Guitar Solos - The "I'm In Love With That Song" Podcast - Music Commentary, Song Analysis & Rock History

A teenage summertime love affair with a foreign exchange student was the inspiration for this song by Wishbone Ash. Though overlooked in the US, Wishbone Ash reached #3 on the UK charts with the album Argus, which features “Blowin’ Free”. Wishbone Ash’s twin lead guitar sound would inspire many band that followed.

— This show is just one of many great Rock Podcasts on the Pantheon Podcasts network. Gotta catch ’em all!

TRANSCRIPT:

Hey, it’s Brad Page. I’m back in the studio, powering up the mics and cranking up the headphones because it’s time for another episode of the “I’m In Love With That Song” podcast, here on the Pantheon Podcast Network. Each episode of the show, we take a song and look at it from every angle, trying to get a handle on what makes a song work. No musical knowledge is required here– you don’t have to be technical, all you got to do is listen.

This time around we are listening to a track from a band that was big in Europe and the UK, but just never really caught on here in America. This is Wishbone Ash with “Blowing Free”.

Wishbone Ash came together in 1969 with Andy Powell and Ted Turner on guitars, Martin Turner on bass and Steve Upton on drums. Though Ted and Martin share a last name, they’re not actually related.

The thing that distinguished Wishbone Ash right out of the gate were those twin guitars of Andy and Ted. Though there had been other bands with two lead guitar players– the Allman Brothers come to mind– Wishbone Ash was one of the first to make harmony guitar parts such an essential element. That was the Wishbone Ash sound.

They released their first album in December 1970. Less than a year later, they released their second record, and in May 1972 they released their third album called “Argus”. It’s the album that most people consider to be their best.

“Argus” was well received, both critically and commercially. It was their biggest selling album, reaching number three on the UK charts. The “Argus” album flirts with progressive rock and hard rock, but it was the upbeat track “Blowing Free”, the closest thing to a pop song on the album, that got them on the radio and exposed to a wider audience, at least in the UK.

The song almost didn’t make it onto the album. The band thought it was too poppy compared to the rest of the record, but Martin Turner insisted that they keep it on the album.

The song is credited to Martin Turner, Ted Turner, Andy Powell and Steve Upton. Martin Turner wrote the lyrics and he plays the bass. Ted Turner and Andy Powell are on guitars and Steve Upton is on the drums. The album was produced by Derek Lawrence and engineered by Martin Birch, both known for their work with Deep Purple.

The song kicks off with a great guitar intro by Ted, and it didn’t have the same impact here in the states, but in the UK, learning that guitar intro was like a rite of passage for British guitar players, like “Stairway To Heaven” or “Sweet Child of Mine”, it’s just one of those intros that seems like every beginning guitar player had to learm. That introduction was actually inspired by an old song by the Steve Miller band called, “Children of the Future”.

They took that and turned it into something of their own.

Before the band fully kicks in, they’re going to change up the guitar riff.

Let’s listen to those guitars again.

You can hear how they’ve panned the guitars to the left and the right to add some differentiation and some dimension to the sound. Martin Turner’s bass part is also great here, too. Let’s listen to some of that.

When Martin Turner was a teenager growing up in a seaside town in southwest England, he had a summertime romance one year with a Swedish exchange student. Her hair was golden brown like a cornfield. When he was looking for lyrics for this song, he reminisced about that relationship and that story of teenage love and loss; that became the song.

Following that verse is a guitar solo played by Andy Powell, most likely played on his Gibson Flying V guitar. He was mostly known for playing Flying V’s. This is a great guitar solo.

Next up is the second verse. Martin’s Swedish girlfriend didn’t speak much English and he didn’t speak any Swedish, but I guess they found some way to communicate. Apparently when he asked her if he could kiss her, she said, “you can try”. That phrase appears a couple of times in this song.

Now the song shifts gears into a quieter, more melancholy section. Every good memory has a tinge of sadness for those lost moments you’ll never relive again.

I really like what Martin Turner’s bass and Steve Upton’s drums are doing behind this section. It’s simple but really effective. This leads us into another guitar solo. This one played beautifully by Ted Turner. Just incredibly tasteful. I think that’s just great. To me, he captures that wistful feeling of recalling old memories.

But that melancholy doesn’t last long. They kick right back into the verse riff, and Andy Powell takes over with another solo.

Let’s listen to some of that guitar.

And they return to the first verse.

More guitar work by Andy Powell. Now some of their trademark guitar harmonies start to appear in the background.

