Marquee Moon

Absolutely loved this. A revelation for me and if I get 5 albums like this from the 1001 where I know very little and then get educated then it’s worth listening to alll the shit. I hear so many of my fave bands today in this album, the guitar work is special, the tunes are special, I’m only sad it’s taken 45 years to hit my ears ⭐️⭐️⭐️⭐️⭐️

All your favorite rock bands fucking love this album.

Thank you Television for not letting Brian Eno ruin this album!!! They recorded demos of several of the songs and didn’t like Eno’s production. So the band waited for a better suited recording arrangement. I’ve had this album in my library for a long time, and I’ve gone through spurts of repeated listening. I love the guitar work on this album. The twinkling diddle-liddle-liddle-liddle-luh throughout Marquee Moon (song) is a great hook. And the little, repeated licks that go against the grain in several songs, which I found out are called countermelodies, are exquisite. The bass deserves recognition too, like on Elevation and Prove It for instance where it carries the melody at times. Listening to Marquee Moon (song) more closely now, I find it to be an unappreciated master piece. The repeated premature truncation of the chorus on Elevation is unsettling, but in a way I truly appreciate. Have you ever had a conversation with someone about what era you’d want to go back to for the music? Reading more about Television’s history, 1975 at CBGB in Manhattan is now on my list of potential answers. That year, Television shared a residence at the CBGB with Patti Smith when she had just recorded her album Horses. Oh what a time and place to be!

New York, CBGB, 70's. If that trio isnt a 5, tell me what is.

This album is a world unto itself. I've listened to a lot of music, but there's nothing else quite like this. Such a unique and often bizarre blend of post-punk-infused pop with a hint of psychedelia.

Marquee Moon is, of course, the cornerstone of the art punk side of post-punk. They gave an energetic boost to the otherwise very dark and dingy sounds of Joy Division, Bauhaus, The Cure, and....oh, huh? Marquee Moon came out before all those bands? Huh. Well, even if they aren't the cornerstone! They put out some quintessential post-punk. Compositionally unique, it sticks with me even after repeated listens. They'll explore cool new bridges or verses and then move on to another, refusing to stick around too long leaving you wanting more. But then you get even more punk-y goodness that you can forgive it.

No further proof needed of Marquee Moon's mind-altering inventinveness than the fact that a significant number of people seem to think it sounds like the Strokes. Come again?

Am I missing something? What’s the big deal with this album?

10 Albums You Actually Need to Hear Before You Die Chapter 7 Gimme Friction: Television’s “Marquee Moon” Back in early 2002, during the height of Strokes-mania in New York City, I was shopping for records in Greenwich Village after seeing a show at the Upright Citizens Brigade theatre on a Saturday night. The shop I was in - I forget the name now, sorry - was in the basement of a three story walk up and was packed to the gills with records. On the counter by the register, the shop owner had a record on display, Television’s Marquee Moon, with a Post-It note affixed to it with these exact words scrawled on it: “Fuck The Strokes - This is the *real* sound of New York City” …and that was all it took to sell me on this record. Thank god for the curmudgeonly record store owners of the world.

This album is just an inventive, intricate, and idiosyncratic mix of classic-guitar-hero-dad-rock, punk irreverence, and jazz interplay. I knew I was gonna give it this but this Aussie gives it five runs to Bunnings Warehouse out of five.

Meh. I've never been into Television. I don't think that they are bad or unskilled, but it's never grabbed me. If I want to listen to New York style new wave from the late seventies, it's going to look for something like early Blondie.

Title track still bangs but I realized I find the vocalist a bit too shrill for a full album.

I am not a massive fan of intricate guitar work, but this album just sings from start to finish. Delicate but tough, lyrical and unique. I love love love Verlaine's voice, and his lyrics, too. There's nothing quite like this album, and that is one of the many reasons I love it.

Amazing album front to back, all killer no filler. Truly one of the best albums ever created, not only based on the quality of songs but also the composition of the album itself. Absolutely exceptional album.

A really special record, in my opinion one of the best guitar records ever. Verlaine & Lloyd’s duelling guitars are particularly notable on Friction & Elevation but the epic title track is a thing of wonder. No filler at all here.

