Marquee Moon (Television) – Album Review

"Marquee Moon" Is Often Deemed As One Of The Best Debuts In History

"Marquee Moon" Is Often Deemed As One Of The Best Debuts In History

“I can think of many ways to silence somebody who questions the creativity at play at the tail end of the ‘70s. However, the most resounding and unforgettable one is spinning Marquee Moon. The record holds such an intricacy and an intellectual depth that it won’t come across as an act of defiance to the one who claimed otherwise. Any song on the album makes it clear what happens when imagination meets expressivity. It is art that closes every distance which could separate a music lover from another. And I think it is the most beautiful musical testament from the year 1977. Of course, other bands left marks which might be more noticeable and (in certain senses and places) more compelling and far, far more enjoyable. But still waters run deep. And will do so forever.”

That is what I wrote yesterday about “Marquee Moon”, when I was introducing Television and I tried to explain the actual transcendence of the band. That single paragraph says everything that could be said about one of the most precious debuts in history. I don’t know what could be added to it, but common sense and fairness dictate making at least a brief mention of the tracks to be found therein.

The record starts with the alert “See No Evil” and closes 45 minutes later with “Torn Curtain”. In that lapse of time you partake in the most delirious guitar crossfire you can probably listen to anyplace. The title track is of course the better-known example (it was released as a single in an edited version), but songs like “Friction”, “Elevation” and “Prove It” act as equally forceful and exquisite reminders of the interplay which characterized the band. And the closing number has one of the most satisfying moments I have ever found on record. I am talking about the final verse, in which the guitar doubles the voice and the notes eerily extend each syllable that is pronounced. It is a gorgeous moment, and the strongest gesture in which to close an album that was to redefine aural foregrounds and backgrounds  in rock and roll for ever. Continue reading

Television – General Introduction

Televison Was Conformed By Fred Smit, Tom Verlaine, Richard Lloyd & Billy Ficca

Televison Was Conformed By Fred Smith, Tom Verlaine, Richard Lloyd & Billy Ficca

I think the late ‘70s were the final stronghold of true creativity in the history of music. And to me, few bands encapsulate that brilliance of thought and execution like Television.

The band was formed by two guitar players who had poetic aspirations. They went by the names of Tom Verlaine and Richard Lloyd. The two friends had a real connection that time and again would let them elaborate intertwined guitar parts in which both instruments were playing a recognizable lead. They were to be backed by drummer Bill Ficca and bassist Fred Smith. And in addition to being the principal tunesmith, Verlaine was also going to assume lead vocal duties.

Despite being one of the first bands to gain notoriety for its live shows within the pre-punk American scene, Television was to be one of the latest to release an album. When it did finally materialize, though, it was worth the wait. “Marquee Moon” included the incendiary live track and seven other songs that were to act as a blueprint to many of the most successful bands of the ‘80s and beyond. Their second album (“Adventure”) followed shortly, and it showed a more experimental side to them. It was deemed as a good album, but the first one was (and is) held in more esteem. However, neither album met with strong sales in the United States, and Television disbanded after touring to promote “Adventure”. Continue reading

Strangeways, Here We Come (The Smiths) – Album Review

The Album's Title Is A Play On "Borstal, Here We Come" From Billy Liar

The Album's Title Is A Play On "Borstal, Here We Come" From Billy Liar

The Smiths’ final studio album is a very graceful way to bow out. Leaving aside the presence of some songs that spoil its second side and which are notoriously glaring, the record adheres to the formula that had worked so well before: self-questioning lyrics over jangly guitars and very solid grooves.

The album’s opener is (in my opinion) the best opener of all their albums. The song is called “A Rush And A Push And The Land Is Ours”, and it has a roaring vocal from Morriseyy while the main melodic instrument is a piano. It is abutted by “I Started Something I Couldn’t Finish”, a song which was released as a single. I agree with that decision – while it doesn’t lead the band into unchartered  territories it does play their formula to a hilt, and it plays it well. But I can’t disagree with those who claim “Stop Me If You Think You’ve Heard This One Before” would have been a better A-side.

The other single, by the way, was “Girlfriend In A Coma”. Again, it incarnates their classic sound. It doesn’t take the listener anywhere he hasn’t gone before, but it lets him enjoy the ride for sure. Continue reading

Action Packed: The Best Of The Capitol Years (Richard Thompson) – Compilation Album

Where Can I Buy One Of Those?

Where Can I Buy One Of Those?

Although commercially Richard Thompson has never seen wildly successful days, the ‘90s will always remain as the closest he got to mass-popularity. I am more than sure that if the name Richard Thompson rings a bell when it comes to casual listeners, it is all because of songs released in that decade such as “1952 Vincent Black Lightning”, allegedly his most popular composition.

The whole decade Richard’s record company was Capitol. When they parted ways, this retrospective was issued. The CD features songs from every single album he produced during his tenure at Capitol, beginning with 1988’s “Amnesia” and ending with “Mock Tudor” (1999). It also has 2 rarities and a new track where Richard duets with son Teddy. That song is called “Persuasion” and it is a lilting ballad about second chances – definitely one of my personal favorites from this compilation.

In terms of approach, there are countless character sketches where Richard’s acidic vision of humankind is fully developed, including the minor-hit “I Feel So Good”, the startling “Cold Kisses” and “Cooksferry Queen”, a polka which has been drawn from “Mock Tudor”.

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