And here we have a slide guitar solo played by Ted Turner. Ted had started to listen to Ry Cooder, one of the great slide players of all time, and it inspired him to play a little slide guitar here. This is the first time Ted had ever tried playing slide.

Guitars start to build up from the background.

“Blowing Free” by Wishbone Ash

In the UK publication “Sounds” magazine, which was a big deal at the time, the readers voted “Argus” the best album of 1972, beating out albums like David Bowie’s “Ziggy Stardust”, Deep Purple’s “Machine Head” and the Rolling Stones “Exile on Main Street”. That’s some serious competition– that just shows you how big Wishbone Ash was in the UK.

But here in the US, “Argus” didn’t get any higher than 169 on the charts. America just wasn’t that interested in Wishbone Ash, but guitar players– guitar players were paying attention. Bands like Thin Lizzy and Iron Maiden would adapt that twin guitar harmony style, and, though largely forgotten by the average listener, Wishbone Ash left their mark on generations of guitar players.

A couple of years ago I was reading an issue of “Classic Rock” magazine and they had an article on this song, which inspired me to dig out that album and eventually inspired this episode. It had probably been 20 years since I last listened to this record, and you know, it’s always great to go back to an old album you haven’t heard in ages and hear it again with fresh ears. And it reminded me of my past loves, and loves lost.

Thanks for listening to this show. I really appreciate it. New episodes of the “I’m In Love With That Song” podcast come out on the 1st and the 15th of every month, so I’ll be back soon with another new edition. You’ve been warned.

You can keep in touch with the show on our Facebook page or on our website, lovethatsongpodcast.com, where you’ll also find all of our previous episodes. And, of course, we’re available on Amazon, Apple, Google, Stitcher, iHeartRadio, pretty much anywhere you can find podcasts, you’ll find this show.

And we are part of the Pantheon network of podcasts, home to many more music related shows, so check those out too.

Thanks again for listening to this edition of the “I’m In Love With That Song” podcast on Wishbone Ash and “Blowing Free”.

ADDITIONAL RESOURCES:

Wishbone Ash
https://www.wishboneash.com/

Argus Album
https://www.discogs.com/Wishbone-Ash-Argus/master/12065

Pantheon Podcast Network
https://www.pantheonpodcasts.com/

Deep Purple
https://www.deeppurple.com/

Steve Miller Band
https://www.stevemillerband.com/

Ry Cooder
https://www.rycooder.nl/

Classic Rock Magazine
https://www.loudersound.com/classic-rock

Thin Lizzy
https://www.thinlizzy.org/

Iron Maiden
https://www.ironmaiden.com/

Gibson Flying V Guitar
https://www.gibson.com/Guitar/USA3M638/Flying-V

Click here to play the podcast

Everybody knows “Baker Street”– even if you don’t know the artist’s name or the song title, you probably know that sax riff. But there’s more to Gerry Rafferty than “Baker Street” (or “Stuck In The Middle”, for that matter). Here’s an incredibly moving song that’s every bit as good as his biggest hits.

TRANSCRIPT:

Welcome, true believers, to the “I’m In Love With That Song” podcast. My name is Brad Page, your host here on the Pantheon Podcast Network, where each episode, I pick a favorite song of mine and we explore it together on our never ending quest to understand what makes a song great. We don’t get into music theory here, so you don’t have to know a lot of jargon or technical stuff, we’re just going to listen together and see what we discover. On this edition of the podcast, we’re going to contemplate a song by Gerry Rafferty. Chances are, if you know the name Gerry Rafferty, it’s from this song [Baker Street]

But on this episode, we’re going to explore a song you may not have heard before. This is a song by Gerry Rafferty called “The Ark”.

Gerry Rafferty was born in Scotland in April 1947. He was the youngest of three children, and by some accounts, his birth was unplanned and his father resented his very existence. His mother would take Gerry out of the house on Saturday nights and stay outside, late into the night, just to keep Gerry’s drunken father from beating them.

When Gerry was 16, he formed his first band with a friend, Joe Egan. Firs,t they were known as The Mavericks, and then they became The Fifth Column, and they released a single in 1966 called “Benjamin Day”.

That single failed to make any waves. So, Rafferty quit and joined a group called The Humble Bums, which also featured Billy Connolly, who eventually become a legendary comedian. Here’s one of Gerry’s songs with the Humble Bums. This one’s called “Shoe Shine Boy”.

