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Acid Eaters
Acid Eaters
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Acid Eaters
Studio album of cover songs by
the Ramones
ReleasedDecember 1, 1993
Recorded1993
Studio
  • Baby Monster (New York City)
  • Chung King (New York City)
GenrePunk rock
Length30:53
LabelRadioactive
ProducerScott Hackwith
Ramones chronology
Mondo Bizarro
(1992) 		Acid Eaters
(1993) 		¡Adios Amigos!
(1995)
Professional ratings
Review scores
SourceRating
AllMusicStarStar[1]
Robert Christgau(1-star Honorable Mention)[3]
Entertainment WeeklyA−[2]
Rock Hard8.0/10[6]
Rolling StoneStarStarStar[4]
Spin Alternative Record Guide7/10[7]
UncutStarStarStarStar[5]

Acid Eaters is the thirteenth studio album by the American punk rock band Ramones.

Released in 1993, towards the end of the Ramones' career, the album is the band's only album entirely composed of covers. Acid Eaters forms a musical tribute to the Ramones' favorite artists of the 1960s and highlights the influences the Ramones took from garage rock bands like the Seeds and the Amboy Dukes, as well as from popular bands such as the Beach Boys, the Who and the Rolling Stones (all of whom are covered on this album).

Background

[edit]

Although Acid Eaters is specifically made of covers from the sixties, it was not the first time that the Ramones had played or recorded cover songs, with the band having released cover versions on most of their albums, almost all of them from the sixties, starting with a cover of Chris Montez's hit "Let's Dance" (written by and credited to Jim Lee) on their debut album. Other notable covers previously performed by the group include: the Rivieras' "California Sun" (originally recorded by Joe Jones); the Beach Boys' "Do You Wanna Dance?" (originally recorded by Bobby Freeman); the Trashmen's "Surfin' Bird"; the Searchers' "Needles and Pins" (written by Sonny Bono and Jack Nitzsche, originally recorded by Jackie DeShannon); the Ronettes' "Baby, I Love You"; the Music Explosion's "Little Bit O' Soul"; the Chambers Brothers' "Time Has Come Today"; Freddy Cannon's "Palisades Park"; and the Doors' "Take It as It Comes". Jan and Dean's "Surf City" had been performed live by the Ramones on one occasion on August 20, 1982, in New York City, but makes its studio debut here.

Production

[edit]

Scott Hackwith, the frontman for the alternative rock band Dig, produced Acid Eaters. It was the first time the Ramones had worked with him.

In his 2012 autobiography Commando, Johnny Ramone called the album "hit-and-miss", stating that many of the songs "were done with studio work, arrangements, and tricks, which was really different for us", and that the band "experimented to mixed success". He added that "we were getting all kinds of suggestions from everybody, and it was getting to be a pain in the ass. I mean, 'She's Not There' by the Zombies?" Johnny awarded the album a "B−" grade.[8] Bassist C.J. Ramone gave the album a "D" grade, saying that it was done strictly for the money.[9]

The album features several guest singers on backing vocals, namely Pete Townshend on "Substitute", Sebastian Bach on "Out of Time" and Traci Lords on "Somebody to Love". According to Johnny Ramone, while he considered Townshend "one of the greats and one of my guitar heroes", Townshend was a half an hour late for his session, resulting in Johnny giving up and leaving the studio to watch a Yankee game.[10]

According to C.J. Ramone, Acid Eaters was only going to be an EP before manager Gary Kurfirst promised a bigger advance as well as a bigger cut if they made it a full release.[9]

Promotion

[edit]

The band promoted the album on the animated Cartoon Network talk show Space Ghost Coast to Coast, in the first-season episode "Bobcat".

