Halfway to Sanity

Halfway to Sanity
Studio album by the Ramones
Released September 15, 1987
Recorded April 1987
Genre Punk rock, hardcore punk
Length 29:53
Language English
Label Sire, Beggars Banquet
Producer Daniel Rey, The Ramones
Ramones chronology
Animal Boy
(1986)		 Halfway to Sanity
(1987)		 Brain Drain
(1989)
Singles from Halfway to Sanity
  1. "Real Cool Time" b/w "Indian Giver"
    Released: September 1987
  2. "I Wanna Live" b/w "Merry Christmas (I Don't Want To Fight Tonight)"
    Released: November 1987

Halfway to Sanity is the tenth studio album by American punk band the Ramones. It was released on September 15, 1987 by Sire Records and was produced by Daniel Rey. Recording sessions began in April 1987 at Intergalactic Studios in New York City, and the band began recording instruments before vocals as a method to learn songs more quickly. Band members tended to disagree on many things at this time, and Rey described them to be impatient. The album's front cover was shot by previous Ramones' photographer George DuBose in Chinatown, New York City. The short lasted session resulted in a dimly lit album cover which lead guitarist Johnny Ramone said was good because it helped make them look younger. The band toured around the world following the album's release, but certain show dates were cancelled after drummer Richie Ramone left the band due to financial conflicts with the band. Clem Burke of Blondie was hired as Elvis Ramone to fill the drummer's spot for two shows, then was replaced the band's ex-member Marky Ramone, and the tour would continue with him.

The musical structure of Halfway to Sanity varied significantly throughout the album, with some songs showing influence from hard rock, heavy metal music, and crossover thrash, while also containing songs with a bubblegum pop feel. Additionally, Joey is heard singing a duet with Blondie vocalist Debbie Harry on "Go Lil' Camaro Go" This varying of genres is a reason as to why it received mixed reviews from critics. While early reviewers in the United States praised certain songs, later reviews would criticize their mixing of styles and inconsistency between songs. It faired well on charts outside the United States, and peaked at No. 172 on the Billboard 200. It is the last album to feature performances by Richie and bassist Dee Dee Ramone.

Recording and production

Prior to his producing the album, Daniel Rey had opened for the Ramones in the late 70's when he was a member of the band Shrapnel. He had worked with lead singer Joey Ramone and lead guitarist Johnny Ramone separately to write songs on Too Tough to Die.[1][2] "I was producing a lot of young bands in my basement," Rey explained, "Johnny heard one and said, 'It's better than our last record.' He knew that he could get me cheap and I was the only person who got along with Johnny and Joey at the same time."[2] Drummer Richie Ramone, however, did not get along with Rey, saying that two would "butt heads" often due to the fact that he only liked writing songs with one other person.[3] Richie has explained that this may have indeed been the reason why he never cowrote any songs on the album with Joey, saying that Rey "always came with the package."[3] Tour manager Monte Melnick, on the other hand, stated that Rey would eventually befriend all the band members.[2]

Recording sessions for Halfway to Sanity began in early 1987 at Intergalactic Studios in New York City, described by Rey as "a dingy place in midtown."[4] For the recording process, drums, guitars, and bass were all recorded earlier in the afternoon, whereas the vocal track was always recorded later in the evening with the instrumentals already played. Rey explained that they did this because "it was quicker to learn songs without any vocal, so they did."[5][6] Joey, however, wanted to work out "how to phrase his singing" and was not a fan of this method of recording.[5] Johnny insisted that no one involved with the album would listen to Rey, not letting him make decisions that needed to made by him as a the album's producer. He pointed out that Joey and Richie made it hard for the producer because they wanted to remix or change tracks.[7] Richie, however, stated that Johnny, along with their manager Gary Kurfirst, made the album process difficult by wanting the band to spend as little money possible. He explained that he himself wanted to be more radio-friendly and promote more so they might have a hit album, but Johnny and Kurfirst didn't think it would make a difference. Richie would later recall: "Why would you not want an album to be as successful as it could be? Gary Kurfirst seemed to want to keep the Ramones an underground band, I guess his thinking was, he'd profit more."[8]

