Actually, it looks like I’m inaccurate in calling the shortened version a “single” version. At any rate, I mean did you listen to the whole song or some shortened version that cuts before the solo?
Yeah, Steve had some monster solos with Genesis. “The Musical Box”, “Dancing With The Moonlit Knight”, “Firth of Fifth” (especially the live one), “Ripples”… Hackett is one of the few guitarists that actually give me chills listening to his solos.
I was a little surprised to see Richard Thompson missing from the list.
I heard a short version. Thanks for the link, listening now and will report back. I was completely unaware of this group before seeing your post.
Well, I don’t mean to offend you, but I thought that was just horrible. It sounded like a garage band, and that extended solo was aimless noodling. It was not particularly skilled or artistic, but it goes on and on with self-indulgence. Marquee Moon was released in 1977. If it had been 1966 I would have given them huge credit for innovation, but by 1977 this is nothing new.
Were they getting any airplay or was this a non-pop success?
My absolute favorite is his work on Every Day.
Television found, and retains, cult success. Sorry you didn’t like it - lots of diehard fans disagree, including me. I love the interplay between the twin guitars and the jittery rhythm section - such a direct, sharp, weaving sound. YMMV.
On reading your post, I downloaded the entire album and have listened to it twice. I can see how they could develop a following, and have some good stuff to offer. But I still just can’t see the solo from Marquee Moon as a memorable one, much less one of the best of all time.
I’m not going to be offended. I love Television’s guitars, but it’s not the solos I’m most drawn to, but the interplay between the guitars.
I’m not sure I would count the solo to Marquee Moon as one of the top ten guitar solos of all time overall, but it certainly is one of the top ten solos of the punk/post-punk era. (I mean, hell, it made #40 on the Gibson list this thread is about. It also made #5 on a recent Rolling Stone list of the 25 coolest guitar solos.) It’s absolutely perfect for the song. It has great melodic build, phrasing that is appropriate for the style (a somewhat detached, quirky attack–“angular” is the word used to describe this type of approach and phrasing) and solid resolution. In the context of the song and genre, it’s a flawless guitar solo.
But, solos aside, the beauty of Television is, as I said, in the interplay of the guitar parts. The music is just so gorgeously orchestrated. The way that Verlaine’s and Lloyd’s guitar parts fit together is simply magical.
Is it all dudes?
If, by the Top 50 List, I haven’t read it in a bit, but I would not be surprised if the answer is yes.
Cooking with Gas - I agree with **pulykamell **- I couldn’t pick out a specific lead I love, so I can’t argue for the “Marquee Moon” lead more than the other guitar work on the songs. I love the high, ringing arpeggios at the end of the chorus of Venus DeMilo (why does he pronounce it “daMEElo”?); I love the silly little double-stop riffing which starts of Marquee Moon. I like how clear and distinct the two guitars are in all the songs, hearing how the parts interweave - a punky Rolling Stones…
That’s the way it’s pronounced in France, which is where the statue is displayed (and just about everywhere else). Only English speakers say “de MY-lo.”
Really? Cool - ignorance fought; kinda surprised I hadn’t heard that living in 'Yurp for a year back in the day, but I have missed more obvious stuff. I was fascinated when I first heard non-Yanks pronounce it Vincent “van-Gogk” vs. “van GO” they way I had always heard it…