Re: (TV) Found TV Interview Containing 'Groove-cramming' Topic

[Phil Obbard <pobbard@yahoo.com>]

Holy smoke. Thanks for this Leo. You are like a one-man Library of Congress.
I agree with you, and Dennis -- most likely reason for omission of "Adventure"
is that the band just wasn't happy with the way it turned out (especially
since Lloyd has said elsewhere that they made a conscious effort NOT to record
more tracks than necessary for either LP, because Elektra would "own" them, or
something like this... given how far they got with "Adventure", they clearly
made an effort but weren't happy with the results).

--Phil
________________________________
 From: Leo Casey <LeoCasey@comcast.net>
To:
tv@obbard.com 
Sent: Friday, March 30, 2012 7:58 PM
Subject: (TV) Found TV
Interview Containing 'Groove-cramming' Topic
 
Here is the paragraph of the
interview that touches on the
'groove-cramming'.  Beneath that I have attached
the entire interview.

Another Television Broadside, NME 6th May 1978 by Steve
Clarke

Verlaine had expected to record "Adventure" in eight weeks. But the
inadequacy of the group's equipment and other assorted technical problems
there were delays from the start.

Television watchers will notice the
non-inclusion on "Adventure" of several
songs the band features live on their
British tour last year. Verlaine says
they didn't appear because Television
was bored doing them and the song
"Adventure" itself was discounted because
its inclusion would have meant a
reduction in sound quality.

"That's what I
don't like about our first record. The grooves are so close.
Maybe the general
public doesn't hear that kind of stuff. When you're doing
it you can all kinds
of distortion because the grooves are so close. I'd say
the new album is close
to five minutes shorter than the first one.
...................................................................
ENTIRE
INTERVIEW

It would be difficult to envisage worse circumstances under which
to conduct
an interview with Television's creative fulcrum Tom Verlaine.

In
what to outsiders must appear an about-turn of epic proportions, a
fortnight
ago this journal took Television's latest waxing - the aptly
titles
"Adventure" - to the cleaners with an almost unparalleled vengeance.
The
essence of Julie Burchill's review was that Television was just another
American band out to get rich quickly. And all this coming on top of Nick
Kent's interview with Verlaine last year in which the former revealed in
detail numerous instances of what he saw as Verlaine's rampant ego-mania,
arrogance and paranoia.

"Kent implied I thought I was Jesus Christ," says
Verlaine.

Last January Kent had been the first to pour lavish praise on
Television's
long-awaited debut "Marquee Moon" that the band were deemed fit
to grace
NME's cover, solely on the basis of that review. 

The critical wind
had indeed altered course. To compound "the Television
backlash", Sounds and
Record Mirror gave "Adventure" a critical thumbs down,
too. In response
Verlaine refused Record Mirror's request for an audience
and only reluctantly
agreed to be interviewed by NME; after all, NME had
given Television a heartly
slap on the back last January. 

There is nothing about Tom Verlaine's
appearance to suggest that he is one
of the most exciting guitarists currently
working in rock. With his baggy,
weathered cords, sloppy jersey, high forehead
and angular features, Tom
Verlaine looks like a 1930s intellectual with
literary leanings. Verlaine is
indifferent to our entrance. His previous
interviewer had told me Verlaine's
reputation as something of a difficult
subject is pure pie in the sky. The
record company said Verlaine is just shy.
After first disassociating myself from Ms Burchill's review, I immediately
put
my foot in it.

"We were not booed off stage. What are you talking about?" he
retorts to a
remark about the reception Television received at New York's
Palladium last
March when they supported Peter Gabriel, then making his debut
as a solo
performer.

"I was onstage and I could hear what was going on," he
continues. "It was
like half applause and half booing. And we were not booed
off stage. We did
our whole set."

That night in New York Television bore no
resemblance to the group which
toured Britain to great response later last
year. Little of Verlaine's
guitar genius came across, or, come to that, of
Richard Lloyd's more lyrical
approach. As a unit Television were limp and
uncoordinated and only gelled
on the set-closing "Marquee Moon", a far cry
from their awesome presence
which was to captivate British audiences last
summer. There was no encore.

Verlaine's explanation for this discrepancy is
simple: "When you get that
kind of response it just makes you play so much
better. I think we're as
good as our audiences are. If you come onstage and
you feel that the
audience isn't just curious - you feel like they're with you
on some simple
emotional level - it tends to make you play better.