PREFS : TOUT MOINS PREF : RIEN

I actually quite like this album overall. Television is an essential part of that initial, American post-punk exploratory period that birthed bands like Violent Femmes and The Replacements. It's nihilistic and nonsensical at times, sure. But that's just true to its post-punk underpinnings. It also hits with some strong, jazz-rooted drums and more than a few prog-rock-leaning instrumental sections. Is it an amazing album? No. But it's pretty damn good. The title track, Marquee Moon, in particular, is great from both a technical and musical perspective.

That's it. I'm done. Fuck this list. This was supposed to be fun, and it has been a slog to get through 80% of these albums. Music shouldn't feel like a chore to listen to. This guy's voice is like nails on a chalkboard

¯\_(ツ)_/¯

Cet album est rentré directement dans mes favoris. Je crois qu'il n'y a pas grand chose à ajouter de plus pour dire combien j'ai aimé. Je connaissais le chef d'oeuvre qu'est la chanson éponyme, mais je n'avais jamais poussé plus loin. Quel tort ! J'ai découvert une réelle complexité musicale, à l'intersection du rock saturé et de la new wave, chanté par une voix si habitée qu'elle nous happe de bout en bout. De la bombe !

Marquee Moon Diddle-liddle-liddle-liddle-luh That hook on Marquee Moon is so memorably catchy. I haven’t heard this album in ages but I was really into around 2002/03, I think I might still have it on vinyl in the attic somewhere. Listening now has reminded me how massively influential it has been and what a superb album it is, amalgamating punk, garage, new wave, rock and jazz into a classic guitar album that sounds contemporary and timeless at the same time. The guitars interweave beautifully over the skittish post punk drums and bass, the jagged, edgy vocals have a great punky underground New York attitude but it still has a distinct melodic pop sensibility. I love the whole album but that first side from See No Evil to Marquee Moon is sublime, the title-track’s 10 minutes fly by and I love the feeling of ending at around 9.17 before the bass and hook come back. Elevation - Surely Californication was heavily influenced by this. I adore Guiding Light, it’s sparser arrangement with piano has an ascending and dreamlike quality sitting really nicely against the rest of the guitar tracks Every track is great, the guitar interplay is fantastic, the lyrics are superb. An undoubted classic. 5 tvs, moons or marquees, whichever you prefer. 📺📺📺📺📺 Playlist submission: Marquee Moon

I could write 10,000 words about how phenomenal this record is. Not only one of the best records of the post-punk era, or even the 70s, but arguably one of the greatest rock records of all time.

Great album recommendation. As for someone who likes the Strokes, this album is a gem. Some fine production and guitar works here. Also Venus sounds amazing, currently my favourite song. 10/10 album right here

A truly classic from the great New York punk rock scene.

This feels like the definition of "proto". Sonically it's roots really resonate far and wide, and in its own right it is surprisingly strong. Plus it fits my flavors in some really strong ways.

Side 1 is post punk perfection. Side 2..... is really not.

Not something I would have chosen to listen to, I find this post-punk isn't a good release of anger or sadness or any emotion it just winds you up. I really appreciate some of the guitar parts and the vocals but all together I do not like the songs. I wish the guitar parts, which are really cool and impressive, could be combined with some more melodic parts as well then I would love it. Guitar parts in Marquee Moon for example absolutely gorgeous and so impressive, but could it be put with more melodic instrumentation and then it would be a masterpiece to me, also we do not need 10 minutes of this fuck saaaake. I get why a lot of people think they're amazing though and they seem to have been extremely influential from research (I hadn't heard of Television before). This is apparently one of Tom's favourite albums of all time though...

An excellent album from a band I was aware of but had never listened to before.

4.6 Masterclass in postpunk during the birth of punk music. I always knew the guitar work was great but interesting playing all around, sneakily progressive. I don't think there has been a time when I put this album on and haven't listened to the whole thing

