![]() ![]() His vocals reached their peak right around this time he carried the faster songs with authority and dug into the ballads completely, transmitting an almost painful amount of emotion. The guitar overdubs give the song a huge sound, the massive handclaps and Bell's thumping drums drive the beat home like jackhammers, and Joey's voice comes through like a 1,000-watt beacon. The expanded arrangements work really well on these songs - the twanging bassline and keening guitar solo add a surprisingly effective country touch to "Don't Come Close" - and they don't dilute the powerful punch of the thundering rockers like "I Don't Want You" and "Bad Brain." The classic "I Wanna Be Sedated" is a perfect example of how well the new approach worked for the band. Along with the usual batch of three-chord rockers (including some new entries in the I Wanna/Don't Wanna category), they wrote jangling pop songs ("Don't Come Close") and melancholy ballads ( Dee Dee's painfully introspective "Questioningly"), and covered the Searchers' "Needles and Pins" with a lightly poppy touch. This approach worked well with the more diverse songs the band brought to the album. By the time they were done, sometimes barely anything from the original sessions remained. Once the band had laid down the basic tracks for the new batch of songs, the pair painstakingly added guitar, bass, and keyboard overdubs and mixed them to get a much fuller and polished sound. ![]() Tommy stayed on as producer, though, and he and Ed Stasium enacted the biggest revamp. One switch was personnel-based, as Tommy Ramone passed the sticks to Marc Bell, who had played with Dust and Richard Hell. The Ramones also wanted those things, so they made some major moves. Their previous three albums had helped spark the punk revolution and established them as one of the greatest bands in the long and checkered history of rock & roll, but they weren't getting the sales that their label wanted or breaking out in the mainstream the way some of their N.Y.C. When the Ramones started work on their fourth album, Road to Ruin, in early 1978, they were in something of a bind.
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