| Marquee Moon | 1977 |
| Adventure | 1978 |
| The Blow Up (live) | 1982 |
| Television | 1992 |
Television are one of a variety of bands that were overlooked in their time period (despite getting some excellent reviews from critics at the time), but these days have gotten the respect they deserve as one of the most interesting proto-punk bands of the mid-late 70's, kinda like this period's equivalent of The Velvet Underground in acclaim, also actually coming from the same New York CBGB scene as not only the VU, but also other later New Wave acts like Patti Smith and The Talking Heads. They were also one of those bands who unfortunately never really got much of a career off the ground, recording just two studio albums in the 70's (and one reunion record released 14 years later) due to personal tension and lack of commercial success - another VU similarity. In fact, until very recently, I never realized they even had more in their catalog than their "widely hailed as an influential classic" debut Marquee Moon, but that's probably due to a few reasons - that album's landmark status, the more conventional nature of their followups, and the extremely poor sound quality of just about any live tapes which may exist of the band in concert.
What makes this band so special, though? Well, Television's sound may seem kind of ordinary if you're not paying attention at all, but then the more artsy approach to a 'garage rock' sort of sound hits on more careful listening. Mostly, the sound relies on the awesome interplay of the two guitarists in the band, Richard Lloyd and vocalist/main songwriter Tom Verlaine, who often alternate in solo duties, with Lloyd more prominently holding down the rhythm and Verlaine doing the lead work. On so many occasions, these solos (and guitar lines) are the basis for even more effective imagery than the lyrics, and they often have to be heard to be believed. The lyrics aren't all uninteresting, either, concentrating on Verlaine's really neat inventive cryptic poetry, adding even more color to the soundscape. And additionally, the rhythm section - bassist Fred Smith (formerly of Blondie, actually a replacement for the much more notorious in punk circles Richard Hell) and drummer Billy Ficca - is somewhat professional, not just following what the two guitarists play, but also adding their own independent and creative parts that stand out well enough on their own.
Another aspect of Television that makes them so appealing is their consistency - in my humble opinion, their two albums in the 70's (the only ones that matter, really) don't contain any real weak songs at all, and even their reunion album is still more good than bad, only having a couple awful misfires on it. Sure, the band does have its' flaws - Verlaine's voice does grate on me sometimes (as is the case with a lot of people), and they aren't exactly the most varied band to have ever existed, to name a couple of the more noticeable ones. But in all, the interesting and melodic qualities of their music far outweigh the more openly weak and occasionally generic ones, so they're a band well worth looking into when you get right down to it.
--Nick Karn
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COMMENTS
It was nice to be turned on to your webpage on Television at http://www.geocities.com/mjareviews/television.html
My comments are two. One is a memory from the mid '80s when I worked at a collective natural foods bakery. We were blasting Adventure and it was sounding wonderful when a middle aged woman came in to buy some bread and turned up her nose and said "That isn't music". I knew just what she meant and how alienated she must have felt, but I also felt really sorry for her.
Second - I agree with much of what you say about Marquee Moon and Adventure, although I got turned on to them in reverse order so I don't have the same relative reverence for MM. They're great albums that broke some superb ground. I have to disagree with you though regarding Beauty Trip. I think it's a fine song that represents the band fairly nicely. It's the first Television song my band has tackled and I'm happy to be working with it. Funny, because I do agree with you that Mr. Lee is one of the stronger other songs on the album.
Any way thanks for your posting.
(reviewed by Nick Karn)
HIGH POINTS: Marquee Moon, Torn Curtain, Venus, Guiding Light. LOW POINTS: None.
Bands who have a distinctive style either blast right out of the gates demonstrating it right away on their debut album, or take a few albums to hit their stride, and judging by Marquee Moon's classic status, I think you can guess which category these guys belonged to. Pretty much everything that makes Television interesting is here - the interplay between the two guitarists are at a high (not to mention the fantastic solos, whose structure is often reminiscent of psychedelic acts like the Grateful Dead and Quicksilver Messenger Service, as some have cited), the beat poetry-style lyrics are usually intruiging and strangely hypnotizing even when they seem meaningless, the quality of the vocal melodies are top-notch, the chemistry between the rhythm section is tight, and there's a really neat mood that surrounds the entire album, almost a harrowing nighttime atmosphere at points. Sure, the individual elements here may not be original or anything, but I guarantee you've never heard anything quite like this record before, when all of it comes together, and that's a key factor in its' influence.
