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Ed Stasium Talks About Working with Phil Spector on the Ramones' End of the Century Album

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Ed Stasium tells the story of how Johnny Ramone quit the End Of the Century album because of Phil Spector.
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Do you think it was about that album and the process and the result that really changed the band. It drove everybody crazy. Um, Johnny hated being there. Johnny. Johnny quit the record at one point after the infamous stint playing that first chord to rock n roll high school over and over and over again. Now let me interject and say that, you know, Johnny did not want to go do the record unless I came along. Um, you know, I didn't produce that record. I didn't even engineer that record. I engineer a couple things couple guitar overdubs that I did, uh, And when I took the masters and went to another studio with it to do some overdub because at that time, you know, after, you know, you know, I gradually started being quote unquote the fifth Ramon, you know, playing, singing, backing vocals And, you know, playing guitar on the records. Uh, Johnny, you know, had a lot of trust in May. You like my taste? We got a longer good friends. And when uh, Seymour finally gave in to fill, uh, to do the record, Johnny wouldn't go unless I was with them on by credit as musical director on that particular record. I was in the studio with them actually playing guitar, all of the backing tracks. Johnny wanted me to play with him. They, you know, because I was adding parts, especially on road to ruin, added a lot of parts. Tommy and myself did. Um, and Phil was driving us pretty nuts to begin with with continuous playback at incredible volume playing songs back, you know, hundreds literally hundreds of times dozens of times stopping the tape and excruciating, painful volume. And he'd be stomping on the floor and screaming and swearing and eso When it got Thio Rock and Roll High school we were starting off the song with both Johnny and myself hitting a chord and then obtaining feedback. We're out in the room right next to the amplifiers. There was just a couple little go bows, baffles separating, you know, the drums and the amplifiers out in the room. There was no isolation at all. We're all out in the same room. And, uh, you know, we counted off 1234 and hit that cord. And then Phil would on and on do it again. Do it again and fills in the control room with the the great engineer. Larry Levine fills engineer and, you know, one of the best in one of the greatest. Engineers have to come out of Los Angeles Grammy winner We got a Grammy for working with Herb Alpert on whipped cream and other delights. I believe the taste of the taste of honey was on there so he would be telling. We saw him in the control room, jumping up and down and, you know, yelling at Larry trying to get something going. I don't know what it was. None of us knew what it was. Johnny and I kept looking at each other. Johnny's, you know, rolling his eyes again. We're doing it again. Uh, probably did that for around 2.5 hours, just pointing that one. That one chord. Johnny at one point turned that into 8 to 10 hours, which it wasn't, um, but it was still very difficult to swallow and not knowing there was no communication with control when we were just out there banging. You know the cord, um, out there, lighting up, cigarette after cigarette going. What the fuck is he doing in there?
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