Television’s “Marquee Moon”

This week, I’ve been discovering Television’s debut LP “Marquee Moon” from 1977. Somehow, this band has managed to escape my notice until now. It’s a shame it took this weekly project for me to learn about them. This album immediately became one of my favorites. Television played post-punk when punk rock was in its infancy.

Proto-punk generally favors shorter straight-forward songs with little-to-know instrumental sections; Television goes off into more complicated song structures that display some influence from The Who. A few moments would vaguely remind me of The Who’s 1973 album “Quadraphenia” which is also one of my favorites.

The album opens with “See No Evil” introducing the sound of the album. We have drums and electric bass guitar in the center. There are three guitar: one purely rhythm guitar in the left channel, a rhythm-lead in the right channel, and the solo lead in the center. The clean rhythm-lead guitar runs through a series of melodic picked riffs. I especially like the arpeggios in the chorus that continue even as the other instruments rhythmically pause. of New York City rock-n-roll lead vocals of Tom Verlaine grab the listeners attention much like those of New York contemporary Patti Smith. Television has a similar sound as Patti’s band on “Horses” and I love that raw dirty-clean guitar sound.

I love all of the songs on this album, which made it difficult to only choose a few to discuss. I’m skipping over the epic title track “Marquee Moon” mostly because it’d be so much to tackle. It’s the song that first made me think of “Quadraphenia” with the end of the song reminding me a lot of “Reign O’er Me.”

Guiding Light” really caught my attention. It stands out as being one of the slower songs, almost leaning towards a spiritual sound. The song starts with clean guitar arpeggios repeating a I-IV chord pattern. This is joined by bass and a piano beautifully accompanied by the echo of the room. The unusually long prechorus has two parts, the first in V-I chord progression and the second part II-IV. The chorus is a standard I-V progression, with the final I getting extra emphasis as a strong cadence. One thing I love about this song is the use of the natural room ambience and space between the instruments and notes. It’s a very natural sound.

The lyrics feature a nice mixture of poetic and straight-forward rock n roll. For example, I especially like the last two lines of the first verse of “Guiding Light”: “I hear the whispers I hear the shouts And though they never cry for help”. What does it mean? I’m not sure I could say. It’s not even really a complete sentence, but it feels. I saw the lyrics described as “impressionistic” and I’d say that’s correct, though I may be putting my own interpretation on what that person meant. You more feel the meaning of the lyrics than you could possibly getting out of them directly.

I fell in love with every song on this album. This one will get frequent listens from now on. I’m only disappointed it took me so long to actually hear it.

Fleetwood Mac’s “Rumours”

Fleetwood Mac's "Rumours" album coverI spent the past week listening to Fleetwood Mac‘s 1977 album “Rumours” which is considered by many to be one of the greatest ever. Before I get into that, let’s go back to my childhood again. This album came out two weeks before my birth. Radio played the singles with heavy rotation during my first few years. My family bought a CD player in 1985 and we soon acquired this album on CD. I grew up hearing this album, but I haven’t listened to it much on my own until this week. What did I learn from this album to improve my own craft as a songwriting musician?

One of the best-selling albums of all time, Fleetwood Mac’s “Rumours” stands as a quintessential example of mid-late 1970s soft rock. This album is well-crafted and immaculately produced to a fault. I find the sound so likeable and easy to enjoy that it becomes unbearably pleasant. I hesitate to say there’s not enough risks taken, because much of the music is very inventive. It even feels odd to complain that the album is too good. It feels so awfully like it aims to please, which is often at the cost of sincerity.

However, these are not lyrically happy or pleasant songs. Feelings of heartache, listlessness, lost love, emptiness, and pain run throughout the album. This comes as no surprise considering the atmosphere they wrote and recorded the songs in; Two of the band members were going through a divorce (from each other), two other band members were in the process of breaking up, and another was divorcing his wife. We can hear the band members speaking to each other about these situations through the songs. The strong songwriting, musically and lyrically, shines through the pleasant soft rock feel making the album worthwhile.

My favorite track on the album is “Dreams“, which was written and sung by Stevie Nicks. At 12 years old, I recorded a song with a chorus of “Once you’ve been and once you go”;  Only years later did I realize that they mimicked Stevie’s “what you had and what you lost”. In addition to her songwriting, Stevie’s amazing voice makes this song stand out. I think they would’ve done better if she sang lead on more tracks.

The song is in Am at a moderate tempo of about 115 BPM. Interestingly, most of the song plays through a VI7-VII (F-G) chord progression. They touch the tonic Am chord only briefly during the guitar solo. I like that this keeps the song feeling like it never really resolves, but when it almost does it feel particularly sad because it does so with a minor chord.

Christine McVie track “Songbird” feels like Joni Mitchell lite, but I like it. Part of the attraction may be that it is a break from the soft rock. I don’t think much of the lyrics, though I like the titular line “And the songbirds keep singing, like they know the score.” The accompaniment follows a I-IV chord progression, with some ii and vii during the second half of the verses.

