Guitarist Tom Verlaine passed away earlier today. I'm in no position to do a survey of his life and career--there are plenty of others who can and will do that task justice. Still, Verlaine's magnum opus is definitely part of the music of my life, so I'll take time to briefly describe how that came to be.
The August 27, 1987 issue of Rolling Stone was part of the magazine's celebration of its twentieth anniversary, its attempt to identify the 100 Best Rock Albums of its lifetime. It's not a shock to hear I've always been attracted to that sort of thing, and as you might imagine, I spent quite a few hours poring over their rankings after a copy arrived at the apartment I was sharing with John and Jim. Gratified when I saw an LP from my collection mentioned, mystified frequently when a title was unfamiliar. By this point I probably knew of the album at #38, sandwiched between Innervisions and Purple Rain, but had never heard anything off it.
(Noel Coppage's brief, color-me-very-unimpressed blurb in Dad's copy of the May 1977 issue of Stereo Review must have passed under my eyes a decade earlier without registering.)
My interest was piqued enough at the time to file Marquee Moon under "must seek out someday" in my brain; it would well over a decade, though, before anything of the sort happened. As it turns out, my father was responsible for getting it into my hands.
I've noted before that Dad was a collector of various things, music (both rock and classical) being one of his primary avenues of expression. When he latched onto CDs in the 90s, he no doubt took advice from any number of articles identifying Essential Disks Everyone Should Own (TM), which is how I expect that a copy of Marquee Moon ended up in a box underneath the bed in my folks' townhouse basement bedroom. When I came across it on a weekend visit around 2003 or so, he gladly allowed me to take it home.
I'd guess that Dad never been played it, but I didn't waste time. My recollection is that I slipped it into the CD player in our kitchen one Sunday morning soon afterward. I was immediately captivated by the searing riffs on the opening track.
The album turned out to be a treat from start to finish and became a regular listen over the ensuing years; it's near the top of my list of disks to recommend to friends who don't know it. While I doubt I would have appreciated MM that much when it was released in 1977, I do regret not checking it out immediately after the RS write-up in 1987.
I'm also regretting today that I haven't yet sought out Mr. Verlaine's other output. That will likely take place in the coming days, but tonight it'll be "See No Evil," "Venus," "Friction," and the rest from MM. I hope he rests in peace.
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