Television
Billy Ficca – Drums & Fred Smith – Bass
Legendary and seminal. Just two adjectives that could be used to describe Television and their music. Add to that the astonishing originality and sonic journey of their classic debut LP Marquee Moon led by their surly and reclusive guitarist Tom Verlaine.
Add to that the roots of punk rock in its attitude, look and fashion in the band’s original bassist Richard Hell. Add to that their role in CBGB’s becoming the home of US punk rock. Ladies and gentlemen this is Television.
Formed originally by Tom Verlaine and school chum Richard Hell in 1971 as The Neon Boys and later joined by Richard Lloyd on guitar and Billy Ficca on drums, Television were arguably the first New York new wave band in terms of style and attitude, even though the bands music has caused many to liken them to a new wave Grateful Dead.
Style and attitude was courtesy of Richard Hell who provided a strong visual element of ripped clothes and siky hair based on a picture of the symbolist poet Rimbaud. Hell also provided the live wire rock’n’roll element jumping around and providing songs like Love Comes in Spurts and Fuck Rock’n’roll that so irked Verlaine.
Contrast that with the Verlaine studied seriousness and musical intenseness with songs like Marquee Moon and Venus and something eventually had to give.
But before that, there were seeds of legends to be sown. Needing a place to gig regularly Verlaine & Lloyd chanced upon a little used Bowery bar. They convinced the owner Hilly Kristal they could play country, Blue grass & Blues or CBGB’s. Not long after Blondie, The Ramones & Patti Smith played beginning the punk legend that was CBGB’s.
Meanwhile Hell was finding song after song of his being dropped from the set. An abortive demo session with Island records and Eno featured none of his songs. He quit in 1975 but not before a certain Malcolm McLaren in the audience had noted his appearance and actions. Hell refused his offer to take him to England and formed The Heartbreakers and then The Voidoids. The latter where he got to record his songs and was finally the undisputed leader!
Hell had undoubtedly contributed to Television’s initial popularity and the dour Verlaine compensated for his missing dimension by becoming more studious, embarking on a shimmering near jazz free form rides in the process, taking the twin guitar sound into new realms of tonal frontier frequented only fleetingly by 5D Byrds and Cortez The Killer period Neil Young.”
Hell’s replacement was Fred Smith poached from Blondie who rounded out Television’s sound leaving Verlaine and the guitars in the spotlight. Television signed to Electra Records but not before releasing releasing the seven minute Little Johnny Jewel single cut in two over two sides on Ork records in 1976 which Lloyd left over only to return a couple of months later. The single, recorded in a bedroom on a four track Teac, sold over 20,000 copies in the end.
Television music always has an icy demeanour – a sense of distance that either draws you into its imperious whole or else leaves you cold and cynical. However their first album Marquee Moon is an unimpeachable classic with startling songs spotlighting both Verlaine’s flowery poetry and his irresistible full frontal guitar fluidity. Coming at a time when high grade musicianship was not the most coveted attribute it made a deft and dazzling mark on late 70’s rock.
Marquee Moon made it to no 28 in the UK and two singles from the album made the top 30. It sold jack in the US. Unfortunately, Verlaine failed to follow up the triumph. Apart from touring Europe (where the band were more popular than in the US) he seldom left New York.
A second album Adventure in 1978 lacked the immediacy of Moon and was consequently seized upon by critics antagonised by the bands image. Although the album lacked the first chapters vivacity its virtues took more time to uncover. This album reached no 7 in the UK charts. Again nada in the US.
The writing was on the wall. Shoddy attendance figures on the second English tour, poor sales for Adventure and the undeniable feeling of being stuck in one gear forced the band to call it quits.
Television were an exceptional unit and decidedly ahead of their time.
Above entry lovingly stolen from (and added to) The NME Book Of Modern Music from 1978
Marquee Moon – Electra Records 1977
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.
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 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.
Adventure – Electra Records 1978
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.
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.
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. Dave McGurgan
TalkPunk
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