Of course, the idiosyncracy of it all makes it not that easy of an album to get into for some people (and Tom Verlaine's nasaly, often exaggerated, vocals are an acquired taste to say the least), but it grows on you. It does help that some of the more accessible and straightforward songs here are placed at the beginning, and the opener "See No Evil" is a damn good one. This song gives you the first taste of the famed guiitar interplay, with Richard Lloyd pulling out a really kickass incessant riff while Verlaine's power chord rhythm gives it even more drive, and the effect is convincing. Plus, don't forget the way the fast percussion carries you into the fun quirky chorus ('I see... I see no..... EVIIIILLLLLLLL'). Neat! The poppier "Venus" is even better, though - despite the uplifting (and extremely complex) nature of the guitar lines and marching rhythm, there's something kinda 'hazy' about the lyrics and overall mood, which seems to be confirmed by both the almost amusing but still creepy backing/lead vocal exchange in the chorus ('did you feel low...' 'nah, not at all' 'HUH????' 'I fell into the aaaaarrrrms - of Venus DeMilo...' ), and that atmospheric, mysterious solo. What a great song!
From this point on, though, the album begins to build into something epic that guarantees a song-by-song account here. "Friction" is aptly titled - I can see the minor hit single potential in the catchy chorus and groove on this one, but the main appeal here is the subtle way the instruments build off it, from the multiple ominous riffs to the chaotic guitar breaks after each line, every one of them different and more convincing than the last. Don't miss those really cool drum fills and basslines throughout either - a nice example of both the considerable instrumental talent here and the songwriting qualities. But even that song sort of pales when put right next to the crowning achivement it builds up to.....
Which happens to be the absolute monster of a title track, a 10:40 epic that still stands as their most stunning piece of work Television ever came up with, and it's also quite possibly the most perfectly flowing song that crashes the 10 minute barrier I've ever heard, almost seeming like half the length! The method behind the madness here is deceptively simple - they carefully build up on the interplay between nagging one note rhythm guitar and bass lines and another dramatic lead riff, build each verse up by crashing into the climactic choruses without warning. Then there's some eerie poetic imagery in the verses as atmosphere setters (one of those verses ending the song), and in the middle, a positively transcendent 5 minute guitar solo. This solo includes some really, really, really evocative note choices over the continuing riff pattern (with a dreamy part at the 9 minute mark or so) and even the bass and drums improvise over it! Simply put, the sound this creates is not only defining of Television, but also unique in creating images in my head, and it qualifies as the biggest 'orgasmic' experience the album has to offer, one not quite like any other. Listen to it yourself!
Believe it or not, the second side really isn't much weaker. Sure, only one other song besides the title track hits 'mindblowing' status, but that doesn't mean the others should be tossed off. "Elevation" is a neat poppy number, especially in the neat minimalistic patterns both Verlaine and Lloyd create in the beginning to lead into the somewhat 'drugged out' verses. I love how that chorus wakes you up from the sorta plodding verses, too, with a guitar chord rapdly flanging right after the line 'el-e-va-tion, don't go to my head!' Even more notable is "Guiding Light", the first real ballad on here, and one often seen as the album's weak link. I can't say I really buy that idea, though - sure, it's more conventional than the others, and built more on piano and bass than guitars, but the vocal melody is just beautiful, and besides, it's the only true optimistic song on here, and the multiple guitar solos (especially the ending one) are a treat.
