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Two albums
in two years and that was it. Ignored in the US but recognised in
the UK. Sounds familiar? |
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Marquee Moon - Electra Records 1977 |
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Television's debut
album, "Marquee Moon" is unarguably one of early punk's seminal releases.
Released in 1977, the album is marked by inventive and freewheeling guitar
playing, jazzy drumming and poetic lyrics. And while most albums from that
year have become less prominent over time, the influence of "Marquee Moon"
can still heard a quarter of a decade later in the music of bands such as
the Strokes & Sonic Youth. |
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If you had to whittle
"Marquee Moon" down to its essence, everything that is remarkable about
this album can be found in its title track. The 10+ minute song features
the strikingly beautiful and interesting guitar work of Tom Verlaine and
Richard Lloyd. The two take turns letting loose dazzling displays of
unique six-string styles, with everything from improvised and loose notes
to complex and mesmerizing melodic soundscapes that are like a punk rock
opera that demand new and unexpected sound formations from the guitar. And
the rest of the album is equally as brilliant. The opening cut, "See No
Evil," has an art-punk |
 Click to hear
clip of 'Marquee Moon' |
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sensibility that
quirky bands such as the Talking Heads would adapt and transform (in a
diluted form) into radio-friendly new wave. "Torn Curtain" is an aching
ballad that echoes the art-music scene of New York and sounds as if it
were written for Patti Smith. Songs such as "Venus" and "Friction" are
propelled by intricate guitar parts and shuffling drumbeats that still
sound relevant today. |
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Adventure - Electra Records 1978 |
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Released in 1978,
Television's second album, "Adventure" was nearly as great as "Marquee
Moon" in its songwriting and performances. But while "Marquee Moon" had an
immediate presence and no-frills production, "Adventure" found Television
opting for a more lush and layered sound. The band added keyboards and
piano to the mix and beefed up the reverb on the drums, which helped flesh
out the band's sound, but also made them sound slightly removed.
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The flaming and
telepathic guitar interplay between Richard Lloyd and Tom Verlaine carries
over from "Marquee Moon." As the liner notes correctly point out, "Lloyd
has compared [his and Verlaine's] tandem playing to the intermesh of two
gear teeth, or to the synergy of a left brain/right brain combination."
This musical communication is evident on tracks such as "Days" which is a
gentle guitar jam that effortlessly intertwines creative riffs and sounds
like a mellow new wave pop love song. |
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On "The Fire" the
fluttering guitar notes sound at times like beautiful butterflies and at
others, like annoying mosquitoes buzzing in one's ear. The album's closing
track, "The Dream's Dream" has a soundtrack quality that takes the
listener to an otherworldly place, with its chiming harmonics and long
instrumental passages of guitars plucking notes that talk to one another
in a secret language. |
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Reviews
courtesy of
Dave McGurgan
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