As my musical horizons have become wider, I have grown to see New York or American punk music of the 1970s as more credible than its British counterpart. The "attitude", and occasional anger and vitriol, are by and large dished out more temperately, but the energy and immediacy are clothed in musicianship and pop sensibility of no little consequence. Television's 1977 album "Marquee Moon" is arguably the single most affecting document to emanate from the scene.
One thing to observe about "Marquee Moon" is that it appeals to a very broad constituency, including people who ordinarily gravitate towards the genres of music to which the advocates of "punk" were meant to be antagonistic. I would not normally self-identify as a particular fan of punk per se, but this has become one of my favourite albums. Indeed, many good judges rate "Marquee Moon" as one of the great guitar albums.
The geometric but scintillating guitar work is one of the album's hallmarks, although it does not totally overshadow the quality of the songs, or the muscular rhythm section. The guitars betray the group's musical roots, but also possess a quality and dexterity which would even command admiration from devotees of progressive rock. I also detect echoes of Neil Young and Crazy Horse in places, and the sonic atmosphere reminds me of the "serious" end of British glam rock (Bowie, Roxy Music etc) and art-rock such as that created by the likes of Be Bop Deluxe.
These factors goes some way to explaining "Marquee Moon"s widespread appeal. The record even contains some songs which are more than four minutes in duration! So if we are defining this as a "punk" album then it can be seen that it breaks many of the "rules" of that genre. Perhaps the term "art punk" is more appropriate? Or should we just dispense with all attempts at labels, and simply enjoy and savour the music?
I have heard some criticism of Tom Verlaine's vocals on the record. He may not have a conventionally "sweet" or smooth voice, but for me it perfectly complements the musical and lyrical backdrop, and engenders the ideal ambience.
When returning to "Marquee Moon" after a break, one of the things which is striking is the consistent quality of the material throughout the running order. The diet of four-piece guitar-led fare can serve to make the songs feel "samey" on the surface, but closer examination reveals the variety and vitality on offer.
The epic title track could seem to dominate all else, but patient and attentive listening will facilitate an appreciation of the "minor" items, such as the opener "See No Evil", with its insidious but exhilarating and insistent riff and rhythm. "Venus" and "Friction" are also gems in their own fashion, while "Prove It" and "Guiding Light" exude in a more transparent manner the traits of 50s and early 60s rock n roll. "Torn Curtain" concludes proceedings (brings the curtain down, if you'll pardon the pun) on an intense, slightly unsettling but memorable note.
"Marquee Moon" is a remarkable, stimulating and invigorating record, guaranteed to help the jaded listener blow away any musical cobwebs. Unlike some vaunted "classics", it fully warrants the fulsome praise heaped on it. Television were never able to match this album, but it stands as one of the towering achievements of 70s rock music. This really was high quality "indie" or "alternative" music, before those two terms had really been coined.
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