One of my favorite albums. Love every track. So simple yet entrancing and melodic. I think a lot of it comes from its jazz-like structure, despite only using rock instruments. This isn't like anything out there. Explores several themes, none of which overstay their welcome, and never tries to be flashy. Atmosphere is wistful and mysterious, sometimes very dark, which works perfectly with Verlaine's haunting vocals and creepy lyrics. This is best exemplified in "Friction," from the beginning tune to the guitar interludes between every line. It amazes me how each track stands out in these remarkable, memorable ways. It helps that there are only 8 tracks, each deserving full attention. The mixing is as best as it could be, you could hear everyone clearly, as subtle as they may be. A bad production job would have likely dulled the contributions of the drums, which I feel play the major role in carrying the power and tempo in this album compared to most. When the drums change, you know we're moving into new territory. The second side doesn't get enough love. Starting with the garage-style wild opener, it feels like the first few tracks are building up the mood to the titular masterpiece, but we abruptly shift to the post-apocalyptic second half. Again, with each track I can pull out 10 things that I obsess over. And yet there's always a commendation about the vocals, guitar solos, lyrics, and drums... no one's being dragged behind in any of them. "Elevation" carries the themes we saw in "Friction" and "Marquee Moon," but "Guiding Light" really mellows the tone for the rest of the album. When people say Marquee Moon is one of the most influential album to the alternative and indie scene, the song I typically thing of is "Prove It;" there's something so standard about that song that really sets the benchmark of how rock music should sound like, simple yet constantly evolving, with dynamic vocals and solos that naturally come in and out of the song's riffs, closing with an extended satisfying ending. Also, it has the abrupt stops, which is one of my favorite things about punk music. Finally, the album closes with the gothic, eery "Torn Curtain." Absolutely love the yearning chorus and the isolating guitar. Best choice to close the experience.

This is a pretty great record. Television is a complete blindspot for me but seems like they should be in my wheelhouse. The guitar interplay is great. The vocals aren't amazing but they mostly work in the context of the songs. Cool record.

ой классно! -> ой похуй -> что за группа?

Wow. What a find. Never listened to them before but after Venus I knew this album was going to be a good one. I don't throw 5 stars around willy nilly, and certainly not for an album I've only heard once, so this is a strong 4.

Weird songwriting, yet impossibly cool. The lyrics are a masterpiece of tonality. Some of the hooks and melodies are to die for. I have to realise that one of the ways I judge an album is if I want to party with the band. I definitely want to party with Television.

Fun, jazzy, angular, theatrical. Your favorite band's favorite album. Paved the way for a lot of great music. Favorite tracks: "Friction", "Marquee Moon", "Elevation", "See No Evil"

Enjoyable enough but nothing that makes it standout. Suffers from lots of bands coming after that do it slightly more to my taste.

man is this thing good

Another one of those punk albums that's influenced a lot of my favourite music and more broadly favourite genres. Can hear plenty of Wire in here to the point it sounds like the same drummer. Talking Heads were for sure listening too. Don't get me started on who of my favourites it's touched but Parquet Courts is the clear call out here.

I know this record so well, and have read so much about it, review feels redundant, so I’ll leave three passing observations. 1. The clean, lapidary and chiming sound of the playing camouflages the fact that it really swings. My two-year old went ape over the first minute of the title track. 2. I used to disregard the second half, probably due to the vulnerable tone after the brasher first half; of course, now I might prefer it. 3. If, like I did, you think this is the only Television record worth checking out, here’s some happy news: Adventure and the self-titled are great records, and the live “The Blow-Up” is sorcery, especially “Little Johnny Jewel”.

I've been thinking about how to review this for a while (or "Horses", if it came up first), concerned I would go into an old man rant about how people don't make records like this anymore. I've settled on this: Records of this quality and importance are like elements of the periodic table; once they've been discovered by the pioneers who made them, we should all be happy that Platinum exists, not sad that no-one will isolate it for the first time again. Pretentious, moi?

I was a tad worried by this album's opening track being a bit too stereotypical rock, but as soon as Venus presented itself (a song I know very well) it was "smooth" sailing from then on. You can hear so much of the DNA found in the music industry in this one album, with complex percussion, fantastic guitar solos/riffs, and lyrical content that seems to actually be trying to say something. That isn't to say none of these things existed in music prior, because obviously that isn't the case, but this album takes all of those features, whether it be its poeticism, or its almost jazz instrumentation, and makes it unabashedly a rock statement. Its almost like the anti-punk, with its long songs and complete and utter dreariness when examining the world and itself, but still has this rebellious energy that can easily be found in New York at the time, but somehow this just makes it feel all so devastating. Very little artists would be able to pull off a song like Marquee Moon, yet Television did it on their first try, and that is breathtakingly impressive. This may not be an album to dance to, or an album to jam out in the car with your friends to, but its still an album to FEEL something with, and considering it bore an entire genre of its own (albeit with some help of the likes of Brian Eno and Pere Ubu years before) its no wonder that this is considered essential listening today. It just strikes you the longer it goes on that you are listening to one of the highest forms of musical art, and I cannot express how amazing yet oddly terrifying that is at the same time.

