Chords for Television's Marquee Moon in 5 Minutes
Tempo:
110.8 bpm
Chords used:
C
B
F
G
Am
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
I remember how the darkness [D] doubled
[F] Released in February of 1977, television's debut long player, Marquee Moon, is an artful
collection of twin guitar explorations, symbolist poetics, and hard-boiled narratives.
The LP remains one of the high-water marks of New York City's mid-70s punk explosion,
which included Patti Smith, Blondie, The Ramones, and Talking Heads, all of whom played regularly
at the tiny Bowery club known as [C] CBGB.
I've been [G] talking to [C]
[G] the front of the lane
[F] Television, originally consisting of guitarists Tom Verlaine and Richard Lloyd, plus drummer
Billy Ficke and bassist Richard Hell, got their first.
In early 1974, the band convinced CBGB owner Hilly Crystal to let them take over the club's
typically dead Sunday night slot, and soon earned a fiercely devoted audience.
But the band lagged behind its punk peers in actually releasing a full-length LP.
Patti Smith's Horses hit stores in 1975, and the self-titled debuts of both Blondie
and The Ramones soon followed in 76.
With a volatile lineup and a mercurial frontman in Verlaine, it seemed possible the television
might never get around to painting its masterpiece.
[C]
[G]
Television, don't go through my head
The road to Marquee Moon was a rocky one.
Television's first foray into a pro-studio situation came in late 1974, when the band
cut a demo with Island Records A&R man Richard Williams and art rock provocateur Brian Eno,
fresh out of Roxy Music.
A record geek's dream come true, perhaps, but Verlaine and Lloyd were unimpressed with
the results, unable to jive with Eno's unorthodox methods.
At one point, he suggested suspending the band's amplifiers from the studio's ceiling.
The tapes remained unreleased, though heavily bootlegged to [C] this day.
[B] [C] [Bm]
[Am] [N] Television forged ahead over the next two years, replacing Richard Hell with Fred Smith,
and honing their sound to a razor-sharp point during regular residencies at CBGB.
To help bring television's vision to wax at long last, the band enlisted a decidedly un-punk
producer, Andy Johns, best known for his engineering work with Led Zeppelin and The Rolling Stones.
But the pairing was an inspired one, as Johns delivered a tough, relatively unadorned sound
for Marquee Moon.
Lloyd's painstakingly double-track guitar lines gained a crystalline flavor, while Verlaine's
more spontaneous [C]
excursions provided a perfect counterpoint.
[A#] [E] [Bm]
[F] [Fm]
In See No Evil, the album's [G] revved-up opener, Verlaine promises to pull down the future
over Lloyd's churning riff.
[F]
[N] Venus is a surrealistic nocturnal journey, punctuated by an elegantly intertwining six-string
refrain from the two [Am] guitarists.
[Dm] [N]
Friction, meanwhile, is television at their garage rockiest, with Verlaine spewing free
jazz-inspired fireworks over a rock-steady backing from Lloyd, Ficca, and [B] Smith.
[C] Looming at Marquee Moon's direct center is the album's title track.
[B]
[Am] [E] [N] Clocking in at just under ten minutes on the original vinyl release, and featuring a lengthy
Verlaine guitar solo, Marquee Moon is miles away from the Ramones' minimalist rock antics
or Blondie's ironic pop moves.
For precedence, look to the expansive West Coast psychedelia of Quicksilver Messenger
Service or even The Grateful Dead, even if the mid-70s crowd at CBGB would likely shudder
at such comparisons.
[C]
[B] [Am] [C]
[B] [C] [B] Upon its release, the NME's Nick Kent called Marquee Moon a 24-carat inspired work of pure
genius, a record finely in tune and sublimely arranged with a whole new slant [F#] on dynamics.
Other records might wither in the face of such a rave, but 40 years later, Marquee Moon
remains a singular achievement that transcends the punk label and still sounds as fresh today
as it did in 1977.
[C] [A]
[Em] [D]
[F] Released in February of 1977, television's debut long player, Marquee Moon, is an artful
collection of twin guitar explorations, symbolist poetics, and hard-boiled narratives.