The band's publicist Ida Langsam agreed that the members and record company all felt the need to keep a strict budget on recording, production, and promotion of the Ramones' music. She pointed out that just because much of their album process was done "cut-rate," it did not mean that there performance on the album was not done well, but rather they were trying to find people and places who could do things cheaper, which was the reason the were recording at Intergalactic Studios as they did in their previous album, Animal Boy.[9][10] Langsam went on to say that the Ramones were "never afforded the respect a band of their caliber should have," insisting that other bands who were "much less worthy had more respect afforded them" were often rewarded with more respect. "Everybody thought of them as the local band," she continued, "everybody's friends—'when are you going to break, when are you going to get big, when are you going to reach stardom?'"[9] Rey claimed that the band was very impatient during the album process, and noted that members, especially Johnny and Joey, weren't getting along. "John was fast in the studio," recalls George Tabb, who was recording with his band the False Prophets at Intergalactic Studios at the same time as the Ramones recorded Halfway to Sanity. He called it humorous, "because John would be going, 'Enough, enough, it sounds right.' And Joey, the artist, would go, 'I gotta do my vocals, I gotta do my vocals,' and the drummer's going, 'But my drums!' Johnny was like, 'Fuck it. It's the Ramones. It is what it is and comes out like that.' And he was right. It was the Ramones. He was a good businessman about it."[4]

Cover art and photography

I shoot three rolls, Johnny says, 'That's enough.' I say, 'Okay, Johnny. Want to go to another location?' and he says, 'No.' So I say, 'Monte [Melnick], Warner Brothers gave me $7,500, I can't give them three rolls of film. They'll skin me.' Monte shrugs, 'Don't worry about it. Johnny doesn't want any more pictures.'"
“
”

George DuBose[2]

Photography for the album was done by George DuBose, who had also done photography for the band's previous three releases: Subterranean Jungle, Too Tough to Die, and Animal Boy.[11] The front cover's picture was taken in Chinatown, New York City, in an old stairwell where they had DuBose's cousin and his cousin's friend—who are credited as "Husky Bros." on the Halfway to Sanity liner notes—[12]blocked off the crowd while the photo session was in place. By 4:30 pm, DuBose and other crew members had set up red lighting and a fog machine. After DuBose's camera went through three reels of photos, Johnny insisted that was enough, to which DuBose replied that the record company was paying him a lot of money for the shoot, so they should make it worth while.[13] The photo session, however, only lasted about ten to fifteen minutes,[12][2] and was done in a poorly lit area, which Johnny said was "pretty good not to make us look old, and it was getting harder and harder."[7] The back cover photograph was also shot by DuBose, which features green tombstones in a Jewish cemetery. He also took the inner sleeve photos, which depict "Peking ducks hanging in the window of a restaurant, with glaze dripping off their tails, and we used them for the inner sleeve," according to DuBose.[12]

Touring, shifting band members

To promote the album, the band played a handful of gigs in South America in February 1978. During the spring and summer of 1978, they would tour the United States.[14] At an East Hampton concert on August 12, Richie left the band due to financial conflicts, however band members believed it also had to do with his personal affairs, specifically his love life which caused him to quit. Joey would state, "I felt screwed. Me and Richie were friends. He was more than just the drummer. But he was out for himself. He said he would do the New York shows for $500 a night. I'm sure he felt he had us by the balls, as our album was coming out."[15] DuBose also explained that Richie "quit right before a gig and wasn't very professional."[16] Richie felt that he was not being paid enough for all he was doing with the band, and reportedly left to take a higher-paying job as a caddy.[17]