one of my favourite albums oat? and on my birthday? what a lovely little treat

An all timer. From the opening chords of "See No Evil," it's clear that Television was forging a new, unique sound that blended elements of post-punk, new wave, and art rock. Side A leads up to the iconic title track, a showcase of guitar excellence. Side B is no slouch, despite perhaps lacking a heavyweight track. “Elevation” opens the second half in a moody fashion with its minor key never letting go of a somber demeanor in addition to that angular, off-tempo guitar recording multiple times in each chorus. "Guiding Light" is surprisingly direct and heartfelt, which hits harder now given Tom Veraline's recent passing. "Prove It" provides some light-hearted fun but is still wound tight as a corkscrew. "Torn Curtain" is an appropriately weighty, minor key closer. Perfection. This album just turned 46 years old two days ago! I even have an enamel pin of the album cover's back. RIP Tom Veraline.

Bought this in '77 so really know it well, Love Toms work and you can see the influence of Television on the New York Punk scene through later bands like Talking Heads et-al. I Love the Idea that Joey Ramone could have been in the band at one time, wonder what kind of fusion that would have made? Richard Hell was a contemporary who didn't make the cut also, luckily for us as we then got the Voidoids! You can here the influence of The Velvet Underground on this album too. Love "Venus" "Friction" and "Marquee Moon". An influential album rightfully on the list here.

Angular and hooky and melodic and oh so influential, this is music for intelligent folk. It’s also the Rosetta Stone for New Wave and indie rock, a source document that would be plundered in the decades that followed. The vocals are pretty mediocre (and not too pleasant to hear), but the vibes, mood and tempo are compelling, as is the lack of studio trickery. The title track is an epic of understatement, how you can go big in rock without being utterly bombastic – it’s a minor miracle that it was recorded in one track. “Elevation” and “Guiding Light” (oh, the lilting outro) are also fantastic, simultaneously entrancing and ear-wormy. It’s amazing how much they could mine from a pretty simple and straightforward approach. One for the ages and rounding up because they have been criminally overlooked and underrated.

Tom Verlaine’s lyricism on Marquee Moon, influenced by French and Bohemian poetry, filled to the brim with puns, double entendres, and other clever witticisms, could’ve been enough to establish the record as a classic in itself, but then, the interweaving, lyrical guitar playing of Verlaine and Richard Lloyd could’ve done the same. There are very few records I love as much as this one. It has had an immeasurable impact on the way I think about guitar playing, lyricism, even music itself. High praise, I know, but it’s entirely deserved. Standout Tracks: See No Evil, Venus, Marquee Moon, Prove It, Torn Curtain

"Friction" is one of the horniest songs I've ever heard. "Marquee Moon" pioneering the brain-fuck off-time guitar part solo intro. Also pioneering self-indulgent guitar wankery at the end of the album

I have this on vinyl and is played at least once a month as It's one of my favourite albums. You can hear how it's so influential on many other bands.

The Strokes before the Strokes

Marquee Moon is the debut album by Television, originally released in 1977. Wow, this was good. Pretty much no one sounded like this in 1977. The closest I can think of off the top of my head is Talking Heads maybe? This must've been such a breath of fresh air in the punk/alternative scene at the time. This record has a mix of shorter songs and some longer jams, but it's always interesting instrumentally and lyrically. Television really avoided falling into post-punk cliches that a lot of bands unfortunately were victim of. I also had no idea they were American. This record sounds very British. Very fun listen.

So I was aware of Television and “Marquee Moon” in the late-70’s, but I was way more into blues-based heavy rock, as well as progressive rock back then… That said, I always had a very positive vibe about the band and that album in particular… So this was my first time listening to the album start-to-finish, and I thoroughly enjoyed it… It’s very clear that there is something incredibly original about this album – and there something very special about it as well… For me, the best songs on “Marquee Moon”, sound like the bridge between the traditional rock world as it had progressed to that time – and what would become the alternative rock genre that would follow… Not so much the lyrics, and clearly the vocals are not the strength of the album, but musically is where you can really notice the difference… It is worth noting that the vocals DO fit the music style pretty well – even if they are not the best from a singing perspective… I like that they had 3 shorter tracks on each side, with the closing track on each side, being the longer, more intricate compositions… IMO, the longest tracks are by far the best – but there is goodness throughout… My favorite tracks include – “Friction” – 4-stars out of 7… “Guiding Light” – 4-stars out of 7… “Torn Curtain” – 5-stars out of 7… “Marquee Moon” – 6-stars out of 7… Mainly for the music, and incredible originality… Probably a 3.75 in my book, but because of the originality and significance, I’ll clock it in at a solid 4…