Track listing

[edit]
Side one
No.TitleWriter(s)Length
1."Journey to the Center of the Mind" (Original by the Amboy Dukes)Ted Nugent, Steve Farmer2:52
2."Substitute" (Original by the Who)Pete Townshend3:15
3."Out of Time" (Original by the Rolling Stones)Mick Jagger, Keith Richards2:41
4."The Shape of Things to Come" (Original by Max Frost and the Troopers)Barry Mann, Cynthia Weil1:46
5."Somebody to Love" (Original by the Great Society, popularized by Jefferson Airplane)Darby Slick2:31
6."When I Was Young" (Original by the Animals)Eric Burdon, John Weider, Vic Briggs, Danny McCulloch, Barry Jenkins3:16
Side two
No.TitleWriter(s)Length
7."7 and 7 Is" (Original by Love)Arthur Lee1:50
8."My Back Pages" (Original by Bob Dylan, popularized by the Byrds)Bob Dylan2:27
9."Can't Seem to Make You Mine" (Original by the Seeds)Sky Saxon2:42
10."Have You Ever Seen the Rain?" (Original by Creedence Clearwater Revival)John Fogerty2:22
11."I Can't Control Myself" (Original by the Troggs)Reg Presley2:55
12."Surf City" (Original by Jan and Dean)Brian Wilson, Jan Berry2:26
CD Bonus track in Japan and Brazil
No.TitleWriter(s)Length
13."Surfin' Safari" (Original by the Beach Boys)Brian Wilson, Mike Love1:47

Personnel

[edit]

Ramones

Additional musicians

Technical

  • Scott Hackwith – producer, mixing
  • Gary Kurfirst – executive producer
  • Trent Slatton – engineer, mixing
  • Bryce Goggin – assistant engineer (Baby Monster)
  • Rojo – assistant engineer (Baby Monster)
  • Johnny Wydrycs – assistant engineer (Chung King)
  • Jack Hersca – assistant engineer (Chung King)
  • Diego Garrido – assistant engineer (Chung King)
  • Peter Beckerman – assistant engineer (Sound on Sound)
  • Scott Hull – mastering

Charts

[edit]
Chart (1993–1994) Peak
position
Canada Top Albums/CDs (RPM)[11] 48
Finnish Albums (The Official Finnish Charts)[12] 25
Japanese Albums (Oricon)[13] 85
Swedish Albums (Sverigetopplistan)[14] 26
US Billboard 200[15] 179
Chart (2025) Peak
position
Croatian International Albums (HDU)[16] 24

Certifications

[edit]
Region Certification Certified units/sales
Argentina (CAPIF)[17] Gold 30,000^

^ Shipments figures based on certification alone.

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Acid Eaters

View on Grokipedia
from Grokipedia
Acid Eaters is the thirteenth studio by the American band the , released in December 1993. It consists of twelve cover songs drawn mainly from psychedelic and artists, reinterpreted in the Ramones' fast-paced punk style. The album was produced by Scott Hackwith and recorded at Baby Monster Studios and Chung King House of Metal in . Originally conceived as an EP, it was expanded into a full-length release after the band's manager, Gary Kurfirst, offered a larger advance and profit share. The tracklist features covers of songs by artists such as the Amboy Dukes ("Journey to the Center of the Mind"), the Who ("Substitute"), ("Out of Time"), ("Somebody to Love"), ("When I Was Young"), ("7 and 7 Is"), ("My Back Pages"), the Seeds ("Can't Seem to Make You Mine"), ("Have You Ever Seen the Rain?"), ("I Can't Control Myself"), and ("Surf City"). Critics noted that Acid Eaters recaptured the raw energy and excitement of the ' early work by applying their punk template to '60s and garage influences. Reviews praised the album's nostalgic appeal and the band's respectful yet energetic takes on the source material, though some observed it leaned more toward garage punk than pure . It received a mixed-to-positive reception, with highlighting its fun revival of classic tracks, and it charted modestly, peaking at number 179 on the US 200.