Second Hand News” does a great job of opening the album. Full of the breezy production of “Rumours”, but also with a good driving rhythm.  It feels like rolling down the windows and driving in the country on a nice summer day.  In contrast, the first two lines fittingly introduce the album: “I know there’s nothing to say; Someone has taken my place.” It’s strange to think how the words are directed at Stevie Nicks, but she’s singing backing vocals.  The verses about the breakup end with some uncouth lines “Won’t you lay me down in tall grass and let me do my stuff.” Lindsey delivers the lines enjoyable making the listener want to sing along. Then go into the catchy, but decidedly meaningless, chorus of “bow bow bow buh bow bam bow”.

Slate ran an article a few years ago with the subtitle of “Why is Fleetwood Mac the least influential great band ever?”  I don’t know their answer, but I agree with the question. While these songs are all well written, well performed, and immaculately produced, they fail to inspire me as a songwriting musician.  The whole album is good, but it doesn’t excite me.*

* Update (May 22, 2018). I may have to retract my original statement about not being inspired by this album.  So much of what happens on this album musically and lyrically keeps coming back to me, and I’m finding its influence appearing in some songs I’m writing now.

Patti Smith’s “Horses”

Patti Smith's Horses album cover

I listened to Patti Smith‘s 1975 LP “Horses” for the past seven days. There’s a lot to learn here as a songwriting musician. I’ve heard about Smith for years;  I have fans as friends; Yet, this week was the first time I’ve heard her work, and  I love it. It sounds incredibly like 1970s New York City, sitting somewhere between the sound and intelligence of Lou Reed of the Velvet Underground and the attitude of the Ramones. This album features fantastic lyrics, great music, great production, and cool vocals.

The lyrics star as the focus of “Horses”. With this debut album, Patti Smith produced a rock n’ roll version of the way beat poets like Jack Kerouac gave poetry readings with jazz accompaniment. She arrests your attention within the first twenty seconds; “Gloria” opens the album with the powerful line “Jesus died for somebody’s sins, but not mine.” This is not a cover of Them’s “Gloria” or even a re-interpretation. Smith uses the classic garage rock song as source material they way an artist uses an image in collage. Considering that “Gloria” is one of the most covered songs in rock, the use of the chorus gives the audience something they know to keep them invested with the first listen. However the refrain may be using “gloria” as a word rather than a name ironically connects the chorus to the opening line.

In the song, Kimberly, Patti speaks about the desire to keep her little sister safe. She does this through an overt narrative of being in a barn with her baby sister during a storm. The lightning is frightening, so the older sister distracts her baby sister and covers her to hide the flashes. With lines like “I knew your youth was for the taking, fire on a mental plane,” there is suggestion that she’s worried about more than a storm during her sister’s infancy. A verse towards the end of the song, more spoken than sung, demonstrates Smith’s great command of poetry and imagery:

So I ran through the fields as the bats with their baby vein faces
Burst from the barn and flames in a violent violet sky
And I fell on my knees and pressed you against me
Your soul was like a network of spittle
Like glass balls movin’ in like cold streams of logic
And I prayed as the lightning attacked
That something will make it go crack

The lyrics are perhaps at their most dense and intense in “Land” where they also provide the album title “Horses”. The tell a troubling story about a young man named Johnny being raped in the hallways of what is probably a high school during the mid-1960s. Then later the speak has a romantic encounter with Johnny.

The lyrics incorporate several references to Land of a Thousand Dances. I consider these lines as drifting in from down the hall. Perhaps the hallway scene takes place during a school dance. She layers these references to dances of the 1950s and 60s with the rape; Names of dances like the Twist and the Watusi become descriptions of the act. Johnny’s mind escapes into another world, his assailants become as horses. After they finish off on Johnny, an angel or somebody named Angel taunts him “Oh, pretty boy, can’t you show me nothing but surrender?” Then the song further explodes poetic chaos.

There’s ambiguity and layering references to film noir, teen dances, sex, romance, rape, rock n roll, and the poet Rimbaud. They are cut together like a William S. Burroughs cut-up. I sensed this as a long time-Burroughs fan that has experimented with cut-ups many times. However, I also have read this week that Smith was inspired by the novels of Burroughs. Similarly, she has layered vocals so that disconnected lines interact with each other; Interactions like these cause our brains to interpret and fill the space between with meaning. I have always loved methods of layering and creating juxtaposition in all forms of art, and this song is a brilliant example.

And after a description of Johnny leaning against a parking meter, with a vision of him humping it, she ends with a vision of a man dancing to a simple rock n roll song, in the sheets. Is this the bed where Johnny screams out and nobody hears “the butterfly flapping in his throat”? This to is unclear. Is the “simple rock n roll song a Land of a Thousand Dances, or some other song? It’s most likely not self-referential; Of all that “Land” is, it’s definitely not a simple song. To me, this may suggest rock n roll itself as the savior of troubled or misfit youth. In the Velvet Underground’s “Rock N Roll“, Lou Reed described how “Despite all the amputations, You know you could just go out and dance to a rock ‘n’ roll station.” Patti Smith closes this troubled tale of Johnny with:

In the sheets
There was a man
Dancing around
To the simple
Rock n roll
Song