This is Television's defining moment! General Comment pure poetry. Or a title given to a headliner. General Comment The moon is a symbol of virginity and has long been associated with it. Artists - T. Marquee Moon is found on the album The Blow-Up. Rate These Lyrics. We do not have any tags for Marquee Moon lyrics. Why not add your own? Log in to add a tag. More Television Lyrics. SongMeanings is a place for discussion and discovery.
User does not exist. Incorrect Password. Remember Me. Join Now! I got together with Tom to talk about drummers. And Billy was all over the place — but in a good way. You know, without a crazy drummer, a guitar solo can sound wimpy. We started rehearsing and we were having a great time. But Tom was already getting frustrated with Richard Hell, because Richard never practiced.
Sad to admit, when Christmastime came, and Billy left for a week to go visit his father, we did audition other drummers behind his back. And they were great players.
But it was rehearsing with them that made us realise that no one fit like Billy. But there was no place to play. Finally, we rented The Townhouse Theatre, an seat theatre on 44 th Street. We put up flyers that Hell designed. The four of us went around with paste and paintbrushes, and we plastered the lower west and east sides.
But anybody who has the nerve to walk up to me on the street and ask me for a quote , well, I know you must be good. Meanwhile, Terry knew people in the film industry, and asked Nicholas Ray , the director of Rebel Without A Cause , to come down to the loft to see us.
Terry offered him a gallon of wine. So, Nicholas Ray came down, and sat on the edge of the bed in his eyepatch, drinking wine, while went through our ridiculous repertoire. We took out a little ad in the Village Voice newspaper, and, on the night, we were surprised: 88 seats, and we filled most of them. We were all over the map.
Especially in singing, when Tom would want a three-part harmony. Neither he nor Hell can hold a goddam pitch. We got into these huge arguments about who was off. I had decided that I wanted my hair to be blue for the gig, but I was scared of getting my ass kicked on the street. So, before the gig, I bleached my hair, and bought a bunch of food colouring. I figured I could put that on, and then wash it out.
So I had blue and green, red and yellow hair. We did a two-part set, and during the first part the lights were so hot that all the colour started running out of my hair, down my face, dripping over my t-shirt and guitar.
After we had to rent our own theatre to get a gig, we started talking about where else there was to play. In my mind, I was thinking about The Beatles, when they were playing four or five sets a night in Hamburg. I thought, we needed that: to play multiple times a night, to really hone ourselves, and build an audience.
Tom lived on the Lower East Side, and we rehearsed in Chinatown, which meant that, when Tom walked to rehearsal, he walked down The Bowery. Now, The Bowery had a reputation, but it was not a dangerous place, because it was just full of drunkards. The most drunkards are likely to do is beg you for enough cash to buy a drink. You can just step over them on the street. We needed a place that sounded good, but that was off the beaten track, a dive, where nobody else would want to come and play, so we could become like the house band.
That was the plan: get a club that allows music, and sort of take over. Tom said he had seen a guy outside this place, working on the front, and asked if one of us would go back with him to talk to the guy. We looked up at him. So, Hilly took us inside. And there was a little stage on the left, that he wanted to move right to the front, facing the back. We talked him out of that. If people come in right next to the band, how are they gonna leave, except to walk right in front of the band?
The stage as it was was on the left, in the middle. And then he had all these open rooms in the back, towards a kitchen that never would have passed inspection.
I mean, Jesus Christ. Probably the best place is to set it up in the middle, and then use those back rooms behind as dressing rooms and whatever. That way, people sitting at the bar can see the band, and you can put some tables up. So, we physically helped Hilly move the stage, from where it was, to where it ended up. We designed that stage. We put it in three levels. We were thinking of how Ringo always had a big drum riser. We did three steps; the top step for the drums, the middle for the amplifiers, and the bottom rung for the singers and players.
And it worked out — the club sounded really great. Hilly asked us what kind of music we played. We said rock. Give us a chance. The next day, I went back to the club with Terry Ork, and we tried to talk Hilly into letting the band play. Terry was very clever. And everyone I know is an alcoholic. We played through super-reverbs, no peddles, no stomp boxes.
Just a pretty clean sound. One dollar. But that made us professional musicians, so we were ecstatic. It was a success. Hilly gave us four Sundays in a row at first. Pretty soon, other bands started hearing about it, and started coming down asking for a gig.
You know: Country Blues and Bluegrass, that was where Hilly was coming from. Basically we steamrollered over him. Tom came up with this idea, based on double-features at the movies: two bands each night.
Never more, never less. Each would play two sets. The place got packed, really crowded, really quickly. But, she came in after we were already filling the place. She came in originally with her trio: her, Lenny Kaye and Richard Sohl on piano. But when they saw what was going on, they began to move in a more rock direction. Sure, the place was a dive. We were like hobos to them — but there was almost a glamour to the poverty.
Nobody had really done that before. Up till then, in rock and roll, everybody wanted to be in the finest shoes. Everybody was chasing this glamorous high-life. We wanted to be successful, of course.
We wanted people to hear us. Around this point, as CBGB was beginning to take off, labels were showing interest. Patti Smith dropped Horses in , while Blondie and the Ramones had their self-titled debuts hit shelves a year later. The first 20 droning seconds are akin to a religious experience, something that could be looped to infinity and hypnotize a sweaty punk congregation. Verlaine lays down an understated repetitive rhythm track—four strums of a B minor, four of a D5, over and over and over.
Guitarist Richard Lloyd cuts in with a double-stop guitar flourish that tightly zigs where Verlaine zags. Fred Smith then adds an efficient but rumbling bass line for a few bars just before Billy Ficca joins the party with a kinetic drum fill. Also among that cluster of legends in the making was band arguably more influential than any of the above, but never able to achieve the same commercial success: Television.
Led by guitarist Tom Verlaine, Television developed a sound that helped lay the groundwork for what came to be known as post-punk. Sparse, interlocking guitar lines between Verlaine and Richard Lloyd, matched with melodic bass melodies and Verlaine's smart and poetic lyricism, using New York City as the backdrop for his impressionistic musings.
Television convinced Kristal to give the band a residency the club's first , where they further worked on songs and grew a devoted audience of fans, including many of their contemporaries. Sometimes they drive you crazy cause they get out of time yet so close to Persian. But they are worth all temperance cause when they hit it you get shot with light you never felt.
They transcend every obstacle and heartache and bad night.
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