{"id":19653,"date":"2010-03-29T13:00:00","date_gmt":"2010-03-29T11:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/sin-categoria\/i-just-want-to-have-something-to-do-ramones-joey-opens-road-to-ruin-at-midtempo\/"},"modified":"2026-09-26T23:58:57","modified_gmt":"2026-09-26T21:58:57","slug":"i-just-want-to-have-something-to-do-ramones-joey-opens-road-to-ruin-at-midtempo","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/chronicles\/tracks\/i-just-want-to-have-something-to-do-ramones-joey-opens-road-to-ruin-at-midtempo\/","title":{"rendered":"I Just Want to Have Something to Do – Ramones: Joey abre Road to Ruin a medio tiempo"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

El primer disco de Marky arranca m\u00e1s lento que un sprint de los Ramones<\/h3>\n

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En mayo de 1978 los Ramones entran en Mediasound, una antigua iglesia de Midtown Manhattan, con un bater\u00eda nuevo y una canci\u00f3n que se niega a esprintar. I Just Want to Have Something to Do<\/em> abre Road to Ruin<\/em> a medio tiempo, dos minutos y cuarenta y dos segundos, m\u00e1s lenta que Blitzkrieg Bop<\/em>. La escribi\u00f3 Joey Ramone. La funda sigue acreditando a la banda, como tantas canciones de los Ramones, pero la queja es suya: estar en Second Avenue, comer chicken vindaloo, querer a una sola persona y no tener nada m\u00e1s que hacer. Johnny Ramone toca los bajados. Dee Dee Ramone sostiene un bajo pesado. Marky Ramone, fichado pocas semanas antes, mantiene el pulso recto y a\u00f1ade un poco m\u00e1s de relleno del que Tommy se permit\u00eda.<\/p>\n

Tommy hab\u00eda dejado la bater\u00eda despu\u00e9s de Rocket to Russia<\/em>. Los discos no vend\u00edan lo que la carretera hac\u00eda creer, y las giras lo hab\u00edan gastado. Se queda en la sala como productor, acreditado como T. Erdelyi, junto al ingeniero Ed Stasium. Ensayan los temas viejos con Marky y luego graban y mezclan todo el verano, de mayo a julio, en Mediasound. El asistente Ray Janos est\u00e1 en las sesiones. Greg Calbi masteriza el \u00e1lbum en Sterling Sound. Sire publica Road to Ruin<\/em> el 22 de septiembre de 1978. Este tema no es el sencillo. Don’t Come Close<\/em>, la versi\u00f3n de Needles and Pins<\/em> y I Wanna Be Sedated<\/em> ocupan ese puesto. La apertura sirve para marcar un tempo que la banda no hab\u00eda usado como puerta de entrada.<\/p>\n

Las estrofas suben en escalones cortos en vez de embestir. El estribillo balancea. Luego el grupo corta el tiempo y grita \u00abwait\u00bb y \u00abnow\u00bb, y la sala tiene que contestar. Ese puente se vuelve un rito de concierto, con el p\u00fablico tomando la mitad de la frase. El 31 de diciembre de 1979 lo tocan en el Palladium de Nueva York, dentro de un set que emiti\u00f3 WNEW-FM. Stasium mezcla la noche en directo desde la consola. La cinta se queda en el archivo hasta la edici\u00f3n del 40 aniversario de Road to Ruin<\/em>. La canci\u00f3n tambi\u00e9n aparece en Rock ‘n’ Roll High School<\/em> (1979), bajo una escena que trata el aburrimiento como argumento.<\/p>\n

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\n

Cuando Tommy dej\u00f3 la banda, nos pusimos de inmediato con el disco Road to Ruin y con Marky Ramone. Ensayamos con Marky, solo para asentar el tema. Luego entramos al estudio, grabamos y mezclamos el disco en Media Sound. Nos gastamos mucho dinero, y todo el verano, en Road to Ruin.<\/p>\n<\/blockquote>\n

(Ed Stasium, sobre las sesiones de Road to Ruin)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=\u00bb19648″ img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1700019648{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00bb][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n

Road to Ruin<\/em> llega al n\u00famero 103 del Billboard 200, m\u00e1s de cincuenta puestos por detr\u00e1s de Rocket to Russia<\/em>, y al n\u00famero 32 en Gran Breta\u00f1a. Tommy describir\u00e1 despu\u00e9s la campa\u00f1a americana como un fracaso: un intento deliberado de radio que no cuaj\u00f3. La cr\u00edtica se parte. Robert Christgau, en The Village Voice, le da igual una A al disco. Charles M. Young, en Rolling Stone, oye a una banda que no ha perdido el pulso, y reserva la frase \u00abkiller cut\u00bb para I Wanna Be Sedated<\/em>. La apertura recibe menos tinta y se queda en el directo. Los fans aprenden los gritos \u00abwait\u00bb y \u00abnow\u00bb y los usan.<\/p>\n

Lo que se oye es el primer \u00e1lbum de Marky con el grupo, no un remaster tard\u00edo. Joey gru\u00f1e y suplica en la misma estrofa. Johnny no se toma un solo aqu\u00ed, aunque el disco empieza a permitirlos en otros cortes. La versi\u00f3n de 1999 que est\u00e1 en Greatest Hits<\/em> es la misma toma de 1978, limpiada por Bill Inglot y Dan Hersch. El trabajo se hizo en un estudio que hab\u00eda sido iglesia, con un bater\u00eda llegado de Richard Hell and the Voidoids, un productor que acababa de dejar el taburete, y una letra sobre no tener nada que hacer que le dio a la banda algo muy concreto que tocar.<\/p>\n

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