by Leo Casey






9

“June 5, 1982, The Ritz, NYC”

‘Marquee Moon’ (17:07.1 is just the song itself, but it’s an even longer 17:17.3! if we include the feedback, and quite audible, and wonderfully lingering reverberation/resonance in the room (i.e., in the Ritz) of 10.2 sec.) The length of the song’s long, ‘jazzy’, improvised section of just Verlaine on guitar is 3:20.8.


10

“‘Out At The Junkyard’: April 21, 1987, The Lantaren, Rotterdam, The Netherlands”

‘Marquee Moon’ (17:14.6 is just the song itself). The length of the song’s long, ‘jazzy’, improvised section of just Verlaine on guitar was not measured.




11

“May 26, 1982, Toad’s Place, New Haven, Connecticut”

‘Marquee Moon’ (16:55.2 is just the song itself, but it is truncated/faded-out by about 15 sec. It should/would be about 17:10.0). The length of the song’s long, ‘jazzy’, improvised section of just Verlaine on guitar is 3:49.0.



12

** “July 2, 1978, The Earth Tavern, Portland, Oregon—‘The BitTorrent/DaD Mix’ ”

‘Marquee Moon’ (17:06.7 is the track, 16:44.5 is just the song itself, but it’s an even longer 16:47.4 if we include the 2.9 sec. of feedback and echo). [Here is a detailed breakdown of the track: 
a1) 0.0 - 4.4: Verlaine says, “This is the last number; it’s called ‘Marquee Moon’.”, one person cheers meekly;
a2) 9.4 - 9.7: false-start;
a3) 9.7 - 17.3: silence;
a4) at 17.3 song begins;
b) at 29.9, i.e., at elapsed time 47.2 - 17.3, the first appearance of vocals (‘I remember’);
c1) at 1:01.1, i.e., 1:18.4 - 17.3, is the beginning of Richard Lloyd’s short 1st guitar-passage; it occurs 2.6 sec. after Verlaine finishes the line: ‘hearing something elsssse’;
c2) at 1:30.6, i.e., 1:47.9 - 17.3, is the 1st occurrence of a little crescendo immediately after the sentence 'Just waitin’ ’, and it marks the end of Lloyd’s 1st guitar-passage (lasts 29.5 sec.);
d1) at 2:16.7, i.e., 2:34.0 - 17.3, is the beginning of Lloyd’s medium-length 2nd guitar-passage; it occurs 2.2 sec. after Verlaine stresses the word ‘sadddd;
d2) at 3:01.3, i.e., 3:18.6 - 17.3, is the end of Lloyd’s 2nd guitar-passage (lasts 44.6);
e1) at 3:39.3, i.e., 3:56.6 - 17.3, is the beginning of Lloyd’s 3rd guitar passage; it occurs 1.4 sec. after Verlaine intones ‘ .... got out againnnn’;
e2) at 4:08.0, i.e., 4:25.3 - 17.3, is the end of 3rd guitar passage; its end happens simultaneously with the crescendo and with Verlaine stressing ‘uhhhh’ in the lyric ‘ ...ain’t waitin’ unh uhhhh’ (solo lasts 28.7 sec.);
f) at 4:24.1, i.e., i.e., 4:41.4 - 17.3, is the beginning of Verlaine’s long guitar solo;
g) at 13:46.5 (i.e., 14:03.8 - 17.3), immediately following a guitar crescendo, are beautiful, ‘bird-like’ guitar notes. These ‘bird-like’ sounds end after 27.6 sec. at 14:14.1 (i.e., 14:31.4 - 17.3) with the first of about 8 or 9 separate and larger crescendos beginning at 14:14.1 (i.e., at 14:31.4 - 17.3);
h) these multiple crescendos last for 38.0 sec. until 14:52.0 (i.e., until 15:09.3 - 17.3) when Billy Ficca performs a very short drum-solo of 14.5 sec. until 15:06.5 (i.e., until 15.23.8 - 17.3) when the song reverts back to the ‘canonical’ ‘Marquee Moon’ (by canonical we mean the song’s three interwoven hypnotic, rhythm parts);
i) and then shortly thereafter, at 15:17.6 (i.e., at 15:34.9 - 17.3) Verlaine once again sings the vocal verse: ‘I remember how the darkness doubled … , etc.’;
j) the song concludes with the usual ‘rave-up’-guitar-ending (which begins at 16:06.5, i.e., at 16:23.8 -17.3) and ends with a final guitar-crescendo at 16:44.5 (i.e., at 17:01.8 - 17.3 ) or 16:47.4 (i.e., or 17:04.7 - 17.3) if we include the 2.9 sec. of feedback and echo; audience cheers begin at 16:44.8 (i.e., at 17:02.1 - 17.3), but they are quickly faded-out and last only 4.3 sec.] N.B.: At all Television shows (unlike Verlaine Solo Tours), after the beautiful, ‘bird-like’ lead-guitar sounds, and after the very fast guitar rave-up, there is never a long, ‘jazzy’, improvised section of just Verlaine on guitar. (See Note 1 below for clarification of this potentially confusing statement.) For instance, for the July 2, 1978 Portland show, Tom’s missing ‘jazzy’, improvised section would have occurred at around 14:52.0 (i.e., at 15:09.3 - 17.3).

Note 1: We performed a long analysis of Television versions of ‘Marquee Moon’ that are greater than 15 minutes, for the years 1976 - 1978, 1992 - 1993, and 2001 - 2005, plus the only Television show in 2007, namely June 16. (The two Television shows in July 2011 were not checked because only one had a complete recording, and it was less than 15 minutes long (14:23).)  The analysis showed that, unlike almost all versions of the song ‘Marquee Moon’ performed by The Tom Verlaine band on his Tours (in 1981 - 1982; 1984; 1987; 1996, and 2006), all Television versions of the song (including the above Portland show) do not include a long, jazzy, improvised section of just Verlaine playing guitar (with the drums, bass and rhythm guitar playing all temporarily suspended). 

13

“October 9, 1981, The East Side Club, Philadelphia, Pennsylvania”

‘Marquee Moon’ (16:14.0 is just the song itself). The length of the song’s long, ‘jazzy’, improvised section of just Verlaine on guitar is 2:44.5.




14

** “June 5, 1977, Auditoire P-E Janson ULB, Brussels, Belgium”

‘Marquee Moon’ (16:05.8 is just the song itself). At Television shows, there is no long, ‘jazzy’, improvised section of just Verlaine on guitar during ‘Marquee Moon’.




15

“‘Yonkitime’: October 3, 1981, My Father’s Place, Roslyn, Long Island, New York”

‘Marquee Moon’ (15:55.0 is just the song itself). The length of the song’s long, ‘jazzy’, improvised section of just Verlaine on guitar is 2:50.0.