![]() It’s like every band you’ve ever done.’ ” So he said, ‘O.K., I’ll come back after Christmas.’ So he came back and all of a sudden he totally loved the record. “And I’d say, ‘I don’t know it’s just two guitars, bass and drums. “He’d say things like, ‘Is this a Velvet Underground trip? What kind of trip is this?’ ” Verlaine recalled told writer and renowned New York avant-garde musician Alan Licht for the liner notes to Rhino’s 2004 expanded edition of Marquee Moon. You know: you’ve got a 2 o’clock start, and the engineer shows up at 4.30, and the guitarist shows up at 5 and the singer rolls in at midnight. He was used to people who didn’t mind taking it very slack in the studio. “He was used to being with people who are also rock ’n’ roll, and you can imagine whatever that means in the 1970s. ![]() “Andy is a real child of rock ’n’ roll,” Lloyd tells Love. However, according to an insightful and neck-deep interview conducted with Lloyd by Scottish author Damien Love for Uncut, a lifestyle clash with Johns and Television produced studio tension from the outset. The band chose acclaimed English engineer Andy Johns to produce the album on account of his work on such early-’70s classics as Mott The Hoople’s Brain Capers and Goat’s Head Soup by The Rolling Stones. And the fact that I was around then, that’s why I feel like I owe them, as a payment of a debt, to cover some of Jimi’s songs, put it out and let some of that influence-that has always been there-finally show itself.”įinding their own voice was precisely what Television accomplished on Marquee Moon. Both of them are gone, and all I have is the memories. What Hendrix and Velvert taught me is very, very important to me. You’re gonna have to find your own voice on that guitar. When I teach students, I teach them to play more like themselves. “I don’t think, either in Television or my own work, that anybody would have spotted a Hendrix influence. ![]()
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