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DISCID=570adc08
DTITLE=Television / Marquee Moon (Rhino Replicas Edition)
DYEAR=1977
DGENRE=Rock
TTITLE0=See No Evil
TTITLE1=Venus
TTITLE2=Friction
TTITLE3=Marquee Moon
TTITLE4=Elevation
TTITLE5=Guiding Light
TTITLE6=Prove It
TTITLE7=Torn Curtain
EXTD=Marquee Moon (Rhino Replicas Edition)\n2007 Warner Bros./Rhino\n\n
EXTD=Originally Released 1977\nCD Edition Released September 1990\nRem
EXTD=astered + Expanded CD Edition Released September 23, 2003\nRhino 
EXTD=Replicas Mini LP CD Edition Released March 6, 2007\n\nAMG EXPERT 
EXTD=REVIEW: Rhino's 2003 expanded edition of Television's seminal deb
EXTD=ut, Marquee Moon, doesn't add much on the surface -- in addition 
EXTD=to the de rigueur liner notes and loving packaging, all standard 
EXTD=fare on serious reissues here in the early days of the 21st centu
EXTD=ry, there are a mere five bonus tracks. Some might complain, but 
EXTD=dealing with scarcity is part of being a Television fan; few grea
EXTD=t bands have left such a slim body of work, with only two studio 
EXTD=albums from the golden age, weighing in at a total of 16 songs. S
EXTD=o, any addition of new recordings, even alternate takes, to the c
EXTD=anon is welcome indeed, and the five bonus tracks are all necessa
EXTD=ry, none more so than the first official CD release of Television
EXTD='s first single, "Little Johnny Jewel." Here, the two parts -- pa
EXTD=rt one issued as the A-side, part two as the B -- are presented a
EXTD=s one track (it does fade out and in at midway point), and it's a
EXTD= fascinating roughhewn blueprint for Marquee Moon. It's a legenda
EXTD=ry single, and it's a blessing that it's finally readily availabl
EXTD=e, but hardcore Television fans will likely be more taken with th
EXTD=e alternate takes of "See No Evil," "Friction," and "Marquee Moon
EXTD=." While "See No Evil" is the only tune that's radically differen
EXTD=t in this incarnation -- it's the same structure, only with anoth
EXTD=er, very busy, guitar line surging throughout the verse -- the ba
EXTD=nd, particularly Tom Verlaine and Richard Lloyd, always played th
EXTD=e songs differently, so "Friction" and "Marquee Moon" make for fa
EXTD=scinating listening anyway; that's also the reason why the untitl
EXTD=ed instrumental, which doesn't really go anywhere, is still good 
EXTD=listening -- it's just a pleasure to hear this most musical of pu
EXTD=nk bands play. That, combined with good liner notes and remasteri
EXTD=ng of a timeless album, make this an essential reissue.  -- Steph
EXTD=en Thomas Erlewine\n\n\nAMG EXPERT REVIEW: Marquee Moon is a revo
EXTD=lutionary album, but it's a subtle, understated revolution. Witho
EXTD=ut question, it is a guitar rock album -- it's astonishing to hea
EXTD=r the interplay between Tom Verlaine and Richard Lloyd -- but it 
EXTD=is a guitar rock album unlike any other. Where their predecessors
EXTD= in the New York punk scene, most notably the Velvet Underground,
EXTD= had fused blues structures with avant garde flourishes, Televisi
EXTD=on completely strips away any sense of swing or groove, even when
EXTD= they are playing standard three chord changes. Marquee Moon is c
EXTD=omprised entirely of tense garage rockers that spiral into heady 
EXTD=intellectual territory, which is achieved through the group's lon
EXTD=g, interweaving instrumental sections, not through Tom Verlaine's
EXTD= words. That alone made Marquee Moon a trailblazing album -- it's
EXTD= impossible to imagine post-punk soundscapes without it. Of cours
EXTD=e, it wouldn't have had such an impact if Verlaine hadn' t writte
EXTD=n an excellent set of songs that conveyed a fractured urban mytho
EXTD=logy unlike any of his contemporaries. From the nervy opener "See
EXTD= No Evil" to the majestic title track, there is simply not a bad 
EXTD=song on the entire record. And what has kept Marquee Moon fresh o
EXTD=ver the years is how Television fleshes out Verlaine's poetry int
EXTD=o sweeping sonic epics. -- Stephen Thomas Erlewine\n\nNew Musical
EXTD= Express (9/18/93, p.19) - Ranked #10 among The Greatest Albums O
EXTD=f The '70s. \n\nNew Musical Express (10/2/93, p.29) - Ranked #26 
EXTD=in NME's list of the 'Greatest Albums Of All Time.' \n\nHalf.com 
EXTD=Notes\nTelevision: Tom Verlaine (vocals, guitar, keyboards); Rich
