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Better Together
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Editorial Reviews
From Publishers Weekly
Music journalist Bessman's closeness to his subject--he is a good friend of the members of the Ramones--has both positive and negative effects on his authorized history of this seminal American band, famous for knowing only three chords and for playing everything as fast as possible. Bessman has great access to details such as the Ramones's mistrust of the Talking Heads--"a bunch of intellectuals"--with whom they toured Europe. But it also means that he sometimes misses the ironies and inconsistencies in their behavior, like the fact that members of a band whose lyrics include the infamous line "Well I'm a Nazi, schatzi, you know, I fight for the fatherland" claimed that their work had no political content. The "four guys from Queens" who formed the original group in 1974 seem to have been truly without pretensions, which makes Bessman's overheated interpretation of their achingly simple lyrics just silly. Bessman's theory is that the Ramones were always poised on the brink of stardom but missed out due to the mistakes of others, i.e., the release of one of their best-known songs, Rockaway Beach , during the winter and the poor distribution of their only film, Rock 'n' Roll High School. Photos.
Copyright 1993 Reed Business Information, Inc.
From Library Journal
This journal of the "Grateful Dead of punk rock" is well paced, streamlined, and tautly built. It pulses home its main point with fierce precision: that the durable yet quirky band has earned a place in the annals of rock'n'roll history. The book chronicles the lives of the band members with a cold eye, depicting everything from the tragic flaws (drug addiction, personality disorders) to their dedication to their style of music: three-chord punk rock songs that so viscerally capture the teenage angst of suburban youth. The author argues that the Ramones symbolize the breakout from the stranglehold of disco music and the salvation from the self-congratulatory babbling of progressive rock (e.g., bands like Emerson, Lake, and Palmer and YES). The Ramones recaptured the essence of rock'n'roll, and their rewards included a feature film ( Rock'n'Roll High School , 1979). Inspiring and often hilarious, this book is appropriate for libraries with extensive music or rock history collections. --Mike Tierno, New York
Copyright 1993 Reed Business Information, Inc.
See all Editorial Reviews
Music journalist Bessman's closeness to his subject--he is a good friend of the members of the Ramones--has both positive and negative effects on his authorized history of this seminal American band, famous for knowing only three chords and for playing everything as fast as possible. Bessman has great access to details such as the Ramones's mistrust of the Talking Heads--"a bunch of intellectuals"--with whom they toured Europe. But it also means that he sometimes misses the ironies and inconsistencies in their behavior, like the fact that members of a band whose lyrics include the infamous line "Well I'm a Nazi, schatzi, you know, I fight for the fatherland" claimed that their work had no political content. The "four guys from Queens" who formed the original group in 1974 seem to have been truly without pretensions, which makes Bessman's overheated interpretation of their achingly simple lyrics just silly. Bessman's theory is that the Ramones were always poised on the brink of stardom but missed out due to the mistakes of others, i.e., the release of one of their best-known songs, Rockaway Beach , during the winter and the poor distribution of their only film, Rock 'n' Roll High School. Photos.
Copyright 1993 Reed Business Information, Inc.
From Library Journal
This journal of the "Grateful Dead of punk rock" is well paced, streamlined, and tautly built. It pulses home its main point with fierce precision: that the durable yet quirky band has earned a place in the annals of rock'n'roll history. The book chronicles the lives of the band members with a cold eye, depicting everything from the tragic flaws (drug addiction, personality disorders) to their dedication to their style of music: three-chord punk rock songs that so viscerally capture the teenage angst of suburban youth. The author argues that the Ramones symbolize the breakout from the stranglehold of disco music and the salvation from the self-congratulatory babbling of progressive rock (e.g., bands like Emerson, Lake, and Palmer and YES). The Ramones recaptured the essence of rock'n'roll, and their rewards included a feature film ( Rock'n'Roll High School , 1979). Inspiring and often hilarious, this book is appropriate for libraries with extensive music or rock history collections. --Mike Tierno, New York
Copyright 1993 Reed Business Information, Inc.
See all Editorial Reviews
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