Of all the major bands to come out of the CBGBs Era, it was Television who remain arguably the least fully appreciated. Despite releasing two magnificent albums of guitar-driven art-punk (Marquee Moon and Adventure), the New York band never passed into the MTV circle of their peers in Talking Heads or Blondie, for instance.
Perhaps lead guitarist/singer Tom Verlaine's introvert nature kept the band from pushing themselves as a commercial entity (no Big Suits for our boy!); perhaps it was their record label's unwillingness to push a singer whose crooning style was at least one yelp higher than early David Byrne. Whatever the reason, Television's inability to rise out of cultishness remains a great what-if? question for the band's admirers.
Once the group disbanded –- and its dual guitarists Verlaine and Richard Lloyd went their separate solo ways –- it was clear these guys would carry the mantle of Criminally Unappreciated Critic's Darlings in perpetuity (though Lloyd would etch out a nice little career doing guitarwork for the likes of Matthew Sweet and John Doe).
For members of the cult, though, the recent reissue of two of Verlaine's post-Television releases, Dreamtime and Words from the Front (Collector's Choice Music), is good news indeed. The latter disc, in particular, has been too long M.I.A. Though some fans consider it the least successful of TV's albums, in a lot of ways it's his most consistently accessible.
But let's start with the earlier of the two new reissues, 1981's Dreamtime. Recorded with two different backing units (members of Patti Smith's group, the Dictators and, of course, Television among 'em), in part because a tape snafu ruined some of the earliest finished recordings, the disc sounds more cohesive than it perhaps has a right to do. Of the two reissues, it's closer to Television in sound -– particularly in those moments when Verlaine guitar duels with future how-to music writer Ritchie Fliegler, who brought a bracing sixties sound to the party (I assume he's responsible for the Bryds-ian guitar on "Mr. Blur").
While some of the fun gets lost in a muddy Stones-y mix (perhaps to match the "Jumping Jack Flash" homage of "Future in Noise"?), the results remain inventively clamorous in all the right places. Even the goofy placeholder instrumental has its charms.
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