The album generator didn't save my review, so all my lovely readers have been deprived of the genius flow of words that could have so enriched their lives. Who am I kidding? We are all just tiny ants shouting into the void - hear me! I matter! I have value to add! Who am I kidding? Ants all work together as part of an interconnected whole, a community, a society where no one is more important than anyone else, everyone is valuable to the whole and everyone gets on with life without complaining. It's a great album, birthing that New York sound that all your indie kid modern bands love so much. It's not for ants though. They are better than us in so many ways.

Simple melodies yet intricate guitar work. It's a fascinating listen.

A very jagged and angular listen. You can almost feel the elbows digging into your sides as the guitars move up and down the frets. That's the muso wank verdict. And I' not even a muso. But hey! Marquee Moon doesn't require a PhD in the Inky Press to appreciate it. It still sounds like no other album, apart from the endless post-punk copyists that followed... Stick with the best, stick with the original. Superb.

A classic that I came to late, 10 years ago, perhaps. It's a very good album and the guitar interplay between Verlaine and Richard Lloyd is often gorgeous and always engaging. I was tempted to give it an automatic 5 stars for it's reputation and they fact that I mostly think it's brilliant, but...... Tom Verlaine's voice keeps it from reaching the highest score. Now I can usually look past a unflattering vocal performance if the songs transcend the subjectively week vocals and I mostly do, but ultimately I can't quite get to 5. 4 .5 🌟

Another absolute classic which must have been a lightning bolt moment back in '77, perfect marriage of punk sensibilities and aesthetic with the artsy contemporaries like Talking Heads and Roxy Music. 10 minute songs?? Guitar virtuosos?? And from the 70s, but no caped keyboard players or fairytale lyrics in sight?! For me the highlights are all in the first half, in particular Venus and Marquee Moon. The album peaks with that transcendent title track, although the soft and stirring Guiding Light is a highlight from Side 2. A stronger closer would have bumped this to 5* for me but can settle with 4.5* and bottomless admiration.

That "Marquee Moon," guitar riff is so damn infectious it has kept me coming back to this album over and over. Come for that riff and stay for a group of punks that can actually play guitar. I feel like their guitar work was well beyond what most of their fast and loud contemporaries were doing. It was also just really catchy to me. I think Verlaine is a fantastic songwriter as well. Interesting imagery and delivery. That being said I feel like a few of the songs on the back half of this album were just not as fleshed out lyrically and more of a showcase of how well these guys could play guitar. For that I've got to give this one a 4.

I don't quite understand the enthusiasm in the forum. Maybe the album was groundbreaking in the 70s, but you can't hear that anymore today. I quite liked the track Marquee Moon. The rest played quietly in the background. That's fine, but it doesn't excite me. 3/5

Alright rock album. I think the cover art might be more iconic than the music itself. The music, for me, could blend in with some other bands without notice.

Another one I haven't listened to in years. I can now hear the influence/crossover of/with peers like Patti Smith and, more than anything, Talking Heads.

I shall draw the line today as the last time I ever have to listen to this bloody album. This must be the 3rd or 4th time I’ve been told to listen to this because it’s ‘seminal’. I have duly obliged in the spirit that my tastes may have changed, and I’ve been duly bored off my tits. Just a dreary dull fest, I’ll file this in my head next to the equally atrocious Talking Heads and whatever this part scene of the new wave scene was in NY at the time. Never gonna be my bag. As a side note, I spent half the album agonising over who the singer reminded me of. It was Loz Hardy of minor 90s indie band Kingmaker, of which I was once a fan. I duly put their debut album on. That hasn’t aged well either. All in all a complete waste of an evening.

Nem tetszik, olyan random semmilyen. Nem jó, de annyira nem rossz

Sounds like the Ramones a touch. Started with some good songs but went downhill from there. A lot of the later songs blended together.

