"Marquee Moon", Television, 1977
Dia: 22
Mês: Abril
Ano: 2013
Ano: 2013
Ouvir: http://youtu.be/F2ZirA7QOw8
The Penguin Encyclopedia of Popular Music (Penguin Books, 1990): Independent single "Little Johnny Level" '75 led to Marquee Moon '77, seen as one of the era's more interesting debut LPs. They were hardly punk, but almost pre-new wave, christened "Ice Kings of Rock", describing clinical style of Verlaine; nevertheless musically superior to many contemporaries. Debut incl. chilling classic "Venus", "Torn Curtain".
The Trouser Press Record Guide – Fourth Edition (Collier Books, 1991): Television signed to Elektra and released Marquee Moon in 1977. A tendency to "jam" onstage caused detractors to refer to them as the Grateful Dead of punk, but it was the distinctive two-guitar interplay (along with Verlaine's nails-on-chalkboard vocals) that set them apart. Verlaine's staccato singing in songs like "Prove It" and "Friction" is impressive, and the long workout on the title track showed a willingness to break away from the solidifying traditions of their more selfconscious contemporaries.
The A to X of Alternative Music (Continuum, 2004): The debut album Marquee Moon blew the lid off punk and caused confusion amongst those who thought they knew what the new musical environment was about. The sound was suitably raw and the vocals clearly not in any way related to anything in the mainstream, but the scope was astonishing, the lyrics were surreal and poetic, "I remember how the darkness doubled, lightning struck itself", and the arrangements of the music and sheer skill of the musicians were awe-inspiring. They had a groove alright, but it was a million miles away from the angry heavy-metal bands head-banging rhythms of their contemporaries. Television inspired more of a head-nod than a head-bang, and energy-conserving move which has been de rigueur for those demonstrating appreciation for good music ever since. The guitar solos are the stars of the show of course: try Verlaine on "Friction", Lloyd on "Elevation" and both played against each other on the title track which, if you've never heard it, I guarantee will be ten minutes of your life well spent.
The Rolling Stone Album Guide – Third Edition (Random House, 1992): Marquee Moon is a solid set of angst-ridden songs, but searching guitar interplay and a sharp, unsettling tone renders the whole indelible. Richard Lloyd proves to be a sensitive rhythm guitarist, keeping one eye on Verlaine's trajectory and the other on the crossfire between drummer Billy Ficca and new bassist Fred Smith. Verlaine's brittle tenor voice often breaks under the strain of his articulate passion, but the music buoys his sagging spirits time and time again. The title track truly is a tour de force: "Marquee Moon" forges a spiritual connection between Allman Brothers-style virtuosity and Velvet Underground-style introspection. There's nothing else in rock quite like it. ★★★★★
The Virgin Encyclopedia of Indie & New Wave (Virgin Books and Muze, 1998): Marquee Moon was largely ignored in their homeland, but elicited astonished, ecstatic reviews in the UK, where it was applauded as one of rock's most accomplished debut albums. Verlaine's sneering, nasal vocal and searing, jagged twin guitar interplay with Lloyd were the hallmarks of Television's work, particularly on such stand-out tracks as "Torn Curtain", "Venus" and "Prove It". ★★★★
AllMusic: Marquee Moon is a revolutionary album, but it's a subtle, understated revolution. Without question, it is a guitar rock album – it's astonishing to hear the interplay between Tom Verlaine and Richard Lloyd – but it is a guitar rock album unlike any other. ★★★★★
Pitchfork: The things that make the record so classic, that pump your blood like a breath of clean air, are the guitars. This whole record's a mash note to them. The contrast between these two essential leads is stunning: Richard Lloyd chisels notes out hard while Verlaine works with a subtle twang and a trace of space-gazing delirium. They play lines that are stately and chiming, rutting and torrential, the riff, the solo, the rare power chord, and most of all, the power note: the second pang on the riff to "Venus de Milo" lands like a barbell; the opening bars of "See No Evil" show one axe rutting the firmament while the other spirals razorwire around it. [10]
Rolling Stone: All this could serve to distance or repel us, and taken with Verlaine's guitar solos, which flirt with an improvisational formlessness, could easily bore. But he structures his compositions around these spooky, spare riffs, and they stick to the back of your skull.
Rolling Stone – 100 Best Debut Albums of All Time: As exhilarating in its lyrical ambitions as the Ramones' debut was in its brutal simplicity, Marquee Moon's singular vision still amazes.
Pitchfork – Television’s Punk Epic “Marquee Moon,” 40 Years Later: On February 8, 1977, Television released Marquee Moon — a debut well worth the wait. That month, the NME’s Nick Kent called the album “a 24-carat inspired work of pure genius, a record finely in tune and sublimely arranged with a whole new slant on dynamics.” Other records might wither in the face of such a rave. But 40 years later, Marquee Moon remains a singular achievement that transcends the “punk” label and still sounds fresh. It’s a classic from start to finish.
Observer – How Television Made ‘Marquee Moon’ the Best Punk Guitar Album Ever: By changing the language of jazz, psych and garage into a mesmerizing journey that was simultaneously raw and hypnotic, Marquee Moon paved the way for every ambitious rock record to follow in the next 40 years.
NME – Most Important Albums Of NME’s Lifetime: The influence of Marquee Moon cannot be overestimated. The post-punk movement certainly took on board numerous aspects of the record – the clinically precise instrumentation, the clean sound and the introspective, vaguely gloomy feel. That filtered through to the indie movement of the ’80s, for whom the record became one of the sacred texts, while even bands like The Strokes have clearly taken inspiration from it. It would not be an overstatement to say that Marquee Moon is to the ’70s what The Velvet Underground & Nico was to the ’60s.
BBC: It's part psychedelia, part existentialist verse, part gritty rock'n'roll voodoo, part sentimental bluster and wholly, radically new.
The Quietus – Joy Division & New Order's Stephen Morris On His Top 13 Albums: It's still great today; as soon as I put it on and hear those first few bars of "See No Evil", it reminds me of when it first came out and I played it non-stop.
The Wonder –Television: Escapees from Heaven, The Soho Weekly News, June 27 1974, by Patti Smith: The thing I like about this group is their hunger their desire the way they just get on stage and do it. Immediate tight no flash theatrics. Tom breaks a string he fixes it no apology. Lloyd's strap slips but he beats into that guitar as it drags to the floor. If Hell loses balance he'll lay out and play bass flat on his back. No hesitation. Wrong note so what.
Television’s Marquee Moon in 5 Minutes:
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