The LP remains one of the high-water marks of New York City's mid-70s punk explosion,
which included Patti Smith, Blondie, The Ramones, and Talking Heads, all of whom played regularly
at the tiny Bowery club known as [C] CBGB.
I've been [G] talking to [C]
[G] the front of the lane
[F] Television, originally consisting of guitarists Tom Verlaine and Richard Lloyd, plus drummer
Billy Ficke and bassist Richard Hell, got their first.
In early 1974, the band convinced CBGB owner Hilly Crystal to let them take over the club's
typically dead Sunday night slot, and soon earned a fiercely devoted audience.
But the band lagged behind its punk peers in actually releasing a full-length LP.
Patti Smith's Horses hit stores in 1975, and the self-titled debuts of both Blondie
and The Ramones soon followed in 76.
With a volatile lineup and a mercurial frontman in Verlaine, it seemed possible the television
might never get around to painting its masterpiece.
[C]
[G]
Television, don't go through my head
The road to Marquee Moon was a rocky one.
Television's first foray into a pro-studio situation came in late 1974, when the band
cut a demo with Island Records A&R man Richard Williams and art rock provocateur Brian Eno,
fresh out of Roxy Music.
A record geek's dream come true, perhaps, but Verlaine and Lloyd were unimpressed with
the results, unable to jive with Eno's unorthodox methods.
At one point, he suggested suspending the band's amplifiers from the studio's ceiling.
The tapes remained unreleased, though heavily bootlegged to [C] this day.
[B] [C] [Bm]
[Am] [N] Television forged ahead over the next two years, replacing Richard Hell with Fred Smith,
and honing their sound to a razor-sharp point during regular residencies at CBGB.
To help bring television's vision to wax at long last, the band enlisted a decidedly un-punk
producer, Andy Johns, best known for his engineering work with Led Zeppelin and The Rolling Stones.
But the pairing was an inspired one, as Johns delivered a tough, relatively unadorned sound
for Marquee Moon.
Lloyd's painstakingly double-track guitar lines gained a crystalline flavor, while Verlaine's
more spontaneous [C]
excursions provided a perfect counterpoint.
[A#] [E] [Bm]
[F] [Fm]
In See No Evil, the album's [G] revved-up opener, Verlaine promises to pull down the future
over Lloyd's churning riff.
[F]
[N] Venus is a surrealistic nocturnal journey, punctuated by an elegantly intertwining six-string
refrain from the two [Am] guitarists.
[Dm] [N]
Friction, meanwhile, is television at their garage rockiest, with Verlaine spewing free
jazz-inspired fireworks over a rock-steady backing from Lloyd, Ficca, and [B] Smith.
[C] Looming at Marquee Moon's direct center is the album's title track.
[B]
[Am] [E] [N] Clocking in at just under ten minutes on the original vinyl release, and featuring a lengthy
Verlaine guitar solo, Marquee Moon is miles away from the Ramones' minimalist rock antics
or Blondie's ironic pop moves.
For precedence, look to the expansive West Coast psychedelia of Quicksilver Messenger
Service or even The Grateful Dead, even if the mid-70s crowd at CBGB would likely shudder
at such comparisons.
[C]
[B] [Am] [C]
[B] [C] [B] Upon its release, the NME's Nick Kent called Marquee Moon a 24-carat inspired work of pure
genius, a record finely in tune and sublimely arranged with a whole new slant [F#] on dynamics.
Other records might wither in the face of such a rave, but 40 years later, Marquee Moon
remains a singular achievement that transcends the punk label and still sounds as fresh today
as it did in 1977.
[C] [A]
[Em] [D]
Key:
C
B
F
G
Am
C
B
F
_ I remember _ _ how the darkness [D] doubled _ _ _
[F] _ Released in February of 1977, television's debut long player, Marquee Moon, is an artful
collection of twin guitar explorations, symbolist poetics, and hard-boiled narratives.
The LP remains one of the high-water marks of New York City's mid-70s punk explosion,
which included Patti Smith, Blondie, The Ramones, and Talking Heads, all of whom played regularly
at the tiny Bowery club known as [C] CBGB.
