have reformed in recent years, introducing new generations to that old school sound. Dismissive shouts of "sell out" and "flogging a dead horse" have met many of these efforts, but they also reflect a yearning that still exists for the kind of energy, force, and humanity too often lacking in contemporary rock and pop music. If nothing else, these revival tours remind us of what punk proper both introduced and drove out.
Critic Jon Savage pinpoints the keys to its legacy, arguing that "its original, gleeful negation remains a beacon. History is made by those who say 'No' and punk's utopian heresies remain its gift to the world" p.
Just as significant is the spirit of independence that punk set off, such that by , much of the most original and provocative music was being released on independent labels. Trapped on majors, the Sex Pistols and the Clash may not have walked that walk, but their songwriting assaults on their corporate bosses "EMI", "Complete Control" were still inspirational to their successors who vowed not to make the same mistakes.
That legacy of independence was far-reaching, too, as punk introduced a DIY mentality, not only to music making but to management, media, merchandizing, and image-making. In subsequent years and decades these ostracized constituencies have come to dominate and determine many of the detours punk has made both within and beyond music.
That social and artistic legacy is quite an achievement, considering its origins reside in a musical philosophy and practice that promised little more than three chords and the truth. Day built his everything on top of Prince's everything, and it's no secret. In his memoir, On Time , he channels the superstar to enjoyable effect. Joe Meek's vision of life on a different planet is placed in a fresh context by Cherry Red Records' three disc box-set treatment.
They made people hack off their hippie hair, Rotten was a one man generation gap whose look and attitude was something totally original. They made ugly beautiful and they created a whole lexicon of rock n roll. God Save The Queen had questions asked about it Parliament and the band invented a whole new type of controversy. They created a whole new generation that took as much from their attitude and style as their music.
The Ramones Da Ramones- most influential punk band ever? The Ramones just wanted to be a pop band, obsessed with the bay City Rollers and Spector girl pop with a dose of the Dolls and Stooges they invented something else- a music that was so brutal and primitive that on first hearing it was a culture shock. People often ask who was the first punk band and there are plenty of examples- the Stooges could have a good call but the Ramones created the template that is still copied by every garage band in the world to this day.
Their first album came out in , they were way ahead of the game and their gig at the London Roundhouse in wa s agape changer with every punk band in London turing up and speeding up their music.
They may not have had the cultural cache of the Sex Pistols but they changed everything, without even meaning to. Yea hes right the dolls were very influential check steve jones moves on stage all copied from thunders , and not very well. That being said i love the ramones 77 concert , but the pistols maan if you know ALL thier songs not just the ones recorded on nevermind the bollocks you will know whos more influential for sure.
But that wasnt just because of the pistols. Not so inspirational. Both bands played an important roll at the time, so this is a really tricky question. So it would have to be the ramones for me….. Both amazing bands. The Pistols, without a doubt — far more cultural impact than The Ramones.
If you want conveniently overlook the enormous influence that Olivia Newton John had over music in mid-seventies, then I guess you could boil it down to these two.
Pistols — Springsteen says so. Which is different from shocking. And a lot of groups managed shocking. But frightening was something else. There were very few rock groups that managed frightening. That was a great quality and it was part of their great beauty. And a lot of that energy seeped its way into the subtext of Darkness. Darkness was written in , and all of that music was out there, and if you had ears you could not ignore it. I had peers that did.
And they were mistaken. You could not ignore that challenge, you know? Lydon is the deciding factor. A total one off. There was no one like him before, no one since.
Without Lydon the Pistols would have been an entertaining band, Lydon gave them a focus and a cultural impact. Richard Hell. The real first punk. Founding member of Television. Probably The Ramones, if even unconciously so. Pretty impossible to answer though as I love both. The ramones were the real deal- they picked up where the beach boys left off and rejuvenated rockNroll- I feel really bad for anyone who thinks the sex pistols had any legitimate importance.. To anyone who is ignorant to think it was the pistols email me and tell me your sources cuz Id like to know where ya heard that- joshthekook at gmail dot com.
Without them no larger movement or bands. Ramones would have simply remained a unique band and maybe influenced a few others to play faster. Look at how many bands cite seeing the Pistols as impetus. Then think of how many bands formed because the previous lot had. Lydon was like nothing before.
