On the album's sound, Mark Deming of AllMusic writes, "Where Marquee Moon was direct and straightforward in its approach, with the subtleties clearly in the performance and not in the production, Adventure is a decidedly softer and less aggressive disc, and while John Jansen 's production isn't intrusive, it does round off the edges of the band's sound in a way Andy Johns ' work on the first album did not.
Ken Emerson of Rolling Stone wrote, "By daring to be different, Adventure lives up to its title, but it also comes as something of a disappointment because it lacks the jagged tension and mysterious drama that imbued last year's Marquee Moon with such dark but lucid power. The difference is more a function of material than of the new album's relatively clean, calm, reflective mood. The lyrics on Marquee Moon were shot through with visionary surprises that never let up. These are comparatively songlike, their apercus concentrated in hook lines that are surrounded by more quotidian stuff.
All tracks are written by Tom Verlaine , except where indicated. From Wikipedia, the free encyclopedia. This article's lead section may be too short to adequately summarize the key points. Please consider expanding the lead to provide an accessible overview of all important aspects of the article. July Retrieved December 25, Archived from the original on August 3, Retrieved July 6, The only rough edge is Tom Verlaine's striking warble, a somewhat choked-off tenor influenced either by Patti Smith or by someone kicking him in the throat.
But the things that make the record so classic, that pump your blood like a breath of clean air, are the guitars. This whole record's a mash note to them. The contrast between these two essential leads is stunning: Richard Lloyd chisels notes out hard while Verlaine works with a subtle twang and a trace of space-gazing delirium. They play lines that are stately and chiming, rutting and torrential, the riff, the solo, the rare power chord, and most of all, the power note : the second pang on the riff to "Venus de Milo" lands like a barbell; the opening bars of "See No Evil" show one axe rutting the firmament while the other spirals razorwire around it.
If Jose Feliciano had rearranged "Marquee Moon" the way he ruined "Light My Fire"-- by emphasizing the melody and lyrics and ditching the solos-- he'd have failed Television even worse than he did The Doors; every part of the song is a bridge to the monstrous Verlaine showpiece, and yet his guitar solo has no bombast: it climbs and soars in tangible increments, edging its way up scales and pounding like a contained explosion. The structural integrity makes this an Eiffel Tower in a world of Burning Men: in a decade full of guitarists spraying sweat on the arenas, Verlaine comes off like a man punching through ceilings.
Rhino's remastered release of 's Marquee Moon adds a few alternate takes; for example, you can hear "See No Evil" with guitar solos scrawled all over the verses. But you also get the first-ever CD release of "Little Johnny Jewel", a raw single that twangs and skitters around Verlaine's bug-eyed singing. So if you're new to Television but shy about picking up this bedrock masterpiece for the first time, just tell the cutie at the record store that you're buying it for that single, which alone would be worth the price.
With Marquee Moon entrenched in the canon, it's more interesting to revisit their follow-up, Adventure. Carried Away. The Fire.
Ain't That Nothin'. The Dream's Dream. Days Tom Verlaine. Foxhole Tom Verlaine. Careful Tom Verlaine. Carried Away Tom Verlaine. The Fire Tom Verlaine. Ain't That Nothin' Tom Verlaine. The Dream's Dream Tom Verlaine.
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