I've been [G] talking _ to [C] _
[G] the front of the lane
[F] Television, _ originally consisting of guitarists Tom Verlaine and Richard Lloyd, plus drummer
Billy Ficke and bassist Richard Hell, got their first.
In early 1974, the band convinced CBGB owner Hilly Crystal to let them take over the club's
typically dead Sunday night slot, and soon earned a fiercely devoted audience.
But the band lagged behind its punk peers in actually releasing a full-length LP.
Patti Smith's Horses hit stores in 1975, and the self-titled debuts of both Blondie
and The Ramones soon followed in 76.
With a volatile lineup and a mercurial frontman in Verlaine, it seemed possible the television
might never get around to painting its masterpiece.
[C] _
_ _ _ _ _ _ [G] _
Television, don't go through my head
The road to Marquee Moon was a rocky one.
Television's first foray into a pro-studio situation came in late 1974, when the band
cut a demo with Island Records A&R man Richard Williams and art rock provocateur Brian Eno,
fresh out of Roxy Music.
A record geek's dream come true, perhaps, but Verlaine and Lloyd were unimpressed with
the results, unable to jive with Eno's unorthodox methods.
At one point, he suggested suspending the band's amplifiers from the studio's ceiling.
The tapes remained unreleased, though heavily bootlegged to [C] this day. _ _
[B] _ _ _ [C] _ _ _ _ [Bm] _
[Am] _ _ [N] Television forged ahead over the next two years, replacing Richard Hell with Fred Smith,
and honing their sound to a razor-sharp point during regular residencies at CBGB.
To help bring television's vision to wax at long last, the band enlisted a decidedly un-punk
producer, Andy Johns, best known for his engineering work with Led Zeppelin and The Rolling Stones.
But the pairing was an inspired one, as Johns delivered a tough, relatively unadorned sound
for Marquee Moon.
Lloyd's painstakingly double-track guitar lines gained a crystalline flavor, while Verlaine's
more spontaneous [C]
excursions provided a perfect counterpoint. _ _ _ _ _
[A#] _ _ _ [E] _ _ _ _ [Bm] _
_ _ _ [F] _ _ [Fm] _ _
In See No Evil, the album's [G] revved-up opener, Verlaine promises to pull down the future
over Lloyd's churning riff. _ _ _ _
_ _ _ _ _ _ _ [F] _
_ _ [N] _ Venus is a surrealistic nocturnal journey, punctuated by an elegantly intertwining six-string
refrain from the two [Am] guitarists. _ _ _ _ _ _ _
[Dm] _ _ _ _ _ _ _ [N]
Friction, meanwhile, is television at their garage rockiest, with Verlaine spewing free
jazz-inspired fireworks over a rock-steady backing from Lloyd, Ficca, and [B] Smith. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [C] Looming at Marquee Moon's direct center is the album's title track.
_ [B] _
_ [Am] _ _ _ [E] _ [N] Clocking in at just under ten minutes on the original vinyl release, and featuring a lengthy
Verlaine guitar solo, Marquee Moon is miles away from the Ramones' minimalist rock antics
or Blondie's ironic pop moves.
For precedence, look to the expansive West Coast psychedelia of Quicksilver Messenger
Service or even The Grateful Dead, even if the mid-70s crowd at CBGB would likely shudder
at such comparisons.
[C] _
_ [B] _ _ [Am] _ _ _ [C] _ _
_ [B] _ _ [C] _ _ [B] _ Upon its release, the NME's Nick Kent called Marquee Moon a 24-carat inspired work of pure
genius, a record finely in tune and sublimely arranged with a whole new slant [F#] on dynamics.
Other records might wither in the face of such a rave, but 40 years later, Marquee Moon
remains a singular achievement that transcends the punk label and still sounds as fresh today
as it did in 1977.
_ [C] _ _ _ _ _ _ _ _ _ _ [A] _ _ _
_ [Em] _ _ _ _ [D] _ _ _
[F] _ Released in February of 1977, television's debut long player, Marquee Moon, is an artful
collection of twin guitar explorations, symbolist poetics, and hard-boiled narratives.