Background and Concept

Development

The Ramones incorporated cover songs into their discography from the outset of their career, beginning with their self-titled debut album in 1976, which featured a punk-infused rendition of Chris Montez's "Let's Dance." This practice continued on subsequent releases, such as Leave Home (1977) with The Rivieras' "California Sun" and Rocket to Russia (1977) with The Trashmen's "Surfin' Bird," reflecting the band's affinity for pre-punk rock and garage influences while adapting them to their high-speed style. The idea for a full covers album emerged in 1993, spurred by Joey Ramone's longstanding enthusiasm for garage rock and pop acts that shaped the band's sound. Following the strong fan response to their cover of ' "Take It as It Comes" on (1992), the band's manager proposed a five-song EP of favorite tracks, which Joey championed and expanded into a complete album given the wealth of material available. Conceptualized in early 1993 amid the band's extended run of original material across 12 prior , the project marked a deliberate shift to honor their formative influences through a dedicated tribute. The Ramones selected 12 songs primarily from artists, including "," The Seeds' "Can't Seem to Make You Mine," and Jan and Dean's "Surf City," the latter evoking the surf rock era shared with . Band dynamics played a role in the planning, with showing initial skepticism toward straying from the group's punk core—for instance, suggesting to move rehearsals when was nearby. Conversely, backed the experimental approach, contributing lead vocals on "" and helping rehearse tracks in Joey's absence, though he later noted tensions between Johnny and Joey complicated the process.

Musical Influences

The Ramones' Acid Eaters drew heavily from the garage rock scene, which profoundly shaped the band's raw, energetic sound and informed their selection of cover material. Pioneers of the genre, such as with their track "," The via "Can't Seem to Make You Mine," and The , exemplified the gritty, minimalist aesthetic that resonated with the Ramones' punk ethos, emphasizing short, punchy songs driven by distorted guitars and urgent rhythms. Surf rock also played a pivotal role, with acts like The influencing tracks such as The Trashmen's "" and Jan and Dean's "Surf City," capturing the high-energy, instrumental flair that contrasted yet complemented the Ramones' fast-paced style. These influences highlighted the band's roots in the pre-punk era, where simple structures and rebellious attitude laid the groundwork for their own innovations. Joey Ramone's longstanding admiration for Phil Spector's productions and bands further guided the album's direction, infusing it with pop sensibilities and harmonic depth. Spector's orchestral pop approach, evident in hits, appealed to Joey's vision of blending melody with aggression, while bands like , , and The Who provided the raw edge of '60s rock that the sought to revive. As a deliberate homage, Acid Eaters celebrated the pre-punk influences that informed the ' fast, simple style, setting it apart from their original punk anthems by revisiting the '60s sounds that sparked their formation. The album primarily featured covers from that decade, with most selections drawing from garage, surf, and pop inspirations of that era, such as those from cult favorites like and . This focus underscored the ' cultural nod to the era's unpolished energy, which had directly nurtured their punk evolution.

Production

Recording Process

The recording of Acid Eaters took place primarily in 1993, with basic tracks captured at Baby Monster Studios in to maintain the band's signature high-energy, live-wire feel. Producer Scott Hackwith was selected by the band's record label for his punk rock pedigree, including his time as a in , to deliver a raw, unpolished production that echoed the Ramones' earlier albums like . Hackwith emphasized simplicity in the sessions, employing techniques such as placing a directly in front of amplifiers to capture an authentic, minimally processed sound. Overdubs were handled at both Baby Monster Studios and Chung King House of Metal, also in New York City, allowing for additional layers while preserving the album's urgent tempo and buzzsaw guitar tone characteristic of the Ramones. The production incorporated elements to nod to the 1960s garage rock origins of the covered material, yet retained the band's rapid pacing and direct instrumentation. Mixing occurred at Chung King House of Metal, completing the process ahead of the album's December release. Joey Ramone provided lead vocals on the majority of the tracks, delivering his distinctive nasal style to reinterpret the source material. contributed the bass lines, adapting them to fit the ' accelerated rhythms while staying faithful to the originals' structures. Guest vocalists were incorporated on select songs to add variety to the proceedings.

