![]() He saw in the guitarist a complementary musical piece, someone he could play off of in his search for headier, sonic terrain. ![]() Lloyd was at the Greenwich Village club one night with future Television manager Terry Ork when he first saw Tom Verlaine. There, the seeds for what would become Television were first planted. One of the few clubs extending an olive branch to young musicians at the time, however, was Reno Sweeney. Being a local act playing original music was just unheard of.” If you were lucky, you could get an opening slot once every six months at the Bottom Line or something. “There were very few places to play, and there were no places to play if you played original music,” he says. What it didn’t have was a place to call home. The scene he had heard about was healthy and alive upon his return. Having quit high school just shy of graduating to pursue music full time, Lloyd spent some time in Boston before settling out west. Word of what was happening in New York had spread far enough to entice Lloyd to move back east from Los Angeles in 1973. The New York Dolls, Suicide, The Modern Lovers, and The Velvet Underground before them were each creating something distinctly New York in sound and style - that is to say, something intelligent, cool, and edgy with a healthy dose of street smarts. From a musical standpoint, New York City in the mid to late 1970s represented a wide-open frontier, a boundless play area where new ideas and experimenting were not only allowed, but encouraged. In many ways, it was and still is, but it arguably couldn’t have originated anywhere other than in the band’s home base of New York City. ![]() On its face, Marquee Moon sounds like an unparalleled work picked cleanly out of thin air. “It’s been on top 10 lists and top 50 lists and top 100 lists, and I hope it stays on those lists.” “I’m very proud of that record,” Television guitarist Richard Lloyd says, looking back on the record 40 years later. ![]()
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