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Rocket to Russia
Rocket to Russia is the third studio album by the American punk rock band Ramones, released on November 4, 1977, through Sire Records. It is the band's last album to feature original drummer Tommy Ramone, who left the band in 1978 to focus on production. The album's origins date back to the summer of 1977, when "Sheena Is a Punk Rocker" was released as a single. That summer was known as the peak of the punk rock genre since many punk bands were offered recording contracts. The album's recording began in August 1977, and the band had a considerably larger budget with Sire allowing them between $25,000 and $30,000; much of this money went toward the album's production rather than recording.
The album's cover art was directed by John Gillespie. John Holmstrom and guitarist Johnny Ramone both worked on illustration, with the entire back cover contemplating a military theme, while the inner sleeve artwork depicted many of the themes portrayed in songs. The subject matter of songs varied throughout the album, though nearly all the tracks on the album incorporated humor into the lyrics. The musical style showed more of a surf rock influence, and many songs had minimal structuring.
The album received positive reviews, with many critics appreciating the matured production and sound quality as compared to Rocket to Russia's predecessors. Music critic Stephen Thomas Erlewine called it his favorite Ramones album as it contained several hooks and featured more variety of tempos. The album was not as commercially successful as the band had hoped, peaking at number 49 on the Billboard 200. Band members blamed the Sex Pistols for their lack of sales, saying that they changed the punk image for the worse. The album was ranked at number 106 in Rolling Stone's "500 Greatest Albums of All Time" in 2012, and was ranked number 385 in the 2020 edition.
In the summer of 1977, the single "Sheena Is a Punk Rocker" was released shortly after the release of the band's second album, Leave Home. This period was extremely significant to the punk rock genre, as it was the initial wave of New York City's underground punk bands receiving recording contracts. New York-based clubs CBGB and Max's Kansas City began to see bigger audiences crowd in to hear these bands. Punk fans commonly believed that this musical style would soon top the market, to which author Tom Carson explains: "To be in New York that summer was to have some sense of what it might have been like to live in San Francisco in 1966 or '67, or in London when the Beatles and the [Rolling] Stones first hit."
Sire Records allowed the band between $25,000 and $30,000 to fully record and produce the album, which is a considerably larger budget compared to the band's previous albums. The band spent most of the money Sire had given them on the album's production value. The studio rent was $150 per hour, usually using the first take of a song as its final recording. Johnny explained that "it's best to do it quickly ... You do not wanna sit there and bullshit. It's your money they're spending."
The recording began on August 21, 1977, and took place in Midtown Manhattan at Mediasound Studios, in a former Episcopalian Church. On the first day of sessions, guitarist Johnny Ramone brought a copy of the Sex Pistols' single "God Save the Queen" with him, remarking that their type of music "robbed" the band. He emphasized that the album's sound engineer Ed Stasium needed to incorporate better production than that of the Sex Pistols, to which Stasium replied "no problem". Johnny relates: "These guys ripped us off and I want to sound better than this."
Although the album cites Tony Bongiovi and Tommy Ramone (credited as T. Erdelyi) as the head producers, much of the album's production was done by Stasium; Johnny went so far as to insist that Bongiovi was "not even there" during the band's recording sessions. Rocket to Russia's final mastering was mainly done in Bongiovi's Power Station studio. Infamous record producer Phil Spector offered to fabricate Rocket to Russia, but the band declined, feeling as though the album would not be the same without Tommy and Bongiovi.
The album was released on November 4, 1977, under the name Rocket to Russia, although it had a working title of Get Well. John Gillespie directed the artwork on the album, and the cover photo was taken by Danny Fields. The photo was taken in Extra Place, an alley in East Village, Manhattan. Arturo Vega is credited as Artistic Coordinator, and Punk magazine editor John Holmstrom illustrated for the album. Holmstrom and Johnny collaborated on the back cover's concept, eventually conceiving a military theme with an anti-communist cartoon drawing. The back cover art depicts a "pinhead" riding a rocket from the United States to Russia. The drawing includes many landmarks which pertain to their global position, including The Empire State Building and Capitol Building, and Saint Basil's Cathedral in Moscow, along with highly stereotypical caricatures of certain ethnicities. The original artwork is now in the Rock and Roll Hall of Fame in Cleveland, Ohio. Cartoons on the inside sleeve illustrate each song's basic concept.