Johnny took matters into his own hands, asking around to see if they could find a replacement drummer at least for the remainder of the tour. Clem Burke of Blondie would end up filling in for Richie for two shows on tour, going under the alias of Elvis Ramone. The dates were August 28, 1978 in Providence, Rhode Island, and August 29 in Trenton, New Jersey, to which Johnny deemed the whole situation a "disaster" because of his drumming style, commenting: "double-time on the hi-hat was totally alien to him."[16] With regards to the setlist, Clem was criticized for playing "Durango 95"'s fills incorrectly, and for misplaying the introduction on "Rock 'n' "Roll Radio," forcing Johnny and Dee Dee to improvise on stage. He also was reportedly unable to maintain the faster tempo of the songs "Freak of Nature" and "Gimme Gimme Shock Treatment."[16]

Because of this, Marky Ramone, who was the band's drummer before Richie and after original drummer Tommy Ramone, was recruited to once more be a member of the Ramones. Previously, after the band had released Subterranean Jungle, the decision was made to fire Marky partially for his style's sake but mostly because of his problem with alcoholism. Once he was sober, however, he began playing in Richie Stotts's heavy metal band King Flux, as well as his own band, M-80. Not a week passed between him accepting to be in the band again, and touring with them.[16] The first show which Marky was a part in (post 1984) was on September 4, 1987 at Oyster Bay, Long Island.[18]

During a sold out Paris concert, multiple fans who were not able to get in to see the performance because of its 2,000 person limit began to throw stones at the venue, and were consequently tear gassed by police.[18] It was also popular to see moshing and stage diving at their shows, but the band members discouraged this type of behavior. "They hated it and they tried to stop it as much as possible," artist Arturo Vega recalled, "but it would happen. Kids are really resourceful. Once the lawsuits started coming in, a lot of clubs tried to ban it, too. Sometimes the security made it difficult for them, you know. Once, we were in Tijuana--and of coursem in Tiuana, who cares! They were jumping from a balcony that was at least 20 feet high. Jumping into the crowd. It was too much. It was great."[15]

The band was banned from playing at Boston College on the grounds that they promoted such things as "rowdiness, destructiveness, and drug use."[16] In response, the University's Program Council organized a anti-censorship protest rally in Marsh Plaza. At the rally, Joey announced "we're here to uphold the honor of the students and the Ramone," and pointed out that their performances always passed without violence.[16] The Ramones' 1988 tour schedule would have roughly one hundred gigs in the United States, Finland, Japan, England, and others. While touring in Puerto Rico, the band performed for roughly 2,000 surfers at the World Surfing Championships.[16] This tour has been coined the "Ramones Non-Stop World Tour" by fans.[18]

Musical style and lyrics

The album's opening track, "I Wanna Live," features heavy feedback and a musical style closer to hard rock than punk.[19] Described by author Dave Thompson as similar to contemporary "romantic melodies,"[20] the song was written by Dee Dee, who quoted the lyrics "As I load my pistol/Fine German steel," years later in an photo session with Ken Hinchey and Mike Vought as he started to load a gun.[21] The song clocks in at two minutes and thirty-nine seconds, and despite its shorter length, was called "too long" by music journalist Everett True.[22] Both the next track, "Bob 'Til You Drop," and the fifth track, "Go Lil' Camaro Go," were described by True as "dire 'fun,'" saying it sounded "as if they've been tossed off in a couple seconds—and probably were" and that Joey sang with a "drink-ravaged voice."[23] Thompson wrote that "Go Lil' Camaro Go," a duet with Blondie's Debbie Harry, had a style similar to bubblegum pop.[20][24] Track three, "Garden in Serenity," incorporates elements used in crossover thrash.[25] The next track is "Weasel Face," written by Dee Dee and Johnny, regarding a fan "who had a real weasel face," Johnny recalled.[7] "He came to all our gigs in the South; he followed us around. I think he was from Mississippi."[7] Side A is concluded with Richie's "I Know Better," which, along with "Go Lil' Camaro Go," was described by AllMusic reviewer Stephen Thomas Erlewine to have a "solid" hook.[26]