The LP remains one of the high-water marks of New York City's mid-70s punk explosion,
which included Patti Smith, Blondie, The Ramones, and Talking Heads, all of whom played regularly
at the tiny Bowery club known as [C] CBGB.
I've been [G] talking _ to [C] _
[G] the front of the lane
[F] Television, _ originally consisting of guitarists Tom Verlaine and Richard Lloyd, plus drummer
Billy Ficke and bassist Richard Hell, got their first.
In early 1974, the band convinced CBGB owner Hilly Crystal to let them take over the club's
typically dead Sunday night slot, and soon earned a fiercely devoted audience.
But the band lagged behind its punk peers in actually releasing a full-length LP.
Patti Smith's Horses hit stores in 1975, and the self-titled debuts of both Blondie
and The Ramones soon followed in 76.
With a volatile lineup and a mercurial frontman in Verlaine, it seemed possible the television
might never get around to painting its masterpiece.
[C] _
_ _ _ _ _ _ [G] _
Television, don't go through my head
The road to Marquee Moon was a rocky one.
Television's first foray into a pro-studio situation came in late 1974, when the band
cut a demo with Island Records A&R man Richard Williams and art rock provocateur Brian Eno,
fresh out of Roxy Music.
A record geek's dream come true, perhaps, but Verlaine and Lloyd were unimpressed with
the results, unable to jive with Eno's unorthodox methods.
At one point, he suggested suspending the band's amplifiers from the studio's ceiling.
The tapes remained unreleased, though heavily bootlegged to [C] this day. _ _
[B] _ _ _ [C] _ _ _ _ [Bm] _
[Am] _ _ [N] Television forged ahead over the next two years, replacing Richard Hell with Fred Smith,
and honing their sound to a razor-sharp point during regular residencies at CBGB.
To help bring television's vision to wax at long last, the band enlisted a decidedly un-punk
producer, Andy Johns, best known for his engineering work with Led Zeppelin and The Rolling Stones.
But the pairing was an inspired one, as Johns delivered a tough, relatively unadorned sound
for Marquee Moon.
Lloyd's painstakingly double-track guitar lines gained a crystalline flavor, while Verlaine's
more spontaneous [C]
excursions provided a perfect counterpoint. _ _ _ _ _
[A#] _ _ _ [E] _ _ _ _ [Bm] _
_ _ _ [F] _ _ [Fm] _ _
In See No Evil, the album's [G] revved-up opener, Verlaine promises to pull down the future
over Lloyd's churning riff. _ _ _ _
_ _ _ _ _ _ _ [F] _
_ _ [N] _ Venus is a surrealistic nocturnal journey, punctuated by an elegantly intertwining six-string
refrain from the two [Am] guitarists. _ _ _ _ _ _ _
[Dm] _ _ _ _ _ _ _ [N]
Friction, meanwhile, is television at their garage rockiest, with Verlaine spewing free
jazz-inspired fireworks over a rock-steady backing from Lloyd, Ficca, and [B] Smith. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [C] Looming at Marquee Moon's direct center is the album's title track.
_ [B] _
_ [Am] _ _ _ [E] _ [N] Clocking in at just under ten minutes on the original vinyl release, and featuring a lengthy
Verlaine guitar solo, Marquee Moon is miles away from the Ramones' minimalist rock antics
or Blondie's ironic pop moves.
For precedence, look to the expansive West Coast psychedelia of Quicksilver Messenger
Service or even The Grateful Dead, even if the mid-70s crowd at CBGB would likely shudder
at such comparisons.
[C] _
_ [B] _ _ [Am] _ _ _ [C] _ _
_ [B] _ _ [C] _ _ [B] _ Upon its release, the NME's Nick Kent called Marquee Moon a 24-carat inspired work of pure
genius, a record finely in tune and sublimely arranged with a whole new slant [F#] on dynamics.
Other records might wither in the face of such a rave, but 40 years later, Marquee Moon
remains a singular achievement that transcends the punk label and still sounds as fresh today
as it did in 1977.
_ [C] _ _ _ _ _ _ _ _ _ _ [A] _ _ _
_ [Em] _ _ _ _ [D] _ _ _