Guest Contributions

The Acid Eaters album features contributions from several notable guest artists, who provided backing and lead vocals on select tracks to enhance the ' covers of psychedelic and rock songs. of The Who added backing vocals and guitar to the band's rendition of "Substitute," his own composition originally released by The Who in 1966. , frontman of the band , contributed backing vocals to "Out of Time," a cover of the ' 1966 track. , known for her transition from adult film to music and acting, provided vocals, singing the girl's part, on "Somebody to Love," the Jefferson Airplane's 1967 hit. These guests were selected to bring fresh perspectives and pay homage to the Ramones' influences, with producer Scott Hackwith facilitating their involvement to inject variety into the album's sound. Joey Ramone, the band's lead singer, viewed Townshend as a major hero whose songwriting and The Who's energetic style had profoundly shaped his own approach, making the collaboration a personal milestone. Bach's participation stemmed from his enthusiasm as a fan; after a phone call with Joey Ramone, he volunteered to contribute, despite the Ramones' initial skepticism about Skid Row's heavier metal image. Lords' involvement was proposed by the band's management, surprising Joey but resulting in a performance he described as strong and fitting for the track. No guests appear on other tracks, such as the Ramones' straightforward cover of "Surf City" by Jan and Dean, preserving the band's core punk delivery on those selections. Recording anecdotes highlight the excitement and occasional quirks of these sessions. During Townshend's appearance, he arrived late to the studio, which amused Johnny Ramone despite his initial frustration; Johnny, a longtime admirer of Townshend's guitar work, noted that the session ultimately thrilled the band and elevated the track. Joey Ramone recalled being in "total awe" while watching Townshend record, emphasizing the mutual respect between the punk pioneers and their rock forebears. For Lords, her contribution came amid her career pivot toward music projects, aligning with the album's exploratory spirit, though Joey kept details lighthearted in interviews. Bach's session added a spontaneous rock energy, with Joey later calling him "cool" for bridging metal and punk worlds. The guests' roles had a subtle but distinctive impact, infusing Who-esque power into "Substitute," a heavier edge to "Out of Time," and an unexpected vocal flair to "Somebody to Love," all while maintaining the ' raw, accelerated punk style without overshadowing the band's identity. These contributions helped Acid Eaters stand out as a tribute album that honored roots through modern collaborations, appealing to fans of both eras.

Release and Promotion

Marketing Strategies

Acid Eaters was released by Radioactive Records, a of , on December 1, 1993, in the United States. The album's packaging featured psychedelic cover art illustrated by Mique Willmott, depicting cartoonish, acid-trip-inspired imagery with the portrayed in -style garb to evoke the era's garage and influences. The prominently credited the original artists for each covered track, underscoring the album's tribute nature and the band's respect for their musical forebears. Promotional efforts included limited edition vinyl releases in select markets, alongside targeted radio campaigns on stations to reach the band's core audience. Joey Ramone participated in interviews positioning the as a lighthearted, fun detour into covers rather than a shift from the ' punk roots, aiming to reassure and engage longtime fans.

Media Appearances

The gained visibility for Acid Eaters through targeted media appearances that highlighted the album's nostalgic covers and appealed to broader audiences beyond their core punk followers. A notable television spot was their guest appearance on the Cartoon Network's in the episode "," aired on May 26, 1994, where the band—featuring Joey, Johnny, Marky, and —discussed the new release as a collection of 1960s covers from 1967–1968, improvising a short punk riff during the surreal, animated interview format that blended their raw energy with the show's ironic, postmodern humor. Interviews further amplified the album's promotion, including a Q&A with in Rolling Stone published on March 24, 1994, in which he emphasized the band's commitment to faithfully recreating the originals' raw spirit without excessive production, while singling out "7 and 7 Is" (originally by ) as a personal favorite for its explosive intensity and garage-rock vibe. These efforts extended to live promotions integrated into the band's ongoing schedule, with Acid Eaters tracks like "Journey to the Center of the Mind" performed during their 1993–1994 shows, including the 20th-anniversary tour that supported the album without a standalone major outing dedicated solely to it. The media strategy, particularly the Space Ghost slot on emerging alternative programming, targeted Gen X viewers through Cartoon Network's late-night adult-oriented content, offering a humorous contrast to the Ramones' longstanding appeal among traditional punk enthusiasts.

