Television / the Only Ones – Hammersmith Odeon London, April 17^th 1978.

Much talk was made of American/ New York punk, in the Uk. With the exception of the Ramones and Richard Hell and the Voidoids, its impact was insignificant.  Their new wave was however a different story with Patti Smith, Blondie, Pere Ubu, Talking Heads and the Flaming Groovies notable protagonists. Foremost amongst the American new wave was Television as represented by twin guitarists Richard Lloyd and Tom Verlaine. This slice of New York talent was hugely anticipated when they arrived in London.

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Their story, as they arrived in the UK was built around one album “Marquee Moon” and a distinctive angular duelling guitar sound, borrowed from classic rock, but distilled, twisted and refined into something very different.

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That sound was defined by their two guitarists, Richard Lloyd and Tom Verlaine. Television were born out of the mid 70’s CBGB’s rock scene . Their debut album ‘Marquee Moon’ released in February 1977  featured  punk power chords in a progressive jazz-inspired interplay with an intricacy that Steely Dan would  have been proud of. It’s a multi-layered recording with melodic lines and counter-melodies unlike anything before, with no short songs , instead each is given a chance to breathe. The follow up album “Adventure” is no less impressive.

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Support were the scintillating  Only Ones with their much-lauded debut album to promote, played in its entirety. Hit single “Another Girl Another Planet” predictably closed the set, but the haunting “The Beast” was the highlight. Their brevity, quality, and showmanship set a very high standard for Television to follow.  Lead singer Peter Perret strutted, strolled, growled and howled like a bona fide Rock star, and then they were gone- neat.

The Only Ones were the closest thing the UK had to Johnny Thunders’ Heartbreakers, a charismatic , shambles of a band who were capable of creative greatness and self indulgent implosion. The experienced drums and bass of  Mair and Kellie provided an inventive platform for Perry and Perret’s guitars. Perret channelled the velvet underground’s sound with Lou Reed perfectly. Unfortunately he and the band also channelled the VUs  drug use, and they were deep channels. These two shows at the then prestigious Odeon were probably their finest hour, artistically. They went on to support the Who, but by then the drugs had destroyed rather than inspired them. Yet that night they were unbeatable.

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The evening was by no means perfect, the previous week a crew member had died falling from the lighting rig  in Bristol  and  we sensed an uneasiness as they took the stage. Opening with the unknown “Fire Engine” by the 13^th Floor Elevators added to the tentative start.

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The 13th Floor Elevators were an American rock band from Austin, Texas,  together from 1965 to 1969, and during that period released four albums and seven singles. The Elevators were the first band to refer to their music as psychedelic rock, with the first-known use of the term appearing on their business card in January 1966. They were later to be name checked by Primal Scream.

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There is no staging, no production, no stage presence as such. Lead vocalist Verlaine is  taciturn, stage banter is zero. The musicianship was excellent, the sense of occasion muted. Yet slowly, but surely, as Lloyds’ and Verlaines’   sinuous guitar lines intertwined, the magic began to be revealed. “Friction” was the moment  when it all came together, with the spelled out coda the defiant climax.

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Then we were on the home straight. An exquisite “Careful”, a spell binding “Little Johnny jewel” which felt as we were in the confines of the 100 Club, not the expanse of a theatre, a performance of searing intensity leading into a blazing “foxhole” . “Knocking on Heavens Door”, Must be one of the most covered songs   and benefitted from their angular approach. Of course they finished with “Marquee Moon”, and it was not the gratuitous curtain closer of their biggest song, it needed the build up emotionally and musically of what had come before.

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How do you top that? With an original reworking of a Stones number (I can’t get no) Satisfaction, and then their very own jingly jangly  “See No evil” to close.

Fire Engine

Venus

Prove It

The Dream’s Dream

Ain’t That Nothin’

Friction

Careful

Little Johnny Jewel

Foxhole

Knockin’ on Heaven’s Door

Marquee Moon

Encore

(I Can’t Get No) Satisfaction

See No Evil

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And then they were gone, the cool late spring evening air shocking our systems as we left the theatre, the sinuous guitar leads floating in the memory like a spiders’ web in a gentle breeze. I had never seen a band like them, forty-five years later I still haven’t.