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Rocket to Russia
Rocket to Russia is the third studio album by the American punk rock band Ramones, released on November 4, 1977, through Sire Records. It is the band's last album to feature original drummer Tommy Ramone, who left the band in 1978 to focus on production. The album's origins date back to the summer of 1977, when "Sheena Is a Punk Rocker" was released as a single. That summer was known as the peak of the punk rock genre since many punk bands were offered recording contracts. The album's recording began in August 1977, and the band had a considerably larger budget with Sire allowing them between $25,000 and $30,000; much of this money went toward the album's production rather than recording.
The album's cover art was directed by John Gillespie. John Holmstrom and guitarist Johnny Ramone both worked on illustration, with the entire back cover contemplating a military theme, while the inner sleeve artwork depicted many of the themes portrayed in songs. The subject matter of songs varied throughout the album, though nearly all the tracks on the album incorporated humor into the lyrics. The musical style showed more of a surf rock influence, and many songs had minimal structuring.
The album received positive reviews, with many critics appreciating the matured production and sound quality as compared to Rocket to Russia's predecessors. Music critic Stephen Thomas Erlewine called it his favorite Ramones album as it contained several hooks and featured more variety of tempos. The album was not as commercially successful as the band had hoped, peaking at number 49 on the Billboard 200. Band members blamed the Sex Pistols for their lack of sales, saying that they changed the punk image for the worse. The album was ranked at number 106 in Rolling Stone's "500 Greatest Albums of All Time" in 2012, and was ranked number 385 in the 2020 edition.
In the summer of 1977, the single "Sheena Is a Punk Rocker" was released shortly after the release of the band's second album, Leave Home. This period was extremely significant to the punk rock genre, as it was the initial wave of New York City's underground punk bands receiving recording contracts. New York-based clubs CBGB and Max's Kansas City began to see bigger audiences crowd in to hear these bands. Punk fans commonly believed that this musical style would soon top the market, to which author Tom Carson explains: "To be in New York that summer was to have some sense of what it might have been like to live in San Francisco in 1966 or '67, or in London when the Beatles and the [Rolling] Stones first hit."
Sire Records allowed the band between $25,000 and $30,000 to fully record and produce the album, which is a considerably larger budget compared to the band's previous albums. The band spent most of the money Sire had given them on the album's production value. The studio rent was $150 per hour, usually using the first take of a song as its final recording. Johnny explained that "it's best to do it quickly ... You do not wanna sit there and bullshit. It's your money they're spending."
The recording began on August 21, 1977, and took place in Midtown Manhattan at Mediasound Studios, in a former Episcopalian Church. On the first day of sessions, guitarist Johnny Ramone brought a copy of the Sex Pistols' single "God Save the Queen" with him, remarking that their type of music "robbed" the band. He emphasized that the album's sound engineer Ed Stasium needed to incorporate better production than that of the Sex Pistols, to which Stasium replied "no problem". Johnny relates: "These guys ripped us off and I want to sound better than this."
Although the album cites Tony Bongiovi and Tommy Ramone (credited as T. Erdelyi) as the head producers, much of the album's production was done by Stasium; Johnny went so far as to insist that Bongiovi was "not even there" during the band's recording sessions. Rocket to Russia's final mastering was mainly done in Bongiovi's Power Station studio. Infamous record producer Phil Spector offered to fabricate Rocket to Russia, but the band declined, feeling as though the album would not be the same without Tommy and Bongiovi.
The album was released on November 4, 1977, under the name Rocket to Russia, although it had a working title of Get Well. John Gillespie directed the artwork on the album, and the cover photo was taken by Danny Fields. The photo was taken in Extra Place, an alley in East Village, Manhattan. Arturo Vega is credited as Artistic Coordinator, and Punk magazine editor John Holmstrom illustrated for the album. Holmstrom and Johnny collaborated on the back cover's concept, eventually conceiving a military theme with an anti-communist cartoon drawing. The back cover art depicts a "pinhead" riding a rocket from the United States to Russia. The drawing includes many landmarks which pertain to their global position, including The Empire State Building and Capitol Building, and Saint Basil's Cathedral in Moscow, along with highly stereotypical caricatures of certain ethnicities. The original artwork is now in the Rock and Roll Hall of Fame in Cleveland, Ohio. Cartoons on the inside sleeve illustrate each song's basic concept.