Pretty generic rock music with a punk influence. I could see how this might have been an influencial album at the time, but nothing really suck out for me. Overall- fine

I listened to this last Friday and forgot to post a review until today - Monday. I don't remember anything about the album. I think that says it all.

# 375 : Enjoyable enough but nothing that makes it standout. Another album which makes you reconsider whether there are as many as 1,001 albums you must listen to before you die. Honourable mention : See No Evil

could be worse but also rly doesn't need to exist

What do you get when you cross iggy and the stooges with the Rolling Stones? Nothing good. The vocals are this weird snotty Mick Jagger ripoff sound that is nothing but aggravating. The guitar playing is pretentious and annoying. Everything else is boring and predictable. I really hope to never hear this band again. 1*

this album sucked. it was just boring rock from the 70's. i have no idea how it got on this list.

Quite mid

Dreary

I love this, after a disappointing week last week I hope this is the start to more great albums.

Første gang jeg hørte det her album, jeg har nok været 17 eller 18, syntes jeg de lagde alle de gode numre i første halvdel. I dag er det en seriøs contender til mit favorit album på hele listen, det ene nummer er lige så godt som det næste og de er alle 10/10. Lowkey et af de bedste guitar albums nogensinde

Nem 5er. Sindssygt fedt guitar musik som er umuligt at smide i en genrekasse, hører det bare og tænker "hvordan fandt I på at I ville lyde sådan her??"

A tale of two sides, or so many would point out. The A side is full of punk masterpieces, with the first three tracks being infectious guitar driven bangers that are essential pop songs with a punk edge, and capping it off with a 10-minute storytelling of epic proportions that details the nightlife of New York (but honestly, any town fits) with instrumental passages that avoke a lot of different feelings and that helped a lot of people like myself get over a tough period in life in a surrounding that didn't kindly treat the artistic kind (and still doesn't). Side B is where most people find the flaws of the thing, and beside the opener it's usually regarded as the lesser part of the album. While yes, I'd agree with the sentiment, it's not that bad. It's still a lot better than most stuff that is peddled under the post-punk umbrella. Sure, Torn Curtain is typical pansy-rock that is maybe too long for it's own good, but the rest is very good. Prove It keeps the infectious edge with its guitar work, and Guiding Light has that intimacy factor that really works in its favor. But still, even with all of its flaws, this is a very nice package of punk that I'd recommend to anyone, and am very proud to own. ⭐⭐⭐⭐⭐

It was life changing in 1986, when I found a cheap cassette in the re it’d store at the mall. I studied every riff on this record. Magical.

Love this album and this band.