Musical Content

Track Selection

Acid Eaters features twelve cover songs drawn exclusively from the 1960s and early 1970s, selected to honor the Ramones' core influences in garage rock, psychedelia, and proto-punk. The curation process began as a proposed five-song EP suggested by the band's manager following the success of their Doors cover on the prior album, but it evolved into a full-length release comprising tracks that the members, particularly Joey Ramone, cherished from their teenage years. Choices were guided by a focus on concise, energetic compositions with strong hooks and simple chord structures, ensuring compatibility with the Ramones' rapid-fire punk aesthetic while steering clear of ballads or overly complex arrangements. The album's thematic cohesion centers on the vibrant, rebellious spirit of mid-1960s rock, spanning surf-pop anthems, fuzzy garage stomps, and psychedelic edges from 1963 to 1970, with one outlier from 1971. This selection underscores the ' roots in bands that blended raw energy with melodic catchiness, highlighting influences like the , West Coast psych, and scenes without venturing into folk or territories. Rejected options included tracks by , , and the , deemed either overexposed or mismatched. The tracks, in order, are as follows: Certain reissue editions append bonus tracks, such as "" (The Beach Boys, 1962).

Arrangements and Style

The Ramones reinterpreted the 1960s covers on Acid Eaters within their punk framework by accelerating tempos to inject urgency and energy, often making originals sound leisurely by comparison, as heard in their rendition of Love's "." They retained the simple three- or four-chord progressions characteristic of the source material but amplified them with distorted guitars and raw power, preserving the garage rock essence while emphasizing punk drive. For instance, the cover of The Who's "Substitute" emerges as a noisier near-clone of the original, relying on straightforward power chords to heighten its aggressive edge. Certain tracks incorporate subtle variations to evoke psychedelic influences, such as added echo effects and textural elements in "The Shape of Things to Come," where C.J. Ramone's lead vocals provide a departure from 's typical delivery. The album's arrangements prioritize brevity and immediacy, with tracks averaging under three minutes and focusing on infectious hooks rather than extended solos, resulting in a total runtime of 30:53. This structure aligns with the ' longstanding approach, stripping away ornate production for direct impact. Overall, the reinterpretations infuse the originals with the band's humor and aggression, exemplified by Joey Ramone's snarling, uncontrolled vocals on the Troggs' "I Can't Control Myself," which mirror the song's frantic theme and amplify its punk reinterpretation.

Commercial Performance

Chart Performance

Acid Eaters peaked at number 179 on the US Billboard 200 in January 1994. The album generated no mainstream radio hits, attributable to its exclusive format of cover songs from the 1960s garage and psychedelic rock eras. Internationally, the album achieved its highest placements in Europe, peaking at number 25 on the Finnish Albums Chart, number 26 on the Swedish Albums Chart, number 37 on the UK Albums Chart, number 48 on the Canadian RPM 100 Albums Chart, and number 85 on the Japanese Oricon Albums Chart. This European strength reflected renewed interest in punk rock nostalgia during the mid-1990s. The album's modest chart entry was largely due to its niche appeal as a covers collection, with no singles released to promote it on radio or sales charts; however, its December 1993 release timing aligned with holiday shopping, providing a slight sales boost. Compared to the band's previous studio album, Mondo Bizarro, which peaked at number 190 on the Billboard 200, Acid Eaters performed marginally better in the US but underscored the limited commercial viability of a full covers project for the veteran punk group.