EXTD=ard Lloyd (guitar, background vocals); Fred Smith (bass, backgrou
EXTD=nd vocals); Billy Ficca (drums). \n\nRecorded at A & R Studios, N
EXTD=ew York, New York. \n\nNew York's 70s punk was markedly different
EXTD= to that of Britain. Rather than reject the past, American groups
EXTD= deconstructed its forms and rebuilt them with recourse to the mu
EXTD=sic's strengths. Television's leader, Tom Verlaine, professed adm
EXTD=iration for Moby Grape and the folk rock of early Fairport Conven
EXTD=tion. Elements of the latter appear on this album's title track, 
EXTD=which offers a thrilling instrumental break, built upon a modal s
EXTD=cale. Verlaine's shimmering guitar style provides the set's focus
EXTD=, but his angular compositions are always enthralling. A sense of
EXTD= brooding mystery envelops the proceedings, and Marquee Moon reta
EXTD=ins its standing as one of the era's pivotal releases. \n\nAMAZON
EXTD=.COM CUSTOMER REVIEW\nA genuine 5 star record, March 22, 2007 \nB
EXTD=y  Brian Sniatkowski "BrianSnat" (Morris County, NJ USA)\nI don't
EXTD= give out stars lightly. To rate a record 5 stars means to me tha
EXTD=t its one of the greatest records ever, of which there are perhap
EXTD=s 100. Marquee Moon is one of them. \n\nTelevision came out of th
EXTD=e mid 70's NYC punk scene and may have had a punk attitude and fa
EXTD=shion sense, but their music was the antithesis of the 3 chord, 9
EXTD=0 second songs of Blondie and The Ramones. The first thing I reme
EXTD=mber thinking when I first played Marquee Moon was that I've neve
EXTD=r heard anything quite like this before. The awesome guitar play,
EXTD= the sharp lyrics and Verlaine's high pitched, quavering voice ga
EXTD=ve them a unique sound. \n\nIn later years I noticed some similar
EXTD=ities between Television's guitar work and that of Neil Young's, 
EXTD=particularly in Young's Cowgirl in the Sand and Down By the River
EXTD=. I have a feeling you will find some Young in Verlaine's and Llo
EXTD=yd's record collections. \n\nThe hardest thing about Television i
EXTD=s describing their sound to someone. They just didn't sound like 
EXTD=anyone else. Though they were never a commercial success, their i
EXTD=nfluences have been heard later in bands like the Strokes, Violen
EXTD=t Femmes, Radiohead, Sonic Youth, The Killers and many more. \n\n
EXTD=In an attempt to describe Television's sound to someone, I asked 
EXTD=him to picture a band with Neil Young and David Gilmour playing g
EXTD=uitar, the Violent Femme's Gordon Gano on vocals and David Bowie 
EXTD=writing the lyrics (Hmmmm, maybe someone should write them and se
EXTD=e if they could put something together. It would have to be bette
EXTD=r than Tin Machine). \n\nMarquee Moon is Television's finest albu
EXTD=m, though I think the follow-up, Adventure, is vastly underrated.
EXTD= What "Freebird" is to southern rock and "Stairway to Heaven" is 
EXTD=to progressive rock, that is what the title track, "Marquee Moon"
EXTD= is to alt/punk rock. It's nearly 10 minutes of one of Rock's gre
EXTD=atest moments of guitar interplay. \n\nEvery song on this album i
EXTD=s phenominal. From the opening riffs of "See No Evil" to Verlaine
EXTD='s plaintive wail on the closer, "Torn Curtain" the record is sol
EXTD=id. \n\nMarquee Moon will be 30 years old this year. The amazing 
EXTD=thing is that the music is still as fresh today as it was when it
EXTD= when released. \n\nIn 1977, if you looked back 30 years you saw 
EXTD=artists like Guy Lombardo, Bing Crosby, Mills Bros. etc..., all f
EXTD=ine artists in their own right, but that was grandma's and grandp
EXTD=a's music and had little relevance in 1977. The fact that Televis
EXTD=on is as relevant, if not more so, in 2007 as they were in 1977 i
EXTD=s a testament to their greatness. \n\n\nAMAZON.COM CUSTOMER REVIE
EXTD=W\nGoin' against the grain, the way it should be..., August 3, 20
EXTD=06 \nBy  T. Nicholson "T-O-DoubleD" (Geneva, IL)\nI don't know ho
EXTD=w Dr. Gonzo can even compare the solo in "Marquee Moon" to such g
EXTD=reat solos by Jimmy Page (Stairway to Heaven) and David Gilmour (
EXTD=Comfortably Numb). I know it's easy to downplay such solos just b
EXTD=ecause they also happen to be popular, overplayed, and overhyped 
EXTD=over time. But it's not the song's nor the artist's fault. And co
EXTD=mparing it to a solo like this doesn't even warrant an argument. 