## In-Depth Review of *Marquee Moon* by Television Television's *Marquee Moon*, released on February 8, 1977, is widely regarded as one of the most groundbreaking albums in rock history. As the debut album of the New York-based band, it diverged from the raw simplicity of punk rock and introduced a more intricate, cerebral approach to music. Below is an in-depth analysis of its lyrics, music, production, themes, influence, and a balanced evaluation of its strengths and weaknesses. --- ## **Lyrics** Tom Verlaine's lyrics on *Marquee Moon* are poetic and impressionistic, blending urban and pastoral imagery to evoke themes of discovery, transcendence, and youthful exploration. Influenced by French poetry and Bohemian decadence, Verlaine often used puns and double entendres to create an atmospheric quality in his storytelling. For instance, "Venus" narrates a surreal experience with lines like "Broadway looks so medieval," capturing a psychedelic yet grounded sense of place[1][2]. The lyrics are rich in maritime metaphors, such as the "nice little boat made out of ocean" in "See No Evil," and references to docks and waves in "Prove It." These elements contribute to a sense of urban mythology, transforming mundane settings into legendary landscapes. Critics have noted that Verlaine's lyrical approach captures the confusion and intensity of youthful self-discovery[1][3]. While Verlaine himself admitted to not fully understanding the meaning behind some of his lyrics, their ambiguity allows listeners to project their interpretations, making the album feel both personal and universal[1]. --- ## **Music** Musically, *Marquee Moon* is a masterpiece of guitar interplay. Tom Verlaine and Richard Lloyd abandoned punk's power chords in favor of intricate melodies, counter-melodies, and jazz-inspired improvisation. The album features extended instrumental sections that blend precision with spontaneity. Tracks like "Marquee Moon" (clocking in at nearly 11 minutes) showcase this dynamic interplay with interlocking guitar lines and snaking solos that build tension before resolving into climactic moments[1][2]. The rhythm section—Fred Smith on bass and Billy Ficca on drums—adds a syncopated foundation that complements the guitars' complexity. This tight yet fluid interplay creates a sound that is both cerebral and visceral. Songs like "Friction" and "Elevation" highlight this balance between structure and exploration[2]. The album's pacing is also noteworthy. The first half consists of shorter, hook-driven tracks like "See No Evil" and "Venus," while the latter half delves into longer, jam-oriented compositions like "Torn Curtain." This structure provides a sense of progression and variety[1]. --- ## **Production** Produced by Tom Verlaine alongside Andy Johns (known for his work with Led Zeppelin), *Marquee Moon* achieves a clean yet raw sound. Unlike many punk albums of its era, it avoids excessive compression or effects, allowing each instrument to shine distinctly within the mix. This uncluttered production style enhances the album's clarity and highlights the technical prowess of the musicians[1][3]. Johns' experience with classic rock bands likely influenced the album's polished yet organic feel. The guitars shimmer with a natural tone that contrasts sharply with the distorted aggression typical of punk rock at the time. Even during chaotic moments, such as the climactic section of "Marquee Moon," the production maintains a sense of balance and cohesion[2]. --- ## **Themes** Thematically, *Marquee Moon* explores adolescence as a period of discovery and transformation. Its lyrics often depict moments of revelation or transcendence within urban settings—particularly Lower Manhattan—which was central to Television's identity as part of New York's CBGB scene. The album also reflects Romantic ideals through its focus on perception and emotional intensity. Songs like "Venus" capture fleeting moments of clarity or euphoria that feel almost mystical. This thematic depth sets *Marquee Moon* apart from its contemporaries in the punk scene[1][3]. --- ## **Influence** *Marquee Moon* has had an enduring impact on rock music. It is often cited as a foundational work for post-punk, new wave, and indie rock movements. Bands like Talking Heads, Sonic Youth, R.E.M., and The Strokes have all drawn inspiration from its intricate guitar work and introspective tone[1][3]. The album's emphasis on melody over aggression was revolutionary for its time. It demonstrated that punk could be intellectually stimulating without sacrificing energy or immediacy. Critics have noted that its influence can be heard in everything from angular post-punk guitar riffs to modern indie rock's emphasis on atmosphere[2][3]. --- ## **Pros** 1. **Innovative Guitar Work**: The interplay between Verlaine and Lloyd is unparalleled, blending technical skill with emotional resonance. 2. **Lyrical Depth**: Verlaine's poetic approach adds layers of meaning to each song. 3. **Uncluttered Production**: Andy Johns' production allows every instrument to shine clearly. 4. **Cohesive Themes**: The album captures a sense of youthful discovery while maintaining an urban edge. 5. **Enduring Influence**: Its impact on post-punk and indie rock cannot be overstated. --- ## **Cons** 1. **Accessibility**: The album's complexity may alienate listeners expecting straightforward punk rock. 2. **Lengthy Tracks**: Songs like "Marquee Moon" may feel indulgent to those who prefer concise compositions. 3. **Vocals**: Verlaine's voice is an acquired taste; some may find it too nasal or detached. 4. **Lack of Groove**: Compared to other punk acts like The Ramones or Blondie, Television's music lacks rhythmic immediacy. 5. **Commercial Appeal**: Despite critical acclaim, *Marquee Moon* struggled commercially in the U.S., partly due to its unconventional sound. --- ## Conclusion *Marquee Moon* is a landmark album that redefined what punk rock could be by introducing elements of art rock, jazz improvisation, and poetic lyricism. Its intricate guitar work, introspective themes, and clean production set it apart from its peers in the New York punk scene. While it may not appeal to everyone due to its complexity and lack of immediate hooks, *Marquee Moon* remains a timeless work that continues to inspire musicians across genres. Its strengths far outweigh its minor flaws, making it essential listening for anyone interested in the evolution of alternative rock.

Another blueprint album that has echoed down the decades. Polymath

One of my all time favourites. Full of character and spirit, containing a unique mix of rock songs that don't sound like anything else released before or after it. All the pieces just seem to fall in place for this album, where every member of the band delivers an interesting performance to every track. The title track might just be one of the best songs ever written, and tracks like "Venus", "See No Evil" and "Torn Curtain" also hold a special place in my rotation. A consistently artistic piece which remains impressive even to this day.