Sales Certifications

Acid Eaters received a Gold certification from the Argentine Chamber of Phonogram and Videogram Producers (CAPIF) in 1994, indicating shipments of 30,000 units. No platinum certifications were awarded or globally. In the US, no was issued despite steady catalog sales driven by subsequent punk revivals. The album's performance was stronger in , linked to the ' extensive touring history in the region, though it received no US RIAA recognition. Long-term, it contributed to the band's cumulative sales but is viewed as an underperformer compared to earlier successes like .

Reception and Legacy

Critical Reviews

Upon its release in late 1993, Acid Eaters received generally positive to mixed reviews from critics, who appreciated the ' energetic reinterpretations of garage, psychedelic, and surf rock classics while noting the album's reliance on covers as a limitation. praised the album as a "joyful romp through '60s influences," highlighting how the band recaptured the fun of their early work despite occasional mismatches with more complex arrangements, awarding it 3 out of 5 stars. described the covers as "fun reinterpretations" that exemplified the ' simple, ethos. commended the "effective punk-ification" of the source material that infused the tracks with the band's signature speed and attitude. Critics frequently lauded the album's high energy and fidelity to the ' punk roots, viewing it as a refreshing return to their influences amid the dominance of in the early , though many stopped short of calling it a full comeback due to the absence of original songs. offered a mixed assessment in his consumer guide, grading it * and noting "hippiedom as punk" on tracks like "" and " Seen the Rain?"—but critiquing the lack of original songwriting. Common criticisms centered on the gimmicky nature of the all-covers format, which some saw as a creative shortcut rather than innovation. The band's own members provided varied self-assessments that echoed these mixed sentiments. Guitarist graded the album B−, calling it "hit-and-miss" with some tracks like "Surf City" undermined by key issues, though he felt they did a good job overall. Bassist was more negative, assigning it a D and stating it was produced strictly for financial reasons. In contrast, vocalist expressed a positive view, appreciating the project's nod to their influences. Across major outlets, the album averaged around 6.4 out of 10, reflecting its solid execution as a but limited ambition.

Cultural Impact

Acid Eaters underscored the ' deep roots in garage rock, bridging that raw, energy to their own high-speed punk style through covers of tracks by artists like and the Amboy Dukes. This approach highlighted how the band drew from earlier rock traditions to shape punk's minimalist ethos, positioning them as key connectors between garage rock's DIY spirit and the punk explosion of the 1970s. The album represented a nostalgic pivot in the , emphasizing reinterpretations of their influences just before the release of their final studio effort, ¡Adios Amigos! in 1995, and amid the band's winding down after two decades. It contributed to the broader narrative of their enduring influence, which culminated in their 2002 induction into the Rock and Roll Hall of Fame, where they were celebrated as punk pioneers who revitalized rock's rebellious core. Acid Eaters has inspired subsequent punk acts pursuing covers projects, with himself likening the style of Me First and the Gimme Gimmes—a band known for punk renditions of diverse genres—to the ' efforts on this record. More broadly, the album solidified the ' reputation as adept interpreters of rock history, influencing tributes such as the various-artists compilation We're a Happy Family: A Tribute to Ramones, which featured high-profile covers of their originals and echoed their own homage to past icons. Despite its role in the band's catalog, Acid Eaters has received limited scholarly attention relative to earlier works like Rocket to Russia or Leave Home, with analyses often prioritizing the Ramones' original songwriting over their cover explorations. As of November 2025, the album continues to see reissues, including a 2004 remastered CD edition, later CD reissues in 2006 and 2022, and vinyl pressings in 2024 amid renewed interest in punk classics.