Eventually, Rafferty decided to try being a solo artist, and released his first solo album in 1971. It has a great album title– he called it “Can I Have My Money Back?”

The solo career was slow to get off the ground, though, and by now, Gerry was married with a young daughter. So he teamed back up with his old friend Joe Egan and they formed Steelers Wheel. Their first album came out in 1972 and features this song– and I’m sure you all know this one, too.

“Stuck In The Middle” was a top ten hit in the US and the UK. Steeler’s Wheel would release three albums between 1972 and 75. But the band split up, and they were entangled in a bunch of legal problems, which meant that Rafferty could not release a new album for three years.

But finally, when he recorded his second solo album, he was more than ready. The album “City to City” was released in January 1978, and thanks to the chart success of “Baker Street”, it became his biggest selling album. “Baker Street” is mostly famous for that saxophone part, but I’ve always loved that guitar solo, played by Hugh Burns. The “City to City” album also features “Right Down The Line”, which was another big hit from this record.

But the song we’re going to talk about today is “The Ark”. It’s the song that opens the album, side one, track one. It was written by Gerry Rafferty and performed by Tommy Ire on piano, Gary Taylor on bass, Henry Spinetti on drums, Graham Prescott on mandolin and fiddle, Glenn Lafleur on tambourine, Barbara Dixon on backing vocals, the great Jerry Donahue on electric guitar, and Gerry Rafferty on lead vocals and acoustic guitar.

The album was produced by Gerry and Hugh Murphy. The album, and the song, open with some traditional instrumentation. This was performed by an Australian group called The Bushwhackers has a real Celtic feel to it. Probably reminiscent of the sounds that Gerry heard growing up in Scotland.

That’s essentially the melody for the verse. After that opening section, the song switches to more traditional rock instrumentation for the actual verse.

This is a fairly stark but beautiful song, I think, anyway. Let’s take a look at the elements that make up this verse. The piano is the most prominent instrument, but there’s also an acoustic guitar that’s strumming along underneath it.

That chord change there on the piano, that gets me every time. It’s simple, but there’s just something righteous about that. And what the bass and drums are doing couldn’t be any simpler. It doesn’t need to be any more complex than this. All of the instruments are leaving plenty of space.

So let’s go back, hear all of those parts together, and add the vocals in.

I like how the drums skip a beat there. It breaks out of the simple repetition and kind of perks up your attention at the end of the verse. So let’s go back and listen to all of that and how it brings us into the second verse and set.

I’ve read in a couple places that Gerry had perfect pitch. I don’t know if that’s true, but there is a certain effortlessness in his vocals that they just seem to flow out of him so naturally.

And check out that great little electric guitar fill by Jerry Donahue.

Let’s back that up and start again and listen for more of those guitar fills by Jerry Donahue.

Let’s talk about the lyrics. Apparently, Rafferty had the idea for this song as far back as 1970- 71, but it was one of the last songs that he finished for this album in ‘78, almost eight years later. He really had to work at this one. I guess he was reading some books about philosophy or spirituality and about the ark– Noah’s Ark, and what it represented metaphorically or symbolically rather than literally. I think the song is about if we can wake up, if we can become aware, then we can start out on a journey to enlightenment. That’s where it begins. We’re all on this journey together. Here’s the chorus.

This is a great verse. Let’s focus in on his vocals here.

And that’s a nice little drum fill there, too. Everything about this track in this whole album is immaculately recorded. It’s just a great sounding record.

Let’s listen to the vocals. On the chorus, Gerry is harmonizing with Barbara Dixon, but he has also overdubbed his voice in layers. He was really masterful at that.

And that takes us into an instrumental section where the electric guitar plays off of the Celtic instruments from the beginning of the song. It’s an interesting choice. And Jerry Donahue gets off some great guitar licks here. This is a really well-structured solo.

Rafferty repeats the first verse here, but this time he’s double tracked his vocal.

More great guitar fills here.

And listen to the tambourine.

The Bushwhackers and their traditional instruments join in one last time here at the end.

Gerry Rafferty – “The Ark”

Gerry Rafferty was a very gifted man, but he hated being a celebrity. If you grew up in the did, you’ll remember when “Baker Street” was on the radio constantly, you couldn’t get away from that song. It made Gerry Rafferty a rich man… but it didn’t make him a happy man.

He was a great musician and songwriter and a singer with perfect pitch, but I think he was also very insecure. He didn’t seem to be that into playing live, and I don’t think he ever toured America. He didn’t like being a rock star and he lived a pretty private life. And he was an alcoholic.