Fantastic album, an album you can easily listen to it on loop! One of the easiest 5/5 on this project ;-)

THANK GOD

Every time I listen to Marquee Moon it sounds fresh and new. Amazing that the CBGB's scene spawned artists as strong, yet as singular, as The Ramones, Blondie, Patti Smith, Talking Heads and Television. This is possibly prog-punk, the intricately weaving, spiky yet melodic guitar lines, jazz-like drumming and solid bass surrounding Tom Verlaine's unmistakable voice, and the soloing is stunning - this album has influenced so many indie and art bands, few of whom ever come close to matching this. Nor did Television really. There isn't a low point on the record but the opener, See No Evil, Prove It and, especially, the 10 minute + title track, are superbly good. As much as I love those other bands from the New York Punk scene, Marquee Moon is the pinnacle.

Großartig

Often imitated but never bettered. You can hear its continuing influence in every week's new releases.

4.5

With a bullet

Great freakin album the title track if all kinds of great! Near perfect album.. But this may only be the third time I've heard it since the late aughts. If I had discovered this in the 80s, I probably would have been all over it. (9.88) ★★★★½

NOW we're talking. This is the kind of discovery I got into the 1001 for - I've heard of them and this album, but never listened to them. GREAT album. Love the song-writing, the guitar interplay, and the proto-new wave sound. And this is a rare case where I agree with Robert Christgau (asshole critic for the Village Voice who seems to hate almost every album that made the 1001) - he picked it as his favorite album of 1977. I wouldn't go that far - a lot of great albums came out that year, including Animals, Low, and Heroes - but it definitely deserves to be ranked toward the top of a great year of music. Outstanding. Favorite tracks: See No Evil (great guitar lines), Friction (awesome rocker), Marquee Moon (what a song - favorite line: "I spoke to a man down at the tracks / and I ask him how he don't go mad / He said 'Look here, junior / Don't you be so happy / and for heaven's sake don't you be so sad'"), Elevation (love the guitars again), Torn Curtain (strong, dramatic ending - what a great album!).

Love love love this. Love the sneering vocals, the guitar tones, and the romance of it all. I remembering being underwhelmed coming to this after being a 90s altrock kid and then getting into rock n roll history. But over time this has become a more frequent player than the Stooges or the VU (two bands I adored in my early 20s).

Heck yeah. This album kicks ass. The right mix of everything that I like in a record. Tight, well played, no skips. There's a reason this album is on so many 'best ever' lists. Thoroughly enjoyed it. 5 stars.

Cool shit. Been listening to this for years. It's definitely stood the test of time. The guitar playing is masterful. Slightly underrated I think. One of the best debut albums ever?

5 - mastapiece

Absolute classic CBGB stalwarts create a new sub genre of edgy guitar art pop.

Perfection. An all time favourite.

Somehow captures a time and place, ie 70s manhattan by very vague feeling of course, I wasn't there, while sounding like nothing else. I wish guitarheads paid more attention to what Verlaine and Lloyd were up to, but they are to busy sweep picking or some shit. My brother put it best, the guitar solos on this album need lyric sheets. The playing is true poetry and the lyrics are too. Love Billy Ficcas drums. Bass is adequate. Joking, there are some nice riffs.

One of the best albums ever!

Have listened to this album (and the band) a lot recently coincidently. This is some of the most ahead of its time music ever, I totally believe that if something like this was released today, people would still say ''this sounds like nothing else''. This seems like a pre-cursor to ''post-rock'' stuff, as it takes, on paper, very simple rhythm guitar parts experiments with song structures. Vocals perfectly suit the songs. I love the subtle piano parts on some songs. Everything just feels perfectly unique to them. Favourite songs: all of them (not in a lazy way, they are all just the best). However my absolute favourite could be torn curtain. Overall around 10/10

Great record. I love 70s punk and while I wouldn't really call this punk, it's fantastic. I had heard this album before but it's been ages and I kind of forget about Television in general. Listening to this album today has reminded me how great they were. I will definitely be going back through their catalogue and listening to their other albums. This is a great example of why I like this list - this wasn't really unknown to me, just forgotten, and having it come up for my listening today will make me re-explore. It's almost like finding a new band you really like. 5/5

A gem lf a record. Glad I got to see these guys live once, though they didn’t have a ton of material to draw from so spent a lot of time jamming which was a bit unimpressive.