Track Listing

All tracks are covers of songs originally performed by other artists.
No.TitleWriter(s)LengthOriginal artist
1"Journey to the Center of the Mind"Steve Farmer, 2:52The Amboy Dukes
2"Substitute"3:15The Who
3"Out of Time", 2:41
4"The Shape of Things to Come"Paul Atterton, Larry Marks1:46Max Frost and the Troopers
5"Somebody to Love"Darby Slick2:32
6"When I Was Young", Victor Briggs, , Barry Jenkins, Danny McCulloch3:16
7"7 and 7 Is"Arthur Lee1:51
8"My Back Pages"2:27
9"Can't Seem to Make You Mine"Sky Saxon2:42
10"Have You Ever Seen the Rain?"2:22Creedence Clearwater Revival
11"I Can't Control Myself"2:56
12"Surf City", Jan Berry2:27

Personnel

Additional musicians

  • Joe McGinty – keyboards
  • – backing vocals on "Substitute"
  • – backing vocals on "Out of Time"
  • – backing vocals on "Somebody to Love"

Production

References

  1. https://www.discogs.com/master/39198-Ramones-Acid-Eaters
  2. https://music.apple.com/us/album/acid-eaters/1452876908
  3. https://www.davegott.com/music/artist/ramones/index.html
  4. https://www.rollingstone.com/music/music-album-reviews/acid-eaters-189221/
  5. https://www.allmusic.com/album/acid-eaters-mw0000102747
  6. https://music.fandom.com/wiki/Acid_Eaters:The_Ramones
  7. https://www.goldminemag.com/music-history/take-five/five-classic-covers-by-the-ramones-that-you-should-know/
  8. https://devorahostrov.blogspot.com/2019/02/the-ramones-turn-20-release-all-covers.html
  9. https://genius.com/albums/Ramones/Acid-eaters
  10. http://www.markprindle.com/cjramone-i.htm
  11. https://www.rollingstone.com/music/music-news/qa-joey-ramone-91785/
  12. https://www.rollingstone.com/music/music-news/joey-ramone-dead-at-49-254696/
  13. https://www.discogs.com/release/739969-Ramones-Acid-Eaters
  14. https://razorcake.org/one-punks-guide-to-the-ramones-by-rev-norb/
  15. https://www.worldradiohistory.com/Archive-All-Music/FMQB/1994/FMQB-1994-01-07.pdf
  16. https://www.johnnyramone.com/new-gallery-22
  17. https://www.encyclopedia.com/people/literature-and-arts/music-popular-and-jazz-biographies/ramones
  18. https://bid.juliensauctions.com/lot-details/index/catalog/26/lot/7261/RAMONES-SIGNED-PRINT
  19. https://www.snard.com/sg/guide/?ep=05
  20. https://www.youtube.com/watch?v=DZLmzvEUiZ4
  21. https://www.adultswim.com/videos/space-ghost-coast-to-coast/bobcat
  22. https://www.covermesongs.com/2020/06/cover-classics-the-ramones-acid-eaters.html
  23. https://www.officialcharts.com/artist/16227/ramones/
  24. https://www.riaa.com/gold-platinum/?tab_active=default-award&ar=Ramones#search_section
  25. https://www.albumoftheyear.org/album/17549-ramones-acid-eaters.php
  26. https://www.robertchristgau.com/get_artist.php?name=ramones
  27. https://nymag.com/arts/popmusic/features/johnny-ramone-grades/
  28. http://montesnewblog.blogspot.com/2014/10/a-conversation-with-cj-ramone.html
  29. https://producelikeapro.com/blog/the-ramones/
  30. https://rockhall.com/inductees/ramones/
  31. https://www.thevinylguide.com/episodes/ep449-cj-ramone-spike-slawson-of-me-first-and-the-gimme-gimmes
  32. https://www.discogs.com/master/190310-Various-Were-A-Happy-Family-A-Tribute-To-Ramones
  33. https://thoughtswordsaction.com/2024/06/19/the-ramones-pioneers-of-punk-rock-music-and-cultural-icons/
  34. https://rateyourmusic.com/release/album/ramones/acid-eaters/
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