TELEVISION

As you may have grasped from my introduction the Verlaine-led Television weren't really punks at all. They were crucial in the New York scene (literally building the stage at the CBGB themselves) but their actual music is little like that of the New York Dolls or the Ramones. I don't think it is even new wave, strictly speaking, as, for the most part, it isn't really that poppy. Let's just say art-rock and be done with it. Television, and this album in particular, represent some of the most influential art-rock ever. This album has influenced effectively every subsequent arty band since, from Joy Division to REM, from the Pixies to Radiohead. This is the very pinnacle of art-rock. The duelling guitars of Verlaine and Lloyd have become something of a trademark with the guitars swapping twisted riffs and spitting out solos in a wonderfully unique manner. Even Verlaine's style of singing is oft-aped with the most notable devotees his contemporaries (and friends, I guess) Richard Hell and Patti Smith. Verlaine also fancied himself as a bit of a Dylan-imitator so his lyrics are pretty obtuse, particularly the metaphors, but he even manages to pull this off surprisingly well. According to a book I read (I always think of Talking Heads when I say that) Verlaine even practiced being nasty to people after watching Dylan in action in Don't Look Back (that film where Dylan runs round the back streets of England in a little red coat). That's overview enough, how about a bit of song analysis action? The album opener, "See No Evil", immediately sets the scene with its intertwined guitars. Quite frankly it is so difficult to tell who's playing what I haven't bothered, although the individual solos are credited in the sleeve-notes. Speaking of solos, the one on "See No Evil" is played surprisingly like a classic rock Page/Clapton-esque solo with lightning fast licks. It should sound completely out of place on album like this, but surprisingly, it doesn't. The song itself, like every song on here, is great but not as outstanding as the next four to follow (in the track-listing). "Venus" is probably the best song on here. So good I put it on two of my compilation tapes without realising it. The guitar interplay is typically unique and wonderful in equal measure but the actual melody of the song is so brilliant as well. Verlaine's vocals are wonderfully cracked and contorted making the most mundane words seem ridiculous (listen to him sing "fell") and the lyrics are probably the best on the album. "Ritchie said: 'hey man, let's dress up like cops - think of what we could do!'" A reference, in case you didn't know, to ex-member Richard Hell. "Friction" is another cracker yet again with some wonderful guitar work whilst the title track represents the piece de resistance of the album. Over ten minutes long (although on my pub's jukebox it brutally cuts it short after five) the main bit of the song is sandwiched either side of an extravagant and lengthy (and superb) solo. There are a couple more shorter solos during the song but it is the central one that really makes the song. "Marquee Moon" probably represents the most arty moment on the album. "Elevation" is privy to one of the most brilliant verses on the album with a sinister guitar pattern supporting Verlaine's equally sinister vocals. The album closer, "Torn Curtain", is also brilliantly sinister, with the prominent piano making it the darkest song on the album. Certainly not a happy ending. There is one happy-ish song, though, the sprightly "Guiding Light". The guitar pattern, although similar in style to "Elevation", seems far lighter and more happy. The chorus, though, shatters the illusion with the eerie refrain "I woke up and it's yesterday". The only song I've yet to mention is "Prove It" which is pretty lightweight and maybe the weakest song on the album. I don't care for the verses much although the chorus has its charm. The bit at the end when Verlaine states "this case is closed" is a nice touch. And thus, this review is closed as well. Not really a punk album but still one of the greatest art-rock albums ever. If not, simply one of the greatest albums ever in its own right.

From: Thatcoolbrotha@aol.com

I'm a guitarist and have analyzed the styles of Lloyd and Verlaine throughly. You can easily tell who's playing which solo on each song. Take "See No Evil" for instance. As you said it sounds like a classic rock influenced solo, very quick major key solo as done by Lloyd. Lloyd has said many times in the past that he takes time to create his solos and his sounds immaculate and professionally done. Now look at "Marquee Moon"'s second longer solo. It's more fractured and unsure, slightly clumsy in some ways. This is Verlaine's solo style, he doesn't really spend much time on his solos and it shows cause "Marquee Moon"'s solo was done in about one take and improvised. You can probably take it from there. You should get their live album it's like this but much more raw and crappily recorded. The solos are very good and they do a 17-minute version of "Marquee Moon" it's fucking great. Get on some Pixies reviews man that group is great.

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