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Re: (TV) Alleged Boot of Television's 1st ever show at CBGB / New Book's details on Gabriel fans & Television



..but, When you do contact Will Hermes, tell him you give the book and A+...
:)





________________________________
 From: Steve Rovner
<serovner@mindspring.com>
To: tv@obbard.com 
Sent: Tuesday, November 29, 2011
3:10 PM
Subject: Re: (TV) Alleged Boot of Television's 1st ever show at CBGB /
New Book's  details on Gabriel fans & Television
 
Me either.  Leo, we
officially designate you to contact the author of the book and hunt down the
recording!


-----Original Message-----
>From: Phil Obbard <pobbard@yahoo.com>
>Sent: Nov 29, 2011 2:00 PM
>To: "tv@obbard.com" <tv@obbard.com>
>Subject: Re:
(TV) Alleged Boot of Television's 1st ever show at CBGB /  New Book's  details
on Gabriel fans & Television
>
>This is interesting, but I have never, ever
heard of a recording of the March
>31, 1974 show in circulation. Perhaps the
author has access to an unknown
>cache of tapes, or perhaps he is
mistaken/mislead... lots of poorly-labelled
>tapes floating around out there!
>
>--Phil
>
>
>________________________________
>From: Leo Casey
<LeoCasey@comcast.net>
>To: tv@obbard.com 
>Sent: Tuesday,
>November 29, 2011
11:32 AM
>Subject: (TV) Alleged Boot of Television's 1st ever
>show at CBGB /
New Book's  details on Gabriel fans & Television
> 
>I know
>technically we're
not supposed to discuss bootlegs on this List, but
>my
>question is in the
context of does a bootleg of Television's first ever
>CBGB
>show on March 31,
1974 really exist, but NOT how to get a copy.  I am
>very
>skeptical ; why
wouldn't it have surfaced years ago or by now?
>
>
>
>It's
>discussed in a new
book which Glen Copper posted on last week (and
>which I
>just finished. I'd
give it a B+) titled Love Goes To  Buildings On
>Fire:  5
>Years in New York
That Changed Music Forever" ( by Will Hermes).  I
>typed up
>most of the
sections that discuss Television below.  The March 31,
>1974
>bootleg claim is
in paragraph 3, p. 68.
>
>
>
>
>
>p.230:  In March, the band was
>back on
stage at CBGB. But now the audience
>was full of famous people who'd
>come
down to the Bowery by town car.  At one
>set, Linda Ronstadt, Paul Simon,
>and
Peter Gabriel showed up. Champagne was
>sent to the 'dressing room', a
>six-by-nine storage space of graffitied
>plywood and plasterboard.  Gabriel
was
>smitten, and invited the band to be
>the openers for hid debut solo U.S.
tour. 
>The accepted.  The catch:  the
>tour started in a few days.  In many
cases, it
>was too late to advertise the
>band in advance, so Television faced
a crowd of
>Genesis fanatics expecting a
>whole night of their hero Gabriel,
who had
>recently left the band.
>
>
>
>For all the musical kinship between
the bands, the
>upshot of the pairing was
>inescapable:  it was a showdown
between punk and
>prog rock.  Even the
>hometown show at the Palladium was a
battleground.  I'd
>woken up at dawn to
>wait outside the Ticketron outlet at
Macy's on Queen's
>Boulevard and scored
>fourth row seats---the best I'd ever 
had for a show. 
>The band came out to
>scattered applause and a chant of
"GAY-BREE-ELLLL" that
>persisted throughout
>the set.  Verlaine looked all
business; Lloyd smirked
>tightly.  Verlaine
>started into the tick-tock rhythm
of 'Prove It, spitting
>out the title
>refrain amid guitar spirals like he was
arguing with the crowd,
>taunting
>them, yelping "Just the facts!" like Dylan
shouting "I don't believe
>you,
>you're a liar!" to a heckler at Manchester
Free Trade Hall in 1966 before
>tearing into 'Like A Rolling Stone'.  'Venus'
was violent and spiky, more
>George Braque than Alexandros of Antioch,
'Marquee Moon' was accelerated but
>incandescent, notes stabbing like knives,
then twisting to open the wound
>wider.  The crowd, fans of Gabriel's
