Re: (TV) New Q & A from Richard

["andy fekete" <andy.fekete@gmail.com>]

Keith, this is an extremely cool letter from Richard.

I've often heard that Verlaine and Lloyd eschewed effects on MM, and
Lloyd apparently continues in kind on Sufi Monkey.  But I wonder
whether or not they might have experimented with effects on stage.
I've often detected what sounds to me like bit of reverb, and possibly
even some overdrive, especially in Verlaine's live recordings from the
80s (e.g. http://www.youtube.com/watch?v=jtZYdVNflsA);  then again,
what I am hearing could just as easily be the result of hall acoustics
and scorching tubes.

Are there any interviews wherein Lloyd or Verlaine discuss the setups they use?

Thanks,

Andy Fekete, Amps Do Furnish A Room

http://www.myspace.com/ampsdofurnisharoom
http://www.ampsdofurnisharoom.com


On Feb 5, 2008 3:42 AM, Keith Allison <keith@thewonder.co.uk> wrote:
> Just about to add this to the site and thought this would be of interest
> to all you plank spankers:
>
>     Hi Richard,
>
>     What is the deal with that white or blonde Telecaster shown in the
>     liner notes to the Marquee Moon reissue?  Looks like it's missing
>     the pickguard and it had the neck pickup routed for a humbucker at
>     some point (but it looks like it has another Tele bridge pickup or
>     something shoehorned in there).  Anyway it looks super dirty and
>     really cool.  What ever happened to it?
>
>     Also, I was wondering how some of the tracks on Marquee Moon were
>     recorded or processed.  On Venus in particular, one of the guitar
>     parts sounds kind of like it's doubled or lightly chorused, but that
>     doesn't seem like a "Television" thing to do.  Every note seems to
>     decay differently.  Maybe it's just a really short reverb?  Anyway
>     it sounds great.
>
>
> Dear Rob,
>
> Thank you for writing.  When I was in Los Angeles during the early 70s I
> bought a Sunburst custom telly -- at the time I could not afford a
> Stratocaster.  When I got back to New York and we formed Television that
> was my main guitar.  I couldn't stand the Sunburst so I sanded it down
> to natural wood and painted it different colors -- pink at one point,
> black at another and so on.  One of the pickups broke and it ended up
> having only one pickup -- I can't remember what kind but I only used the
> one pickup from then on.  It was jerryrigged but I didn't care.  Then I
> got my 1961 Stratocaster and eventually I sold the telecaster for
> practically nothing.  If I had it now it would be worth quite a bit, but
> that's the way it goes.  Both that telecaster and the Stratocaster are
> on our first record.
>
> Tom Verlaine kept talking about making a "live" sounding record.  I felt
> as if the record should have qualities which could only be accomplished
> in the studio.  I have always been able to play the same thing exactly
> over and over, whereas Tom (aside from the rhythm parts) could not play
> exactly the same phraseology in his solos.  When Andy Johns began
> recording us I suggested that I could double my parts -- I got this idea
> from both the Phil Spector productions and also from the Beatles.  I
> thought that this doubling of certain of my rhythm parts and of my lead
> solos would lend some additional credibility and phenomena to the
> record.  Andy was quite surprised that I had this skill and Tom enjoyed
> the subtle chorusing which was much more pleasant than any kind of
> chorus effect.  We used no effects whatsoever on Marquee Moon -- just
> guitars into amplifiers.
>
> All of the doubling on the record including the solo to Elevation are
> mine.  In fact, one of the songs I cowrote for the record, "Guiding
> Light" has eight tracks in certain places of me doing the same part.
>
> I hope that answers your question.  There is as far as I know, no
> artificial reverb on the record, and no chorusing whatsoever.  In one of
> my solos we wanted to use a revolving speaker but it was too expensive
> to rent those things they use with the organs, so Andy Johns swung a
> microphone like a lasso while I played -- it's very subtle, but it did
> the trick.
>
> Best regards,
> Richard Lloyd
>
>
> --
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