By 1990, his wife of 20 years finally left. He struggled with depression and volatile behavior. In November 2010, he was admitted to the hospital and put on life support due to multiple organ failure. He was eventually taken off life support and sent home with his daughter, where he died of liver failure on January 4, 2011. He was 63.

A trace of loneliness and alienation runs through many of his songs, and you can hear it in his voice. You can hear it in this song. But this is also a song about hope; that we can wake up from this sleep and set out on our journey. I hope that Gerry Rafferty finally found the ship to take him on his way.

Thanks for listening to this edition of the “I’m In Love With That Song” podcast. New episodes are released on the 1st and the 15th of every month, so we’ll be back soon with another new show. Until then, you can catch up on all of our previous shows on our website, lovethatsongpodcast.com, or find us on your favorite podcast app– Spotify, Google, Apple, Stitcher, Amazon; you name it, his show is there.

We are part of the Pantheon Network of podcasts, home to many other great music-related shows, so be sure to check them out. And if you’d like to support this show, well, the best thing you can do is to just tell a friend about it, because your recommendations are the most valuable thing.

So thank you for taking the time to listen to this episode on “The Ark” by Gerry Rafferty.

REFERENCES:

Gerry Rafferty
https://en.wikipedia.org/wiki/Gerry_Rafferty

Steelers Wheel
https://en.wikipedia.org/wiki/Stealers_Wheel

The Humble Bums
https://en.wikipedia.org/wiki/The_Humblebums

Billy Connolly
https://en.wikipedia.org/wiki/Billy_Connolly

Barbara Dixon
https://en.wikipedia.org/wiki/Barbara_Dickson

Jerry Donahue
https://en.wikipedia.org/wiki/Jerry_Donahue

The Bushwhackers
https://en.wikipedia.org/wiki/The_Bushwackers_(band)

Pantheon Podcast Network
https://pantheonpodcasts.com/

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Television came out of the CBGB’s scene in New York (in fact, they were the first rock band to play the legendary club), but they never fit the “Punk” or “New Wave” label. They were unique, which is why their debut album Marquee Moon sounds timeless, as fresh today as the day it was released in 1977. Fronted by two great guitarists– the mercurial Richard Lloyd and the enigmatic Tom Verlaine, who also provided unorthodox vocals and most of the songwriting– Television would influence generations of bands that followed. Though they never achieved commercial success, Marquee Moon regularly appears on virtually every “Greatest Albums Of All Time” list. On this episode, we explore the track that opens the album, “See No Evil“.

TRANSCRIPT:

Hello once again, fellow music travelers. My name is Brad Page, and this is the “I’m In Love With That Song” podcast, coming to you on the Pantheon Podcast Network. Each episode of this show, I pick a favorite song and try to get a handle on why it’s such a great song; what is it about this song that draws me in? Hopefully you find something in each of these songs, too. We don’t get deep into technical details or music theory, I’d rather talk about the arrangement, the performances, the production, and the emotional effect of the song. Our journey on this edition of the “I’m In Love With That Song” podcast brings us to the band Television and the song “See No Evil”.

[Music]

A couple of years ago, back on Episode 39 of this podcast, we explored a song by Richard Lloyd, one of the guitarists in Television, and we talked about Television quite a bit then. But last year– in fact, one year ago this month– we lost Tom Verlaine, the other guitarist and primary singer and songwriter for television. He passed away on January 28, 2023. So, I wanted to revisit Television and dive into one of their classic songs.

Television was one of the first, if not the first, so-called punk band to play the legendary CBGB’s club in New York City, and were critical in launching the punk and new wave movement that changed music history. Television was founded in late 1973 when two friends, Richard Myers and Tom Miller, who had run away to New York City in the 60’s, met a guitarist named Richard Lloyd, and they recruited a drummer, Billy Ficca. Billy had played with Myers and Miller before, in a band called Neon Boys, but they never went anywhere. Myers and Miller were actually more successful writing and publishing their own poetry. By the time Television came together, guitarist Miller had changed his name to Tom Verlaine, and Myers, on bass, became Richard Hell. This kind of self-invention is an essential element in the sound and the approach of Television. This was the era of glitter and glam, of long hair and Led Zeppelin. But Television, largely driven by the aesthetic of Richard Hell, wore their hair short and dressed in tattered clothes. Legend has it that Malcolm McLaren was inspired by Richard Hell’s look and brought that image back to England, and the Sex Pistols who he managed.

