"There's rats chewin' up the kitchen. Roaches up to my knees 
The Back Story:
After years of brow-beating, at the hands of The Ramones, and their resident drill-sergeant, Johnny, about everything from their strict dress-code, to their musical guidelines and grooming standards, it seemed like Dee Dee finally went off the deep end. He bought some gold chains, a boom box and started dressing like Run DMC, finally leaving the band to pursue a solo career as a rapper.
The Record:
Dee Dee's delivery sounds like he based his whole style on that line in the "Grand Master Flash," song that goes; "Don't stop me cause I'm close to the edge, I'm try-ing not to lose my head" - except he says every line in that choppy, awkward style, his voice sounding somewhere between Bullwinkle and Frank Zappa.
The lyrics are over-the-top goofy, almost suggesting parody: sadly, Dee Dee was giving rapping his all, and the public were laughing at him, not with him.
Other lyrical gems in include "well I drive a Mercedes. I like to impress the ladies. And knock out the homeboys too. This ain't the twist or the boogaloo," from "Mashed Potato Time."
"That not your uncle and that ain't soda pop. Now it's time for you to stop," from the song "Emergency," which is about having to come get his wife, Baby Doll, at the bar, is a bit of a cringer too. That's actually one of the better songs, because it features an okay rock backing track and hooky chorus.
"The Crusher," is a standout because Dee Dee sings it in his 'Warthog/Love Kills' voice and it's a punk rock song.
Live musicians play on all the tracks, but often it's in the style of Tone Loc's "Wild Thing," or "Funky Cold Medina." It gets really goofy on songs like "Mashed Potato," and "Commotion In The Ocean," (featuring Debbie Harry," or sappy on the ballad, "Baby Doll."
The Reception:
Drugs are generally blamed for the existence of this album. It immediately tanked like the Hindenburg going down, and made Dee Dee the subject of ridicule for many years after.
The Legacy:
It's interesting to note that The Ramones used "The Crusher," from this album on "Adios Amigos,"
(as sung by CJ) and made it a live staple, (although they leave out a whole verse.)
As a side note, of the rest of the songs on that album written by someone with a surname Ramone, Dee Dee's are the only good ones.
(There are two more solo-Dee Dee covers on "Adios Amigos," both from the "I Hate Freaks Like You," album he did with his I.C.L.C. band. This, added to 3 new Dee Dee originals and a Johnny Thunders tune Dee Dee co-wrote on as well, really speak to his value as a songwriter, when he had his head on straight, as well as the band's continuing reliance on him for material.)
Regardless, the "Standing In The Spotlight," record is still widely renowned as a surreal and mind-boggling failure, of colossal proportions. Like many awful things, it is now a collector's item, since going out of print fairly early on.
How Bad Is It Really?
Most of the record is embarrassingly bad, especially lyrically.
I used to put it on for a few laughs with friends, but now that Dee Dee's gone it makes me feel a bit sorry for the poor, lovable guy. It's still interesting enough to warrant listening to in it's entirety. It should be noted that, despite it's inherent dopiness, all the songs are extremely catchy and are bound for better or worse, to stick in your head forever.
Finally, I'd like to mention that there is no way this album is anywhere near as awful as the Funky Man 12" single and it's extended dub version B-side, which is absolutely intolerable.
Turn the oven on, it smells like Dachau, yeah, 'til the rain pours thru the ceiling."