Actually, if anything can actually be called Marquee Moon's weakest link, it would probably be the rocker "Prove It", but only because the 50's style 'ballad' melody is sort of generic (even if still highly catchy), and Verlaine's voice sounds plain goofy in the first half of the chorus. But it switches to an alternately dreamy, majestic melody in the second half of that refrain, so all weaknesses are forgiven. Especially when the extremely depressing 7 minute closer "Torn Curtain" comes on. Like "Guiding Light", it uses more subtle piano textures, and they produce a chilling effect on the slow verses and especially the chorus - that 'tears, tears, holding back the years...' is an astoundingly emotional moment. Thankfully, the guitar is hardly ignored here, producing more great interplay throughout, an dissonant, yet oddly appropriate, solo in the middle, and even scary 'meowing cat' lines in the third verse. Plus, the soloing at that coda with the chorus repeated again is perfect. I consider this the second transcendent masterpiece here along with the title track, and that says a lot.
In all, this is simply an excellent experience, an album whose classic status is justified for the most part. It falls short of a 10, since only the two biggest epics here strike me as truly immortal (even if none of the songs are less than very good, often even fabulous). Plus, sometimes the overall sound can seem a little samey and repetitive if you're not really in the mood for it. But the impressive guitar work, melodies, and clever arrangement ideas ensures that everything on here is worthwhile. Maybe this isn't quite one of the greatest albums ever as some might suggest, but it's damn good anyway, and certainly one of the most interesting records from the mid-late 70's, and undoubtedly the place to start if you're curious about Television's impact.
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(reviewed by Nick Karn)
HIGH POINTS: Glory, The Dream's Dream, Days. LOW POINTS: None.
Ah, the joys of trying to follow up a landmark debut effort. Unfortunately, this followup album, like so many efforts that have come before and after it in similar scenarios, seems to have been way overshadowed by what came before it. And the reasons for this are obvious - here, the band admirably isn't content to redo their approach again and thereby creating Marquee Moon II, but instead go into a different direction. You know, like adding poppier, upbeat melodies to the mix as opposed to the downbeat stuff from before, giving it more of a smooth, accessible overproduced sound.... wait a minute... more pop??? Less weirdness? Television are sellouts! That's what a cynical person would probably think of Adventure, though I don't necessarily think they were mainstreaming their sound here. I mean, Marquee Moon wouldn't been nearly as good if the melodies weren't as excellent as they were, and this effort more or less focuses on the more melodic aspect of their sound, just with a more upbeat tone on the rockers, and a pleasantly atmospheric one on the ballads.
Oh, in case you were wondering about the guitar interplay here, while it may not be as prominently fantastic as before, there are definitely moments when it shines. Take the closing "The Dream's Dream", which only contains one brief verse of nonsense lyrics and focuses most of the rest of its' 6-1/2 minute length as a soloing excursion to mostly breathtakingly, well, dream-like results. It may be repetitive, sure, especially the gradually quieting coda, but excellent soloing abounds here. The minor hit single "Foxhole" also has excellent riffing and another fine jam in the middle, though it's the one song that best illustrates the obvious difference between this album and its' predecessor - lyrically, it's an anti-war song about a guy in the line of fire, so why is it so upbeat and smooth-sounding? This song would have been scary and intriguing a year ago - here, it's almost funny when the line 'goodbye arms, so long head...' is sung, and the chorus doesn't get the bite it deserves.
The production hardly hurts the material when you get right down to it, though. The sound may be more conventional this time around, but hey, Tom Verlaine is a damn talented pop songwriter, and no amount of overproduction is going to take away the glorious melodic qualities of such stuff as the proto-R.E.M. opening rocker "Glory", which slams itself into my head with its' compact riff and vocal hooks, making it probably the most enjoyable and best song here. And the Richard Lloyd ballad "Days" is an excellent followup, with effortless melodic flow, a beautifully relaxing and reflective mood surrounding it, and another well written opening riff. Heck, even the almost obnoxiously bouncy "Careful" is infectious, especially since the melody has a great playful quality and the harmonized chorus is a nice touch, while "Ain't That Nothin'" is a snappy arena rock song, with an entertaining five note riff that changes key very effectively, and it has an unabashedly fun singalong atmosphere.