EXTD=I also think Gilmour's solo is great but not the best, but still 
EXTD=it ranks much higher than this one, namely for its melody. Also, 
EXTD=on the contrary, Page does not rely on fuzz pedals to carry/make 
EXTD=his solos...leave that to today's guitarists. He's the man, espec
EXTD=ially in the studio, and should not be trivialized along with oth
EXTD=er arena rockers that couldn't make 1/10 of quality songs or riff
EXTD=s as him. They made it, played it, and paved the way for the infe
EXTD=riors to copy them; thus, Zeppelin and Page should stand apart fr
EXTD=om the punk cliche/ideology that Zeppelin sucked (though I'm not 
EXTD=implying that is what Dr. Gonzo is saying). The Verlaine solo was
EXTD= okay, but nothing more than similar solos done countless times, 
EXTD=namely in the 60's. The Peanut Butter Conspiracy's lead guitarist
EXTD= Bill Wolff comes to mind when I hear the solo. \n\nThat said, th
EXTD=eir guitar work was great as a duo, and they always found new way
EXTD=s to surprise, which is always fun for me as a listener. And it p
EXTD=aved the way for an impressive album full of edge, rawness, melod
EXTD=y, insight, and fun. It spoke to you the way other punk bands, sa
EXTD=ve the Clash and Jam, couldn't do as well musically or lyrically.
EXTD= I hope the album finally gets the props it deserves once and for
EXTD= all...and for all the good reasons. \n\n\nAMAZON.COM CUSTOMER RE
EXTD=VIEW\nA rock 'n roll staple gets the re-mastered treatment., Febr
EXTD=uary 3, 2006 \nBy  Cromulus "Magnus Cromulus" (Roma)\nTelevision 
EXTD=is an oddity - associated with punk even though they have more in
EXTD= common with Ayler than The Clash, it's a band that was neverthel
EXTD=ess associated with the burgeoning NY punk scene. That scene, hav
EXTD=ing been forced to find new places to play after Mercer came tumb
EXTD=ling down, found three new digs to occupy - CBGB's, Max's Kansas 
EXTD=City and 82 Club. Television, in spite of having played a long en
EXTD=gagement at CGBGB's, were mostly looked upon as a Max's band, muc
EXTD=h like Patti Smith was. GBGB's is now known as the house The Ramo
EXTD=nes built but Blondie and The Talking Heads played there often en
EXTD=ough to call it their backyard. \n\nThe point of all this is that
EXTD= riding the Patti Smith wave, record execs were looking to catch 
EXTD=some big fish playing in the NY pond, and some of these fish were
EXTD= Television (around 1974 they were probably looked upon as most l
EXTD=ikely to succeed), The Ramones, Talking Heads, Richard Hell, Suic
EXTD=ide, Johnny Thunder and The Heartbreakers and Blondie. As a resul
EXTD=t, these bands get lumped together even though Television has mor
EXTD=e in common stylistically with The Albert Ayler Trio than they do
EXTD= with The Ramones. That Verlaine held the Ramones beneath contemp
EXTD=t should tell you all you need to know about what he thought of h
EXTD=aving Television lumped in with that crowd. \n\nTelevision is not
EXTD= three chord rock. It's not angry in the way The Sex Pistols were
EXTD= angry (actually most American punk isn't angry the way Brit punk
EXTD= was). What Television Is, it's a combination of kids tired of th
EXTD=e same old crap. It's a handful of guys who liked VU and Albert A
EXTD=yler and old black blues men and Captain Beefheart. If you wanna 
EXTD=call it punk, you should really call it art-punk. That's especial
EXTD=ly appropriate since Verlaine took his moniker from a French poet
EXTD=. The problem is that when people first get introduced to Televis
EXTD=ion as a punk band they don't get it. They expect three chords pl
EXTD=ayed fast and angry and the expectations are met with arpeggios a
EXTD=nd harmonics and astonishingly artful drumming. In other words, t
EXTD=he expectations are NOT met. \n\nBut if you don't like something,
EXTD= it doesn't necessarily mean it sucks. Hardcore punkers will most
EXTD= likely be disappointed with Marquee Moon's lack of anger. Jazz h
EXTD=eads will be disappointed with Marquee Moon's structure. Deadhead
EXTD=s will be disappointed with Marquee Moon's lack of relaxed atmosp
EXTD=here and Verlaine's screeching voice. The only ones not disappoin
EXTD=ted will be those that are open to hearing something new. \n\n"Ve
EXTD=nus", "Prove It" and "Torn Curtain" don't feature chug-a-lug, dow