Joey wrote the opening track for Side B, "Death of Me," as well as "A Real Cool Time," which True said was a tribute to "summer beach" parties and "New York Cat Clubs," and compared the melody line to The Who's "The Kids Are Alright."[27] The album's longest song is track number eleven, "Bye Bye Baby" at four minutes and thirty-three seconds. It was described as a "tear-jerking" piece by True, and was influenced by 50's/early 60's girl groups.[28] He wrote that it features a "beautiful chiming guitar sound" that "stands out like a sore thumb among" compared to the other songs on the album, because Joey "sings instead of shouting."[28] The song was deemed "Phil Spector-ish" in the WEG Publication's Digital Audio and Compact Disc Review.[24] It also mentioned that the album's final track, "Worm Man," had a "hardcore punk thrashing" style,[24] and True said it was similar to some material by Black Flag.[27]

Reception

Professional ratings
Review scores
SourceRating
AllMusic[26]
Robert ChristgauC+[29]

Halfway to Sanity received mixed reviews from critics. When it was released in September 1987, the New York Post praised it to be another well pieced album by the Ramones, and Billboard exclaimed that Sire should have released "Go Lil' Camaro Go" as a single.[30] However in the United Kingdom, the album received virtually no attention from professional critics. Ramones Fanzine writer Mark Bannister explained that the reason for the silent press in the United Kingdom was that the album "didn't sound right without some more of Joey's songs to balance out Dee Dee's. There was no equilibrium."[31] Stephen Thomas Erlewine of AllMusic gave the album one and a half out of five stars, saying that although it remains similar to Animal Boy in that it features the use of heavy guitars, but asserted that it is "much sharper record" only because it did not overlook the band's "trashy pop roots."[26] He pointed out that their musical style was inconsistent, going on to say that the band could have went about their second decade of music making "more gracefully" but concluded by saying that although it was not as "strong" as 1983's Subterranean Jungle or 1984's Too Tough to Die, it was the last release where the band actually "sounded like they mattered."[26] Music critic Robert Christgau gave the album a "C+" and wrote a shorter review, where he states: "It kills me to say this, but with Richie or whoever on the lam, Dee Dee moonlighting as a punk-rapper, Joey frequenting all-acoustic showcases, and Johnny Johnny, a great band has finally worn down into a day job for night people."[29]

It entered the US Billboard 200 on October 10, 1987 at position 174, moving to it's peak at 172 one week later and spent its last week on the chart at No. 200 on October 24, 1987.[32][33] It peaked at No. 78 on the UK Albums Chart the same day it entered the Billboard chart, although it only ranked in the United Kingdom for one week.[34] On the Netherlands MegaCharts, the album entered at its peak position of 68 on October 10, 1987, staying on the chart for one week as well.[35] Likewise, it only stayed on the on Swedish Sverigetopplistan chart for one week, peaking at No. 43 on September 14, 2014.[36]

Two of the tracks on Halfway to Sanity, "Bob 'Til You Drop" and "I Wanna Live" were featured on the band's first compilation album release, Ramones Mania.[37] Both "Garden of Serenity" and "I Wanna Live" were included on the Hey! Ho! Let's Go: The Anthology greatest hits album,[38] but no songs from the album were featured in Greatest Hits.[39] The 2006 video game Tony Hawk's Project 8 featured "I Wanna Live" on the soundtrack,[40] and the Polish metal band Behemoth covered "I'm Not Jesus" on their 2008 extended play Ezkaton.[41]

Track listing

Side one
No.TitleWriter(s)Length
1."I Wanna Live"Dee Dee Ramone, Daniel Rey2:36
2."Bop 'Til You Drop"Dee Dee Ramone, Johnny Ramone2:09
3."Garden of Serenity"Dee Dee Ramone, Daniel Rey2:35
4."Weasel Face"Dee Dee Ramone, Johnny Ramone1:49
5."Go Lil' Camaro Go"Dee Dee Ramone2:00
6."I Know Better Now"Richie Ramone2:37
Side two
No.TitleWriter(s)Length
7."Death of Me"Joey Ramone2:39
8."I Lost My Mind"Dee Dee Ramone, Johnny Ramone1:33
9."A Real Cool Time"Joey Ramone2:38
10."I'm Not Jesus"Richie Ramone2:52
11."Bye Bye Baby"Joey Ramone4:33
12."Worm Man"Dee Dee Ramone1:52

