Hey Ho Lets Go: The Story of the Ramones is pretty much the most complete book on the Kings of Queens I have come across yet. Everett True's analysis delves deeper than Jim Bessman's seemingly biased "official" biography, Ramones: An American Band, and although I am a rabid Dee Dee Ramone fan, his charming autobiography Lobotomy: Surviving the Ramones features some rather fantastic accounts, which makes it hard to decipher fact from fiction. I mean could so many strange things actually happen to one human being? As a result, we need someone like True to set the record straight. He may be a die-hard Ramones junkie, but at least he isn't afraid to criticize the band or divulge unpleasant secrets.

Everett does a fine job chronicling "da bruddas," as they were referred to in England, from the band's early beginnings in 1974 at NYC punk breeding ground CBGBs up to their parting ways in 1996, and the untimely deaths of Joey in 2001 and Dee Dee in 2002. He shows how they stuck it out for 22 years, playing a grand total of 2,263 shows, despite the bickering, periods of not being on speaking terms, betrayal, hard drugs, line-up changes, and searching for that elusive "hit" record. Another highlight is all the interviews True conducted in order to procure his information. We hear from their manager, publicists, fans, photographers, and friends. It's nice to read all these different accounts of how hearing the Ramones for the first time or seeing them play live changed their lives, or at least their musical tastes. Some of the most interesting chapters are those devoted solely to other people's views on their favorite Ramones album, song, and why the Ramones are THE seminal American band. For instance, in the latter chapter, one interviewee, David Fricke, says it's "because everything we recognize as being great about American music was boiled down to its clean and unmistakable essence in what they did." Moreover, we get these insiders' views on the guys as individuals as well, not just as a band, showing Joey to be a genuinely nice, fun guy, Dee Dee as shy and vulnerable, Johnny as staunch in his beliefs and disciplined almost bordering on militaristic, and Tommy as the band's glue. True also spoke with Marky, Tommy, and CJ, and includes interviews previously conducted with Joey and Dee Dee. Eerily enough, he had asked Dee Dee to contribute to the book a shocking four days before he OD'd in June 2002, but as usual, the former bass player had refused.

In any case, we even get insight from other musicians, such as the Damned's Captain Sensible, who describes how much of an influence the Ramones had on the entire late Seventies British punk movement, as well as comments from Soundgarden's Kim Thayil, Hole's Eric Erlandson, and even the legendary Iggy Pop and Dead Kennedys' front man Jello Biafra. All of this just enforces what was already known: that the Ramones were revolutionary and have basically influenced every band that formed in their wake, as they proved that anyone could pick up an instrument, even if he/she couldn't play, and start a band. They ushered in a new age, proving that less was more, as they stripped Rock 'n' Roll down to its bare essentials. There were no frills, no drum fills, and not even a guitar solo until their third record, Rocket to Russia. They simply played what Joey described as music that was "fun and exciting and with guts." Anything else was superfluous - well, at least at the beginning, but we won't get into that.

True also analyzes each Ramones record in depth, from their ground-breaking self-titled debut LP released in April 1976, which was recorded for a mere $6400, to their final studio album, Adios Amigos! in 1995. He breaks each one down and discusses the songs, the artwork and photography, and is not afraid to list their faults even though he worships the Ramones. Like most people, he believes the first three LPs to be infallible classics, but then goes on to state his case why he feels the band's records lessened in quality during their "dreadful late Eighties run." We don't get this degree of critiquing in Bessman's sugarcoated book. In any event, True even discusses solo albums like Joey's Don't Worry About Me, released posthumously, and Dee Dee's "rap" album as well as his late Nineties punk records. And True's final pages dealing with Joey's death are extremely poignant. Not as much time is spent discussing Dee Dee's death, however.

Another great part about the book is the inclusion of photographs. There are three separate sections full of black and white shots spanning the Ramones' career. All in all, Hey Ho Let's Go is an informative and interesting read. We are treated to some inside details about the band that weren't made public while they were still together, and it's just great to read other people's accounts of why they feel the Ramones are one of the few truly significant bands, like the Beatles, who changed Rock 'n' Roll forever.