theatrics with Genesis, was unimpressed
>with the four guys who pretty much
just stood onstage, unsmiling, playing
>their instruments.  The boos and
chants competed with the cheers and finally
>overwhelmed them.. Verlaine
flipped off the crowd with his spindly middle
>finger and left the stage.  
>
>
>
>Television headed off for their debut U.K.
>tour, followed by Blondie,
who
>were the opening act.  There was no love lost
>between the groups.
>Television were surly and standoffish.  On top of it all,
>Chris Stein and
>Debbie Harry had to see their former bassist, Fred Smith, whom
>Television
>had poached two years prior.  At one point, Richard Lloyd and
>Blondie's
>keyboardist, Jimmy Destri, got into a fistfight.    
>
>
>
>p. 68:
>Television played there [CBGB] on Sunday, March 31.  ...The set was
>sloppy
but
>intense and, at moments, stunning.  Hell's 'Love Comes In Spurts'
>dated
back
>to the Neon Boys ; 'Venus, 'I Don't Care', and 'Eat The Light
>were
new.  So
>was 'Blank Generation', a song that on a bootleg recording of
>that
night,
>Can't seem to decide what it wants to be.  Hell's vocals are
>pinched
,
>inflamed, not fucking around:  "I belong to the blank generation",
>he
sneers,
>"I can take it or leave it each time.".  Ficca's drums lumber
>behind, while
>guitars careen:  chattering, squealing, sputtering, following
>a shifty melody
>that at one point resembles 'Big Spender', the campy come-on
>from Sweet
>Charity best known  at the time as the soundtrack to a Muriel
>cigar
>commercial.  The guitarists sound like they're goofing, except when
>lines
>occasionally synch and bloom like fireworks. 
>
>
>
>p. 229: 
Television's Marquee
>Moon was released by Elektra Records on
>February 8 . To
celebrate the album's
>completion, Verlaine treated himself
>to a London
vacation, his first ever
>visit.  At a Notting Hill Gate
>newsstand, he saw
the February 5 issue of NME
>with his band on the cover.
>The review was a
two-page spread.  The critic Nick
>Kent called it "a
>24-carat inspired work
of pure genius.".  Notwithstanding
>the U.K. Music
>press hyperbole, this was
deserved praise.
>
>
>
>Figuring he
>should maybe call up the London office of
Elektra, which had no
>clue he was in
>town, Verlaine found them startled that
he'd been there all
>week, sightseeing
>by himself and chain-smoking  (he had
a two pack a day
>habit) when he could
>have been doing press to promote the
record.
>
>
>
>Back in the States, meanwhile,
>Television's debut was
apparently no big
>priority for Elektra.  One can
>imagine the meetings.  What
the hell is this
>record?  Punk rock?  With guitar
>solos and ten-minute
songs?  Art rock? With
>no synthesizers or oversized drum
>kits?  Why is the
band called Television,
>anyway?
>
>
>
>p. 67:  Hell and Verlaine
>settled on
the name because they both hated the
>medium and they figured they
>could be a
living, breathing alternative to it.
>They thought they could "tell
>a
vision".  And though he didn't crow about
>it, Verlaine thought it fit nicely
>with his initials.
>http://www.thelmagazine.com/TheMeasure/archives/2011/11/21/interview-will-he
>rmes-author-of-love-goes-to-buildings-on-fire
>
>
>(TV) Love Goes To
Buildings On
>Fire
>
>  _____  
>
>
>*    To: tv@obbard.com
<mailto:tv%40obbard.com>  
>*  
>Subject: (TV) Love Goes To Buildings On Fire
>*    From: Glenn Cooper
><glennwaynecooper@gmail.com
><mailto:glennwaynecooper%40gmail.com> > 
>*  
>Date: Tue, 22 Nov 2011
20:06:32 +1100 
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>  _____  
>
>size=2
width="100%"
>align=center>
><http://www.thelmagazine.com/TheMeasure/archives/2011/11/21/interview-will-h
>ermes-author-of-love-goes-to-buildings-on-fire>
>http://www.thelmagazine.com/TheMeasure/archives/2011/11/21/interview-will-he
>rmes-author-of-love-goes-to-buildings-on-fire
>
>New book. Looks good.
>
>Glenn C.
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