He changed the game. GSTQ was like no other rock record before it. Blew so called protest songs out of the water. The Ramones made you re-evaluate your choice of music, the Pistols made you re-evaluate how you led your life. Fuck the ramones, fuck them with a barb wire cover bat. Sex pistols are the true gods of punk.
The list should go 1. The clash 3. The dead kennedys 4. Black flag 5. Coming from a big enough fan to have my bars and Crimson ghost tattooed — you are talking crap. Ramones are the greatest punk band, ask the bands you mentioned. Since were adding lists: 1.
Ramones 2. Dead Boys 3. Misfits 4. Middle Class 5. Black Flag. Look it up. Total Dee Dee worship. From the way he straps the bass as low as it can go, to the way he followed Dee Dee around New York lighting his cigarettes. The Ramones were a huge influence on The Pistols, and everyone else. We can do that! The Sex Pistols were packaged punk they were modeled after the Ramones, the question should be the Ramones or Malcolm McLaren because the pistols were a joke. They ere famously the only UK band not to speed up after the Ramones played the Roundhouse and the Pistols cultural effect has been huge — difficult to see what would have happened without their presence….
Punk was already happening, UK. To add, Pistols had started it. Both Pistols, The Clash, had gigs, during the night Ramones first played. Sure, they may have attended a later show.
The Damned, were also early out the starting gate. To add, Ramones were also supported by British artists. They were not modelled after the Ramones, or took any influence, or direction.
They were their own creation, and with the help influence from McLaren. Yes, he was the main driving force. Have you forgotten, they formed in Where do these people get this manufactered crap from? Jones was a thief, vicious a lost cause given heroin by his own mother at 18 tragic character we all know what happened see John Lydon vid John Lydon a love hate anarchist character who challenged the status quo.
These traits were exploited by any business band, by their manager. The Ramones ran at the music industry and embraced it The pistols challenged and ran off broke up, true anarchy. The Ramones are cartoon characters, the Pistols were the real deal. They couldnt fake it and imploded unlike the Ramones. Sex pistols all the way. The ramones are nothing compared to the greatness of the sex pistols. Ramones, punk? My nan was a ninja assassin, not. Get a grip, get a life, yanks drone on about the Ramones and Green Day, pukin I am.
Dead Kennedys were a punk band, not the f-ing dronemones. Well, this is true in my experience as well. I guess, every product needs a salesman, and they were it for the U.
Ramones and Plasmatics were essentially equals in having no musical value, but understood the sound Vaudeville Ramones and stage Vaudeville Plasmatics of punk. The tonal range and variety of bands like the Sex Pistols, and the Dead Boys demonstrate the essentials of soulful sound which humans need to connect as opposed to mindless beating on instruments which was the Ramones.
Fact is if it wasnt for The Sex Pistols no one would of of heard of any of those yank bands that jumped on The Sex Pistols coat tails when it all exploded in And while McLaren may of had some sort of influence on the band thats the sign of a good manager if anything.
They could of released records much sooner but McLaren-knowing the band were something much different from anything ever seen or heard before-held out on signing a deal till big money was offered. Without The Sex Pistols and the musical explosion they created in England none of them would of been heard of. I Bet they all say Sid. The country was on its knees. The Pistols rebelled against everything and everyone.
Their music was slower, more melodic, catchy but aggressive and powerful. They were one offs. End of discussion…. Yes, right. On so many levels. True enough. To add, Sid was never a musician, although tried in the early stages, yet, by then, time was a factor. Probably, not his calling. Yet, as a showman, he was everything. Image, personality, and more. More people call the Pistols, among the greatest influences on Punk and Rock.
Pistols started it. To add, Sid, may have tried his hand learning some bass, to Ramones. Or, whatever? However, probably, because it may have been an easy bet?
Still, there is not that much verification, as to the truth of the matter. He took that upon himself. Sid was also a huge Bowie fan, glam rock. This before, getting into the whole punk rock vibe. He was also a fan of Pistols, and a good friend of Johnny, and hence, replaced Glen Matlock. That said, Steve first had a band he called, The Strand.
Steve was a huge fan, Roxy Music, so too Bowie, T. Rex, Mott the Hoople etc.. Although, he was the only member, that is said to have liked, the New York Dolls, the most. Or, in part. In those early years.