EXTD=nstream picking. They feature shimmering guitars interplaying wit
EXTD=h complex chords and delicate drumming, walking bass lines and co
EXTD=unterpoint - not typical punk staples. Heck, "Guiding Light" even
EXTD= feature (gasp!) piano. \n\nThe new and re-mastered edition featu
EXTD=res Patti Smith pal R. Mapplethorpe's original shot of the undern
EXTD=ourished band and Mr. Ficca's giant afro) as well as a handful of
EXTD= alternate takes, a 7 minute "Little Johnny Jewel" and an unrelea
EXTD=sed cut. \n\nTo my ears, Television belongs right in between The 
EXTD=Velvet Underground and Big Star, having carved itself into a nich
EXTD=e that no one is entirely sure how to categorize (I only care eno
EXTD=ugh to do so because their own confused status seems to demand a 
EXTD=clarification so perhaps art rock or smart rock will do the trick
EXTD=). \n\n\nROLLING STONE REVIEW\nOnce out of time, always out of ti
EXTD=me: In 1977 the stunning ice-blue guitarchitecture and defiant sp
EXTD=irit of free-jamming wanderlust on Television's debut album, Marq
EXTD=uee Moon, blew wide holes through cream-puff AOR rock and the alr
EXTD=eady calcifying primitivism of punk. Fifteen years later, in a gu
EXTD=itar decade awash in thick distortion and truncheon riffing, the 
EXTD=reunited Television comes in colors -- pastel strumming, deep pur
EXTD=ple vibrato, sunrise orange chords -- and celebrates the lost vir
EXTD=tues of precision, emotional depth and sonic elegance.\n\nThe sch
EXTD=ematic remains the same. Guitarists Tom Verlaine and Richard Lloy
EXTD=d uncork spectacular, interlocking riff spirals and spin into hea
EXTD=ted solo orbit over Fred Smith's bulwark bass playing and drummer
EXTD= Billy Ficca's firm, earthy cadences. But the spaces they've mapp
EXTD=ed out are dark and tight, full of claustrophobic menace. Combini
EXTD=ng the focused songcraft of the band's second album, Adventure, w
EXTD=ith Marquee Moon's flair for guitar melodrama, Television is rich
EXTD= in twang noir -- meticulous weaves of pithy guitar agitation and
EXTD= stately sleight of tune underscored with Verlaine's Sahara-dry w
EXTD=it and that unmistakable death-rattle choke in his singing. In "C
EXTD=all Mr. Lee," Verlaine sounds like a snickering Peter Lorre, his 
EXTD=voice dripping with con-man smarm and I-spy mischief ("Just one t
EXTD=rick and/You're sweet for life/Help me out, plum blossom"), as Ll
EXTD=oyd's guitar skids through the choruses in a cat's cradle of hair
EXTD=pin turns. And "1880 or So" is an even more sinister beauty, the 
EXTD=guitars' crystalline ping and Verlaine's polite Victorian love-sp
EXTD=eak ("Rose of my heart, the vision dims") belied by the darker ob
EXTD=session encoded in his parched vocal and Lloyd's solo outbursts.\n
EXTD=\nTelevision's unexpected emphasis on restraint and layered meani
EXTD=ng makes it hard at first to give yourself up to deviant surprise
EXTD=s like the droll tangle of "Beauty Trip" or the opiate syncopatio
EXTD=n of "Rhyme" and "Mars." Actually, the '92 model Television is li
EXTD=ke a twin-guitar version of those Bulgarian women's choirs, a mod
EXTD=el of complex, unaffected modal and melodic networking dramatical
EXTD=ly resolving into angry tremolo shivers, star-burst power chords 
EXTD=and languid states of grace. One minute you hear Duane Eddy; the 
EXTD=next, John Cippolina; the next, a kinder, gentler Hendrix.\n\nBut
EXTD= you hear it all as Television, orchestrated with impeccable clar
EXTD=ity, sensual vigor and a gift for breathtaking understatement. In
EXTD= "No Glamour for Willi," the laughing sound of Verlaine's wah-wah
EXTD= break neatly mimics Willi's playful insistence that her love has
EXTD= no price ("My preferences, dear, are/Mostly half-price/A four-le
EXTD=af clover might be nice"). It's a small moment but one that defin
EXTD=es Television's slowly unfolding pleasures so well -- all, in tur
EXTD=n, rooted in the greater pleasure of hearing guitars speak in ton
EXTD=gues, not just fuzz. As Verlaine puts it, perhaps a little florid
EXTD=ly, in "Shane, She Wrote This": "Sisters rejoice, strum the big m
EXTD=inor chord/With wildly impassioned delight/Rapture is mine now as
EXTD= I behold/All turning holy and bright." It was worth waiting fift
EXTD=een years. (RS 642 -- Oct 29, 1992)  --  DAVID FRICKE
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