There are also a couple of more overtly atmospheric pieces here that hint at "The Dream's Dream" right at the end. "Carried Away" is particularly interesting, as it predominantly focuses on the interplay not between the guitars (though they are present), but piano and organ, which, along with the smoothly written melody, helps carry the listener away, for lack of a better description. Then there's "The Fire", which isn't quite as worthwhile, mostly it immediately follows "Carried Away" and thus helps build a 10 minute stretch of slow balladry. But while it may be overlong, it has a creepy atmosphere created by the guitars and high-pitched synth noise (or maybe some guitar effect), and the lyrics are interesting storytelling. Anyway, very good album here - despite Adventure's more conventional and ultimately less interesting nature (and the nagging feeling that, at 37 minutes, it seems at least one song too short to me), it simply works as a fine collection of songs. It may be true that nothing on here is really fantastic, but the melodies are solid, and overall, it's a very consistent and enjoyable way for the band to temporarily end their career, regardless of its' lack of knockouts. I guess I could even apply the 'underrated' tag here.
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(reviewed by Nick Karn)
HIGH POINTS: 1880 Or So, Call Mr. Lee. LOW POINTS: Mars, Beauty Trip.
Hmm. So the members of Television apparently thought it would be a good idea (in the wake of the alternative rock scene and actually getting some overdue acclaim) to get back together for a few reunion shows and actually put out another album! But that wasn't really the brightest of ideas for Tom Verlaine and company. See, even though the results of this album aren't bad (in fact, it's fine when you look at it overall), but there's nothing it really adds to the legacy of the band other than a couple solid gems. Compound that with the fact that this record bombed commercially, resulting in it becoming out of print (though it shows up in the used bins every once in awhile for $5 or so, which is how I attained it), it makes it even easier for me to say this album isn't something you really need, unless you're a completist or a fan, of course. But still, it's an okay effort that could certainly be a lot worse.
So what's the album sound like? Well, despite the year it was recorded, there isn't a trace of grunge or heavy guitars at all, more like late 80's style corporate rock production with loud drums and stuff, albeit some of the neat guitar interplay of old here and there, and a weirdo for a frontman. Actually, Verlaine's voice is another thing that's different from the first two albums - it's toned down considerably to the point of being barely even noticeable at times, though it does render some of the melodies less noticeable as well. Not that there aren't some good ones - the opening "1880 Or So" especially has a strong vocal hook where the subdued approach works, especially when it's got a nicely building, addictive guitar part - but the songs are more led by simple but well-played riffs like on the 'driving' rock of "Shane, She Wrote This" (or at least it would be so if the production weren't so unconvincing) or the cool twangy style of "Call Mr. Lee". "In World" is pretty good in this vein, too, though a bit less substantial.
There's really not that much to say about these songs, and none of them are great, but those four I mentioned are good, and the side closing "Rhythm" is an intriguing spacey, almost spoken word, piece, with echoey guitars and booming rhythm. It's only in the second half where things start to get pretty lame - to my knowledge, "Beauty Trip" and the closing "Mars" are the only real clunkers in their catalog that I can find, with the first a totally lame and annoying 'rockabilly' song with corny lyrics and an even worse 'my heart just go BUMP BUMP' chorus, and the second being built on melodyless, plodding spoken verses - complete with spy riff - and a stupid chorus ('hey that cop's from, hey that cop's from MAAAAAAAAAAAARRRRRRRSSSSSSSSS, bay-beeeeeeeeeee') Argh, it's even worse than it sounds on screen. Not the way to end a career (again). As for the other songs, the poppy "This Tune" is as unassuming but nice as its' title, "The Rocket" is more of a mood piece and vehicle for neat guitar sounds than an actual song, and "No Glamour For Willi" has more interesting guitar, especially at the solo, to make up for its' generic pop nature. Nice, but nothing really special. As is most of this album, pleasant as it may be.
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COMMENTS
Couldn't agree more here Nick, it really is nothing more than an OK album and sadly as you state it doesn't really add anything to the bands legacy. I would admit to not being familiar with Verlaines solo output so I'm not sure what happened to his voice in-between Adventure and this album. It's the first thing that hit me when I heard this set and one of the most disappointing elements for me. Verlaine's distinctive vocals from the first two albums have been replaced with a somewhat cooler style which strikes me as a cross between Lloyd Cole and Fred Schneider. Strange album really, a few goods tracks but generally a disappointment.
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