12 Songs, 59 Minutes

EDITORS’ NOTES

New York City’s Television shall be remembered for their 1977 guitar-heroic debut, Marquee Moon, which proved to be a defining moment in rock ’n’ roll history. Yet on 1978’s relatively ignored Adventure, the tunes themselves are better constructed, the songwriting’s more concise and evolved, and the harmonies and melodies are more fleshed-out (listen to the vocal and organ parts on the beautiful “Carried Away”). A narcissistic head-turner (“Glory”) and an anthem to indifference (“Ain’t That Nothing”) sport uptempo pop hooks and choruses and are, for many fans, the band’s finest moments. “Foxhole” (“Goodbye arms/So long, head”) stings as much as anything on the grittier debut album, while droning theremin and acid-like guitar give “The Fire” an entirely spooky feel, unlike anything else Television had recorded. The album’s guitar counterpoints (Television’s stock-in-trade) between frontman Tom Verlaine and Richard Lloyd are as beautifully curlicue here as ever, if not more restrained than on the debut (save for the head-spinning guitar arrangement of “Days”).

EDITORS’ NOTES

New York City’s Television shall be remembered for their 1977 guitar-heroic debut, Marquee Moon, which proved to be a defining moment in rock ’n’ roll history. Yet on 1978’s relatively ignored Adventure, the tunes themselves are better constructed, the songwriting’s more concise and evolved, and the harmonies and melodies are more fleshed-out (listen to the vocal and organ parts on the beautiful “Carried Away”). A narcissistic head-turner (“Glory”) and an anthem to indifference (“Ain’t That Nothing”) sport uptempo pop hooks and choruses and are, for many fans, the band’s finest moments. “Foxhole” (“Goodbye arms/So long, head”) stings as much as anything on the grittier debut album, while droning theremin and acid-like guitar give “The Fire” an entirely spooky feel, unlike anything else Television had recorded. The album’s guitar counterpoints (Television’s stock-in-trade) between frontman Tom Verlaine and Richard Lloyd are as beautifully curlicue here as ever, if not more restrained than on the debut (save for the head-spinning guitar arrangement of “Days”).

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