Ramones Pleasant Dreams Expanded Remastered Rar

Aug 26, 2017 - When Tomorrow Comes (Extended Version) 12. Thorn In My Side (Extended Version) 13. Sweet Dreams (Are Made Of This-'91 Remix, 1991). Sep 17, 2014 - Ramones foi uma banda norte-americana de punk rock formada em Forest Hills. 1981: Pleasant dreams [2002 Expanded & Remastered].

• 'We Want the Airwaves' Released: July 1981 • 'She's a Sensation' Released: October 1981 • ' Released: 1981 (Benelux only) Pleasant Dreams is the sixth studio album by American band the, released on July 20, 1981, through. While the band members wanted to produce, Sire chose in an attempt to gain popularity through a well-known producer. The recording process brought about many conflicts between band members, most notably the strife between and, due to Johnny starting a relationship with Joey's girlfriend. There were also disputes about the overall direction of the album, with Johnny leaning towards and Joey towards. Ultimately, the album incorporated high production values and varying musical styles, straying from traditional punk rock on songs such as 'We Want the Airwaves,' 'She's a Sensation' and 'Come On Now.'

Despite Sire's efforts to broaden the band's appeal by enlisting Gouldman to produce, the album was not commercially successful, peaking at #58 on the and only charting outside of the US in Sweden. The album also met with mixed critical reception. Contents • • • • • • Conception [ ] The writing process for Pleasant Dreams began in January 1981. With management being insistent on allowing a celebrity record producer to work on the album, they hired —songwriter and musician for the British band —to produce the album.

Prior to working with Gouldman, the Ramones had recorded for the album with, and while the band had intended for to produce the album, this decision was rejected by Sire. The studio recording process began on March 30, 1981, and initiated several conflicts between band members.

This tension was partially due to 's drug addiction, as well as and developing problems with alcohol, resulting in the frustration of. These conflicts and differences became evident in the songwriting as, for the first time on a Ramones album, each song was now credited to individual members rather than multiple members.

The time period of recording was a high-point in musical style for both Joey and Johnny, though they directed their sound towards different styles of music: Joey's inspiration from became evident in his writing, while Johnny's keenness of hard-rock guitar riffs are apparent in much of his performing on the album. Johnny thought that this did not result well for the band's sound, saying: 'I knew going in that this was not going to be the type of album I wanted. It really could have used another two of three punk songs. All I want to do is keep our fans happy and not. I'm fighting within the band.

They are trying to go lighter, looking for ways to be more commercial. I'm against the band for doing that.' Joey countered by explaining: 'By [and], I was doing the majority of the songwriting. I started feeling that the Ramones were faceless; there were no individual identities in the band.'

Joey went on to say that, while this method had worked well in the beginning of their career, it began to annoy him, since 'everything [he] wrote, the band would take credit for.' During early stages of the album's development, Joey was dating Linda Danielle. After the album was released, however, Danielle left Joey and became Johnny's girlfriend. Ramones' road manager Monte Melnick relates: 'Joey was devastated. It affected him deeply. Johnny knew it was bad and kept Linda totally hidden from that point on. She didn't come to many shows and if she did he'd hide her in the back; she wouldn't come backstage.

He'd run out to meet her and leave as soon as they were done.' While Johnny would eventually Linda, Joey held a strong grudge against them both, and, though they continued to perform and tour together, the two rarely talked to each other. Joey explained that Johnny had 'crossed the line' once he started dating Danielle, and noted that 'he destroyed the relationship and the band right there.' Johnny defended himself by stating that had Danielle not left Joey for him, 'he wouldn't have even been talking about her and saying how much he loved her because he wouldn't have been obsessed about it.' Composition and lyrics [ ] The album opens with 'We Want the Airwaves,' which has instrumentation that strays from traditional punk rock and more towards.

Serial khab o bidar iranproud. Described the song as 'a sort of punk rock.' Though it was long rumored that the album's third track, ',' was written about Johnny stealing Joey's girlfriend, the song was reportedly written some time before Joey had found out about this.

Joey's brother relates: 'The fluky connection between Johnny and the KKK raised a specter that keeps friends and fans speculating to this day. At the time, though, it had to be an unusual situation for him being that, as often happens with song lyrics, his words now took on a whole new meaning.' The following track, 'Don't Go,' was described in Musician, Player, and Listener as 'Spector-ish,' likening the song's production values to those of music producer, the infamous producer of the band's previous record,. According to the magazine, the lyrics detail 'an archivist's sense of young love by the book and how innocent is supposed to sound.' , author of Hey Ho Let's Go: The Story of the Ramones (2005), explains that the album's fifth track, Dee Dee's 'You Sound Like You're Sick,' 'returns to the bassist's traditional institutionalised theme.' Side A ends with 'It's Not My Place (In the 9 to 5 World),' which was described by music critic David Fricke as 'driven home' by drummer Marky's 'feisty, Bo Diddley-style' drum beat, noting that it borrows the (of ) from the song 'Whiskey Man.'