Television- Live at the 930 Club
Published March 25, 2003
It's almost incredible to me, a fan of them retrospectively, that they were so underrated at their height. (Perhaps the accumulation of junk since that time has much to do with now seeing the diamond in the rough) Verlaine and Lloyds' fingers were quicker than a two year olds reaching for something forbidden, it was mesmerizing at times to just take in their plinkings and chord changes. As a novice at the guitar, their fingerings seemed textbook perfect, not a note misplaced or strumming off tempo, they could play with their eyes closed (heck, at one point, Verlaine applied an electric drill to his Axe).
The crowd was mostly middle-aged men, no surprise I imagine. Not many females, the ones there mostly appeared to be wives/GF's of the middle aged men. There were a few pre/teenage boys there who flanked the front of the stage and stared with awe at Verlaine and Lloyd. Much like I would have had I opted for staying on the floor, instead I took my often used perch on the balcony stage right, looking directly over Lloyd.
Fred Smith is not the dynamo that is Clint Connolly on bass. I had the great opportunity to see Mission of Burma reunited a few weeks back and I had originally thought to write up the two shows as one review. Despite whatever common grounds the two bands share, their differences made for two very different concert going experiences. Smith is, however, a solid rhythm player. He held the bottom steadfastly during the guitarists jamming and soaring solos (with their sporadic breaks in playing and quick tempo changes it is harder than you'd imagine). While the lines may not have been as interesting, they provided the essential glue to keep everything together.
The set list was heavy on Marquee Moonand also included a spattering of 3 new songs (which were not introduced with names, unfortunately). The new songs were true to Television form and quite good. I really hope to see them released at some point soon. Verlaine's voice still has that almost fragile tenor at times that just drips with raw emotion. Raw? Perhaps not raw because it is too... pretty... to be raw.. Bittersweet perhaps? Pain dusted with a bit of sugar?
Sure there was posturing and grimacing (mostly by Lloyd) and it did seem a bit like they were acting a bit too much, but the music did not lie, it was Prime Rock. I suppose I am not as jaded on the theatrics as so many bands of more recent years encourage the crowd to do little more than what I call the "indie head-bob". The set list was pretty predictable based on the 92 reunion and the shows in NY and Philly but there were a few gems. Prove it was phenomenal, Marquee Moon was sugar on my tongue.
- Television- Live at the 930 Club
- Published: March 25, 2003
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- Section: Music
- Filed Under: Music: Alternative Rock, Music: Rock
- Writer: Jen Rajkowski
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Comments
I never saw Television, but I did get a chance to see Tom Verlaine on a solo acoustic tour, and he was amazing, since from his work with Television, you'd never think, "yah, this would work on acoustic".
I also met Billy Ficca when he was with the Washington Squares and spent the whole time talking about Television and The Waitresses.
Television are one of those bands who never lived up to their debut album however.
It's funny, although I was exposed to Marquee Moon first, I actually spend more time listening to Blow-Up and Adventure, for whatever reason they affect/infect/effect me more. Not the popular view I know. Verlaine solo/acoustic is something I really hope to catch live!
I think the best part of seeing Tom Verlaine do an acoustic show was afterwards. He puts his guitar (I think an Ovation, as I recall) in its case, says he has to talk to the club owner to get paid, comes back and chats with the fans. So cool. Then he gets into a cab and off he goes. Shouldn't most shows be like that?
I had a seminal moment with Richard Lloyd at one of the Bottom Line's periodic Sixties-tribute nights a few years back. After a string of Brit-Invasion covers by local artists, the lights go down and there's this gigantic squall of teeth-grinding feedback that's easily twice as loud as anything that's preceded it onstage.
"Richard's here," someone deadpanned from the audience.
And indeed he was, systematically disassembling Donovan's "Season of the Witch" with a fire and passion I have rarely heard in any musical context, much less a one-off quasi-giggle gig like this one, combining Neil Young's jagged lumbering with a fretboard connipition that would impress Frank Zappa. Stunning, especially given the fact that the last thing anyone expected that Friday night in Manhattan was actual art.
PS don't forget Lloyd's seminal work with Matthew Sweet circa "Girlfriend" and "Altered Beast" alongside Robert Quine. Sure, Verlaine gets the glory, but Richard had the guts that made Television much more than King Crimson on a Baudelaire kick.
So well put! Ironically enough, my favorite band, Luna, covered Season of the Witch as well, I would have loved to hear Lloyd's interpretation.. you know, I never really embraced Matthew Sweet, but I think I'll go back and take another listen. Lloyd can sound like an airplane as well as he can sound as fragile as a piece of glass..









Sounds great Jen, I'm jealous!