"You come
out and there's too much expectation or some slight hostility, and
it works
against everybody. Sometimes you can just get over it by ignoring
it. It
depends on how tired you are." The previous night in New Jersey, the
tour's
first gig, was worse still, Television performing without a sound
check plus
minus anyone at the mixer: "The only thing coming out of the PA
was bass and
drums, and a little bit of vocal. And we're a guitar group.
"New Jersey likes
three acts. They like The Grateful Dead. They like The New
Riders Of The
Purple Sage and there's one other group they go nuts for. It's
the kind of
audience that drinks a few beers and just loves to give the band
a hard time.
"Gabriel didn't go down that well either," he adds, pulling up his cords and
fidgeting with the long black socks hiding underneath.

In America, Television
still mean next to nothing, though they haven't
exactly been breaking their
backs to get in on the act. Apart from the
Gabriel tour - a 15 date schlep
which Television did because it would give
them some experience of playing
theatres - their only US dates last year
were three gigs in Illinois and a
handful of club dates on the West Coast.
The rest of the year was taken up
with the European tour and recording
"Adventure", a four month stint from
September to January with November off.

Still, if we're to believe Verlaine,
he isn't interested in Making It:
"Success per se doesn't interest me. The
only way it would bother me was if
it affected our relationship with our
record company. Elektra just let us do
what we want. They let us double our
budget for this record. They're very
nice people. It's really as simple as
that."

So why does he think Television are much more successful in Britain?
"The English are smarter. Seriously, I think there's - what, two radio
stations over here? In the States there's twelve rock'n'roll stations in
every
major city. Just day and night the same crap. There's five bands
coming to
your town every week. Every night there must be some band
somewhere on TV.
We're probably still too spontaneous for America. Most
bands in America have
no spontaneity. Everything's all worked out right.
They all go through these
producers that have cost a pile of money and they
do a record that sounds just
like their last one. Look at Aerosmith's last
three records. I can't listen to
that.

"I think the British have some sympathy for individual style. I think
Television has that. In America people tend to attach themselves to
something
immediately familiar. Which is why Elvis Costello is a success
over there.
"He reminds a lot of people of a lot of '60s acts. His latest single is note
for note a Music Machine rip off. Remember Music Machine? They had a hit
single in '66 called "Talk Talk" which is a great song. It's three minutes
and
fifty seconds of this very scrambled rhythm. "I Don't Want To Go To
Chelsea"
is at least one third note for note ripped off from this little
'60s punky
group. "I'm not crazy about Elvis Costello. I feel like I've been
hearing
Elvis Costello since I was 18. Younger than that. I like Nick Lowe
'cos at
least he likes experimenting with guitar sounds a lot. "Obviously
that guy has
heard every record in the world." 

Verlaine had expected to record
"Adventure" in eight weeks. But the
inadequacy of the group's equipment and
other assorted technical problems
there were delays from the start.

"We don't
use producers. We just get engineers. Some bands need a guy in
there to
tell'em what to do, help'em arrange. Every producer I've met has
been a. I
mean, a producer in the United States makes like two thousand
dollars a week.
"They're all a bunch of really inflated guys who think that they make hit
records. Once a producer has a Gold record in the States he tends to be a
rather bloated personality. Walks around and wants you to give him cocaine
to
do your record. Who needs it?

"The first record was almost like a live
record. It was going in and cutting
everything live and, whenever anything
didn't make it, filling it with
another guitar.

"This album was done the
opposite way. Half writing the stuff in the studio.
"The Fire" and "The
Dream's Dream" were basically written in the studio.
Solos are spontaneous in
the studio. The drag with solos is that they can
always be better. I wish I
could remember solos 'cos I can remember some
nights playing a solo I thought
was good and not remember exactly what it
was. That solo on "The Fire" is
okay.

"Everybody says I sound like Neil Young. I don't know. The first Neil
Young
record I listened to was "Zuma". That song "Cortez" is a great song. I
like
the lyrics 'cos they capture something that's historically true. And
subconsciously present. He's one of the few guitar players I like. I like
Link
Wray's early guitar playing. I like Buchanan's work in the '50s on
those Chess
singles. I like Richard Thompson's tone. I don't like his
playing. I like that
sparkly Fender sound. The Byrds got that same kind of
sound. That whole kinda
shiney sound."

"Days" sounds like you'd be listening to The Byrds.

"Oh sure.
I love The Byrds. I think that track came out of a rehearsal where
we were
talking about The Byrds. Me and Fred the bass player especially like
The
Byrds' sound. They're a terrible live band though. They're probably the
worse
band that ever made Top Ten live."

Television watchers will notice the
non-inclusion on "Adventure" of several
songs the band features live on their
British tour last year. Verlaine says
they didn't appear because Television
was bored doing them and the song
"Adventure" itself was discounted because
its inclusion would have meant a
reduction in sound quality.

"That's what I
don't like about our first record. The grooves are so close.
Maybe the general
public doesn't hear that kind of stuff. When you're doing
it you can all kinds
of distortion because the grooves are so close. I'd say
the new album is close
to five minutes shorter than the first one.

