{"id":19652,"date":"2011-06-25T13:00:00","date_gmt":"2011-06-25T11:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/i-just-want-to-have-something-to-do-ramones-joey-opens-road-to-ruin-at-midtempo\/"},"modified":"2026-09-27T01:16:46","modified_gmt":"2026-09-26T23:16:46","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\/fr\/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 ouvre Road to Ruin au milieu du tempo"},"content":{"rendered":"

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Le premier album de Marky commence moins vite qu’un sprint des Ramones<\/h3>\n

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En mai 1978, les Ramones entrent \u00e0 Mediasound, une ancienne \u00e9glise de Midtown Manhattan, avec un nouveau batteur et une chanson qui refuse de sprinter. I Just Want to Have Something to Do<\/em> ouvre Road to Ruin<\/em> \u00e0 tempo moyen, deux minutes et quarante-deux secondes, plus lent que Blitzkrieg Bop<\/em>. Joey Ramone l’a \u00e9crite. La pochette cr\u00e9dite encore le groupe, comme souvent chez les Ramones, mais la plainte est la sienne: tra\u00eener sur Second Avenue, manger du chicken vindaloo, vouloir une seule personne et rien d’autre \u00e0 faire. Johnny Ramone joue les allers-retours. Dee Dee Ramone tient une basse lourde. Marky Ramone, engag\u00e9 quelques semaines plus t\u00f4t, garde le temps droit et ajoute un peu plus de remplissage que Tommy ne s’autorisait.<\/p>\n

Tommy avait quitt\u00e9 la batterie apr\u00e8s Rocket to Russia<\/em>. Les albums ne se vendaient pas comme la route le laissait croire, et les tourn\u00e9es l’avaient us\u00e9. Il reste dans la pi\u00e8ce comme producteur, cr\u00e9dit\u00e9 T. Erdelyi, \u00e0 c\u00f4t\u00e9 de l’ing\u00e9nieur Ed Stasium. Ils r\u00e9p\u00e8tent les vieux morceaux avec Marky, puis enregistrent et mixent tout l’\u00e9t\u00e9, de mai \u00e0 juillet, \u00e0 Mediasound. L’assistant Ray Janos est sur les sessions. Greg Calbi masterise l’album \u00e0 Sterling Sound. Sire sort Road to Ruin<\/em> le 22 septembre 1978. Ce titre n’est pas le single. Don’t Come Close<\/em>, la reprise de Needles and Pins<\/em> et I Wanna Be Sedated<\/em> prennent ce r\u00f4le. L’ouverture sert \u00e0 poser un tempo que le groupe n’avait pas utilis\u00e9 en porte d’entr\u00e9e.<\/p>\n

Les couplets montent par petites marches au lieu de charger. Le refrain balance. Puis le groupe casse le temps et crie \u00ab\u00a0wait\u00a0\u00bb et \u00ab\u00a0now\u00a0\u00bb, et la salle est cens\u00e9e r\u00e9pondre. Ce pont devient un rite de concert, le public prenant la moiti\u00e9 de la ligne. Le 31 d\u00e9cembre 1979, ils jouent le morceau au Palladium de New York, dans un set diffus\u00e9 par WNEW-FM. Stasium mixe la soir\u00e9e en direct depuis la console. La bande reste aux archives jusqu’\u00e0 l’\u00e9dition du 40e anniversaire de Road to Ruin<\/em>. La chanson appara\u00eet aussi dans Rock ‘n’ Roll High School<\/em> (1979), sous une sc\u00e8ne qui traite l’ennui comme l’intrigue.<\/p>\n

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\n

Apr\u00e8s le d\u00e9part de Tommy, on s’est mis tout de suite sur Road to Ruin avec Marky Ramone. On a r\u00e9p\u00e9t\u00e9 avec Marky, juste pour caler le jeu. Ensuite on est entr\u00e9s en studio, on a enregistr\u00e9 et on a mix\u00e9 le disque \u00e0 Media Sound. On a d\u00e9pens\u00e9 beaucoup d’argent, et tout l’\u00e9t\u00e9, sur Road to Ruin.<\/p>\n<\/blockquote>\n

(Ed Stasium, sur les sessions de Road to Ruin)<\/em><\/p>\n

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Road to Ruin<\/em> culmine au num\u00e9ro 103 du Billboard 200, plus de cinquante places derri\u00e8re Rocket to Russia<\/em>, et au num\u00e9ro 32 en Grande-Bretagne. Tommy d\u00e9crira plus tard la campagne am\u00e9ricaine comme un flop: une tentative d\u00e9lib\u00e9r\u00e9e vers la radio qui n’a pas pris. La critique se divise. Robert Christgau, dans The Village Voice, donne quand m\u00eame un A \u00e0 l’album. Charles M. Young, dans Rolling Stone, entend un groupe qui n’a pas perdu la main, et il r\u00e9serve l’expression \u00ab\u00a0killer cut\u00a0\u00bb \u00e0 I Wanna Be Sedated<\/em>. L’ouverture a moins d’encre, puis reste dans le set. Les fans apprennent les cris \u00ab\u00a0wait\u00a0\u00bb et \u00ab\u00a0now\u00a0\u00bb et s’en servent.<\/p>\n

Ce qu’on entend, c’est le premier album de Marky avec le groupe, pas un remaster tardif. Joey grogne et supplie dans le m\u00eame couplet. Johnny ne prend pas de solo ici, m\u00eame si l’album commence ailleurs \u00e0 en autoriser. La version de 1999 pos\u00e9e sur Greatest Hits<\/em> est la m\u00eame prise de 1978, nettoy\u00e9e par Bill Inglot et Dan Hersch. Le travail s’est fait dans un studio d’\u00e9glise, avec un batteur venu de Richard Hell and the Voidoids, un producteur qui venait de quitter le tabouret, et des paroles sur le fait de n’avoir rien \u00e0 faire qui ont donn\u00e9 au groupe quelque chose de tr\u00e8s pr\u00e9cis \u00e0 jouer.<\/p>\n

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\u00c0 l’\u00e9t\u00e9 1978, Joey Ramone ouvre Road to Ruin sur une plainte \u00e0 tempo moyen, enregistr\u00e9e \u00e0 Mediasound, premier album de Marky Ramone avec le groupe.<\/p>\n","protected":false},"author":1,"featured_media":19645,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,287,293,278],"tags":[311,268,335,476],"class_list":["post-19652","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-chroniques","category-titres","category-tracks","tag-alternative-indie-punk-fr","tag-alternative-indie-punk","tag-ramones","tag-ramones-fr"],"yoast_head":"\nI Just Want to Have Something to Do - Ramones: Joey ouvre Road to Ruin au milieu du tempo - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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