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Television: Marquee Moon
From Wikipedia: Marquee Moon (album):
https://en.m.wikipedia.org/wiki/Marquee_Moon
[...]
Since the album's original release, Marquee Moon has been cited by rock critics as one of the greatest records of the American punk rock movement, with Mark Weingarten of Entertainment Weekly calling it the masterpiece of the 1970s New York punk rock scene.[61] According to English writer Clinton Heylin, Marquee Moon marked the end of the New York scene's peak period, while Spin said it was the CBGB era's "best and most enduring record" and ranked it as the sixth-greatest album of all time in its April 1989 issue.[62] Q included it in the magazine's 2002 list of the 100 greatest punk records, while writer Colin Larkin ranked it ninth and Mojo ranked it 35th on similar lists.[63] The album has often been voted high in critics polls of the greatest debuts and has also been named one of the greatest records of the 1970s by NME, who ranked it tenth, and Pitchfork, who ranked it third.[64]
Marquee Moon has frequently appeared on rankings of the greatest albums of all time. According to Acclaimed Music, it is the 23rd most prominently ranked album on critics' all-time lists.[65] The Guardian and Melody Maker ranked it 33rd and 25th, respectively, on lists published at the turn of the 21st century.[66] On September 23, 2003, the album was reissued by Rhino Entertainment with several bonus tracks, including the first CD appearance of Television's 1975 debut single "Little Johnny Jewel (Parts 1 & 2)".[67] That same year, it was named the fourth-greatest album of all time by NME, while Rolling Stone placed it at number 128 on its list of the 500 greatest albums of all time.[68] It has been viewed as one of the greatest rock albums ever by English radio DJs Marc Riley, who said that "there's been nothing like it before or since", and Mark Radcliffe, who called it "the nearest rock record to a string quartet—everybody's got a part, and it works brilliantly."[69]
Marquee Moon was one of the most influential records from the 1970s and has been cited by critics as a cornerstone of alternative rock.[70] It heavily influenced the indie rock movement of the 1980s, while post-punk acts appropriated the album's uncluttered production, introspective tone, and meticulously performed instrumentation.[71] Hunter Felt from PopMatters attributed Marquee Moon's influence on post-punk and new wave acts to the precisely syncopated rhythm section of Fred Smith and Billy Ficca. He recommended 2003's "definitive" reissue of the album to listeners of garage rock revival bands, who he said had modeled themselves after Verlaine's Romantic poetry-inspired lyrics and the "jaded yet somehow impassioned cynicism" of his vocals.[67] According to Sputnikmusic's Adam Downer, Television introduced an unprecedented style of rock and roll on Marquee Moon that inaugurated post-punk music, while The Guardian said it scaled "amazing new heights of sophistication and intensity" as a "gorgeous, ringing beacon of post-punk" despite being released several months before the Sex Pistols' Never Mind the Bollocks (1977).[72] AllMusic editor Stephen Thomas Erlewine believed the record was innovative for abandoning previous New York punk albums' swing and groove sensibilities in favor of an intellectually stimulating scope that Television achieved instrumentally rather than lyrically. He claimed "it's impossible to imagine post-punk soundscapes" without Marquee Moon.[52] Fletcher argued that the songs' lack of compression, groove, and extra effects provided "a blueprint for a form of chromatic, rather than rhythmic, music that would later come to be called angular".[11]
[...]
Since the album's original release, Marquee Moon has been cited by rock critics as one of the greatest records of the American punk rock movement, with Mark Weingarten of Entertainment Weekly calling it the masterpiece of the 1970s New York punk rock scene.[61] According to English writer Clinton Heylin, Marquee Moon marked the end of the New York scene's peak period, while Spin said it was the CBGB era's "best and most enduring record" and ranked it as the sixth-greatest album of all time in its April 1989 issue.[62] Q included it in the magazine's 2002 list of the 100 greatest punk records, while writer Colin Larkin ranked it ninth and Mojo ranked it 35th on similar lists.[63] The album has often been voted high in critics polls of the greatest debuts and has also been named one of the greatest records of the 1970s by NME, who ranked it tenth, and Pitchfork, who ranked it third.[64]
Marquee Moon has frequently appeared on rankings of the greatest albums of all time. According to Acclaimed Music, it is the 23rd most prominently ranked album on critics' all-time lists.[65] The Guardian and Melody Maker ranked it 33rd and 25th, respectively, on lists published at the turn of the 21st century.[66] On September 23, 2003, the album was reissued by Rhino Entertainment with several bonus tracks, including the first CD appearance of Television's 1975 debut single "Little Johnny Jewel (Parts 1 & 2)".[67] That same year, it was named the fourth-greatest album of all time by NME, while Rolling Stone placed it at number 128 on its list of the 500 greatest albums of all time.[68] It has been viewed as one of the greatest rock albums ever by English radio DJs Marc Riley, who said that "there's been nothing like it before or since", and Mark Radcliffe, who called it "the nearest rock record to a string quartet—everybody's got a part, and it works brilliantly."[69]
Marquee Moon was one of the most influential records from the 1970s and has been cited by critics as a cornerstone of alternative rock.[70] It heavily influenced the indie rock movement of the 1980s, while post-punk acts appropriated the album's uncluttered production, introspective tone, and meticulously performed instrumentation.[71] Hunter Felt from PopMatters attributed Marquee Moon's influence on post-punk and new wave acts to the precisely syncopated rhythm section of Fred Smith and Billy Ficca. He recommended 2003's "definitive" reissue of the album to listeners of garage rock revival bands, who he said had modeled themselves after Verlaine's Romantic poetry-inspired lyrics and the "jaded yet somehow impassioned cynicism" of his vocals.[67] According to Sputnikmusic's Adam Downer, Television introduced an unprecedented style of rock and roll on Marquee Moon that inaugurated post-punk music, while The Guardian said it scaled "amazing new heights of sophistication and intensity" as a "gorgeous, ringing beacon of post-punk" despite being released several months before the Sex Pistols' Never Mind the Bollocks (1977).[72] AllMusic editor Stephen Thomas Erlewine believed the record was innovative for abandoning previous New York punk albums' swing and groove sensibilities in favor of an intellectually stimulating scope that Television achieved instrumentally rather than lyrically. He claimed "it's impossible to imagine post-punk soundscapes" without Marquee Moon.[52] Fletcher argued that the songs' lack of compression, groove, and extra effects provided "a blueprint for a form of chromatic, rather than rhythmic, music that would later come to be called angular".[11]
[...]
2 replies
= new reply since forum marked as read
= new reply since forum marked as read
I heard it yesterday for the first time in many years (decades ?) So much better than much of the so-called classic rock that I hear all the time.