"The lyrics to "Carried Away" and
"The Fire" took a long time to write.
"Ain't That Nothin'" was written in an
hour-and-a-half in the studio.
Everybody came out with an "I Don't Care" last
year so we changed the title
to "Careful". We've been doing that song for four
years."

Does he consider himself a poet?

"No. You really can't sing poetry.
I don't like sung poetry. I once heard a
record of Allen Ginsberg singing.
That might be poetic. It's really hard to
determine what poetry is. "It's
something that has some sort of personal
interior logic. Some people respond
to that individual thing. Some people
don't. From that point of view it might
be poetic."

It's been suggested that you have something in common with the
Romantic
Poets?

"Oh yeah, that's because of the name. I almost wish I'd never
called myself
that. I still like the name enough to.It probably would have
been easier if
I hadn't.

"About five years ago in New York a whole number of
people I knew did it.
One was a painter. Richard Hell was one of them. Me and
Hell were friends.
We were sitting around and decided to change our names. It
took us a while
to think of what we wanted.
"It was really a pretty simple
thing. It wasn't meant to be a move where one
denies their own past or
associates themselves with some historical thing.
It was almost just like
something to do. "I'm 28 now. I read Rimbaud when I
was about 23. I liked him
then, but I really can't read him now. It's just a
name I like. I know it
doesn't sound believable."

He doesn't believe in the starving artist myth:
"You've got to have your
bases covered even to do anything. You've got to know
if you're going to eat
something in order to work on something that night.
That basic knowledge has
to be unconscious in yourself at least."

Verlaine's
own life isn't a luxurious one, although he has moved from the
tiny Lower East
Side apartment he lived in a year ago (Television's drummer
Billy Ficca now
lives there) to an even smaller pad - in a better kept
building.

"I like
buildings where a lot of old people live. You get buildings where a
lot of
young people live and they tend to get too communal. I'm not the
communal
type. I'm not out to meet a lot of people. I'm not very sociable. I
don't go
out to clubs much and I don't go to parties."

Television certainly didn't
swell their collective bank balance as a result
of last summer's European
tour. To date, no money has been forthcoming from
the tour and, strangely
enough, Verlaine- who after a seven month wrangle
freed himself from his
contract with Wartoke Management - seems happy to let
it stay that way.
Verlaine claims Television has been done out of $5,000, enough, he says, for
him to live on for a year.

"I didn't make more money than that last year.
There's not a lot of money in
rock'n'roll. You can make a lot of money if you
have a Gold record. Before
that it's just breaking even."

Verlaine also
hasn't received royalty statement for the sales of "Marquee
Moon". He
obviously isn't into a "rock star trip". What does he think of
Television
being dubbed "The Ice Kings Of Rock"?

"At first I thought it was funny, but
then I just thought.it would be nice
to have total control of your image. The
band are hyper-emotional. That's
why I just don't see where it comes from. "I
think when you're
hyper-emotional you appear to be cold, especially on stage
where everything
is theatricalised. It could be very easy to go on stage and
hop around, be a
clown. I don't think it's icy. Our link to our audience is
emotional and the
people who don't pick it up just see the whole thing as
cold.
"If it's nobody's cup of tea, I think they're going to write off as that
kind of thing. Have you ever seen Muddy Waters? Most blues guys appear to be
cold. But the sound coming out isn't cold at all. A lot of what you're
seeing
is somewhat frozen. I'm not saying they don't sweat. Onstage I move
more than
people see. It's just that it's not exaggerated movements. We're
not a show
band." Does he think about not moving?
"No. I just do what I do. I notice that
my leg moves all the time. I notice
that my shoulders move. What am I going to
do, Chuck Berry stuff? Jimi
Hendrix moves? Actually I might do some of those
just for the fun of it
sometime.

"We're interested in playing well. I think
we play okay. We're not
virtuosos. We're not even like rock virtuosos. Writing
and playing are about
the same thing to me. Playing a guitar solo or making up
a song is about the
same thing. "I don't consider myself good at anything.
It's not a question
of good or bad. It's a question of how much you put
yourself into it. That's
misleading too. I say what I want to say."

Which is?
"Well, you see, that's the mystery. I know I'm saying what I want to say but
to be specific about what it really is gets really hairy.
"It does sound
really stupid, but it's true. A person knows when they've
done something
whether it's right for them. It's impossible to say whether
it means anything
to anyone else. I know it means something to somebody 'cos
people tell me they
like it."

Our interview has lasted an hour, during which time Dennis O'Regan
has been
photographing Verlaine. He now asks if he could do some shots with
Verlaine
standing up.

"I don't like posing for photographs," replies
Verlaine. "You can come
backstage next week. You've had an hour.

No more
photographs are taken. 
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