What Makes Up Television, Continued

A reader kindly notified me of two things regarded my previous post on Television, so I'll take a time to address both of them.

First of all, I should clarify about Verlaine's solo work and Television's eponymous third album, released in 1992 after a sort of reunion. I said that, "even Verlaine’s solo work lost a lot of its Television edge." In other words, Verlaine's subsequent solo work, and even their third album, lost that kind of layered complex guitar interplay that you find on Adventure and Marquee Moon. Verlaine's work is wonderful, particularly his first two solo albums, but it has a different texture and a different sound - Verlaine, without Richard Lloyd, is a different musician, though hardly a much more inferior one. 1992's Television almost sounds like a Verlaine solo album, since it doesn't have that same texture, to an extent, as well.

Also, the word "lush." By "lush," I don't mean a Phil Spector lush, but as a sort of a weak adjective to describe that texture which I've been blabbering on about. Indeed, there's an intense sense of silence in Television's work, as our kind reader notified. However, it's almost alternating between "silence" and "lushness" in a way, since sometimes the guitars create a dense texture, and sometimes they create a more simplistic alternating layering. Take Guiding Light, for example:

The simplicity of the verse versus the more layered, arpeggiated chorus, which is only heightened with a piano and then an additional guitar during the solo. Its a minimalistic kind of lush.