Personnel

Ramones

Additional musicians

Production

References

Citations
  1. ↑ True 2010, p. 273
  2. 1 2 3 4 5 Melnick & Meyer 2007, p. xxi
  3. 1 2 True 2010, p. 277
  4. 1 2 True 2010, p. 276
  5. 1 2 True 2010, pp. 274-275
  6. ↑ Leigh 1994, pp. 332
  7. 1 2 3 4 Johnny Ramone 2012, "Animal Boy | Grade: B–"
  8. ↑ True 2010, p. 270
  9. 1 2 True 2010, p. 268-269
  10. ↑ Leigh 1994, pp. 357
  11. ↑ True 2010, pp. 213, 249, 279
  12. 1 2 3 True 2010, p. 284
  13. ↑ True 2010, pp. 282-283
  14. ↑ True 2010, p. 288
  15. 1 2 True 2010, p. 289
  16. 1 2 3 4 5 6 7 True 2010, p. 290
  17. ↑ Wallace, Amy; Manitoba, Dick (2007). The Official Punk Rock Book of Lists. Hal Leonard Corporation. p. 29. ISBN 978-1-61774-534-8.
  18. 1 2 3 True 2010, p. 291
  19. ↑ True 2010, p. 279
  20. 1 2 Thompson 2000, p. 582
  21. ↑ True 2010, pp. 283–284
  22. ↑ True 2010, p. 278
  23. ↑ True 2010, pp. 282, 284
  24. 1 2 3 "Ramones: Halfway to Sanity". Digital Audio and Compact Disc Review. WGE Publishing, Inc. 4 (7-12): 72. 1988.
  25. ↑ True 2010, p. 282
  26. 1 2 3 4 Erlewine, Stephen Thomas. "AllMusic | Ramones | Halfway to Serenity". AllMusic. All Media Network, LLC. Retrieved 2017-08-10.
  27. 1 2 True 2010, pp. 283
  28. 1 2 True 2010, pp. 280–281
  29. 1 2 Christgau, Robert. "Robert Christgau: CG: ramones". Robertchristgau.com. Village Voice. Retrieved 2017-08-10.
  30. ↑ True 2010, p. 292
  31. ↑ True 2010, p. 293
  32. ↑ "Top 200 Albums". Billboard. 1987-10-10. Retrieved 2017-08-10.
  33. ↑ "Top 200 Albums". Billboard. 1987-10-24. Retrieved 2017-08-10.
  34. ↑ "Chart Stats - The Ramones". chartstats.com. Archived from the original on 2012-02-14. Retrieved 2008-12-22.
  35. ↑ "Ramones - Halfway To Sanity". Dutchcharts.nl. MegaCharts. Retrieved 2017-08-10.
  36. ↑ Hung, Steffen. "swedishcharts.com - Ramones - Halfway To Sanity". swedishcharts.com. Sverigetopplistan. Retrieved 2017-08-10.
  37. ↑ Erlewine, Stephen Thomas. "Ramones Mania - Ramones | Songs, Reviews, Credits | AllMusic". AllMusic. AllMedia Guide, LLC. Retrieved 2017-08-10.
  38. ↑ Erlewine, Stephen Thomas (1999-07-20). "Hey! Ho! Let's Go: Ramones Anthology - The Ramones | Songs, Reviews, Credits, Awards". AllMusic. Retrieved 2014-02-10.
  39. ↑ Erlewine, Stephen Thomas (2006-06-06). "Greatest Hits - The Ramones | Songs, Reviews, Credits, Awards". AllMusic. Retrieved 2014-02-10.
  40. ↑ Surette, Tim (17 October 2006). "Project 8 Booms 56 Tracks". GameSpot. CBS Interactive. Retrieved 2017-08-10.
  41. ↑ Prato, Greg. "Review: Ezkaton". Allmusic. Retrieved 2009-08-27.
Bibliography
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