Patty Smith was there for Television’s early gigs at CBGB’s and as a writer and a critic for magazines like Cream, she was an early booster of Television and the whole CBGB scene, publicizing the sights and the sounds and helping to create the mythology that was the New York punk scene of the 1970’s.

In 1974, the band went into the studio to lay down some demos with Brian Eno producing. But Verlaine was not happy with the results, and no record label signed the band. So they returned to CBGB’s, playing two sets a night. These Eno demo tapes have never been officially released and remain among the most legendary, infamous bootlegs, much like the Beatles in Hamburg, Germany.

Television’s steady gigs at CBGB’s tightened them up and refined their sound. But tensions grew between Verlaine and Hell, as Verlane became more and more the focus of the band, and Hell quit the band in April 1975. It was a pretty acrimonious split. He was replaced by Fred Smith, who’d been playing bass with Blondie.

The band got tighter, better, and some songs got longer, with extended dueling guitars between Verlaine and Lloyd. This interplay is one of the most important elements in Television sound, right up there with Verlaine’s lyrics and idiosyncratic voice. Bands with two distinctive lead guitarists were not new, but Television brought the guitar solo into a punk and new wave context in a unique way. And it’s the thing that I love the most about this band.

Finally, around 1976, Television signed a recording contract with Electra Records. By this point, the Ramones, Blondie, Talking Heads and Patty Smith had already released albums, even though Television had been on the scene first. They hit the studio in November ‘76 with producer Andy Johns, whose resume includes albums by Led Zeppelin and the Stones. Andy Johns has worked on some of the greatest records of all time. Verlane said they chose Andy Johns because he got decent rock and roll sounds without messing with the arrangements.

The first television album, “Marquee Moon”, was recorded in three weeks. The band wanted to keep the sound stripped down and minimal. No horns or strings, no synthesizers, no acoustic guitars. They wanted to capture their live sound, but they had spent months before rehearsing for the record, and they were ready.

Their debut album, “Marquee Moon”, is widely considered one of the greatest debut albums of all time. An incredibly influential album, even though sales-wise it was considered a flop. It sold less than 80,000 copies in the US and didn’t even crack the Billboard Top 200. But today, look at any list of the greatest albums of all time and you’re guaranteed to find Television’s “Marquee Moon” on that list somewhere. It’s just another example where sales and charts are no indication of greatness.

The album opens with the song “See No Evil”. “See No Evil” was written by Tom Verlaine and performed by Billy Ficca on drums, Fred Smith on bass, Richard Lloyd on guitar, and Tom Verlaine on guitar and lead vocals. It was produced by Andy Johns and Tom Verlaine.

The track begins with Verlaine’s guitar on the left. The bass comes in with a few notes high up on the neck, and then the drums join in, along with Richard Lloyd’s guitar on the right.

Now, let’s take a closer look at the guitars here, because there’s two very different approaches happening: Tom Verlaine’s guitar is about as straightforward as you can get. It’s one guitar track, no overdubs or doubling of parts. Just Tom on his 1958 Fender jazz master, probably playing through a Music Man 410HD amplifier.

Lloyd, on the other hand, is playing multiple parts, doubled, tripled or more. Most likely, he’s playing his Fender 1961 Stratocaster through a Fender Super Reverb amp. So, you’ve got this mix of simplicity and complexity going on. Let’s hear that intro again.

This is where Tom Verlaine’s vocals come in for the first verse. Verlane’s vocals are easily the most punky thing about the band. If they had had a different, more traditional singer, they might not have even been lumped in with punk or new wave. Underneath the vocal, the band keeps churning, especially Richard Lloyd’s guitar and Billy Ficca’s drums, both giving the song the sound of a repetitive, unstoppable machine. Remember, this is the first song on their first album, and the first thing we hear out of Tom Verlaine’s mouth is “What I want, I want now” — quite a statement of purpose from a young band breaking new ground.

That delivers us to the first chorus. As the backing vocals repeat, “I see no”, Verlaine sings over the top, “I understand all destructive urges, it seems so perfect”. And then the band builds to a climax on “I see no evil”.

I love that chorus. There’s just so much great stuff going on there. Let’s listen to the bass and drums first. Listening to them by themselves, you might get the impression of a disco song. This was New York in 1976. Disco was at its peak and hadn’t worn out its welcome yet. That sound was in the air everywhere in New York City at that time, and a little bit of that flavor made its way into this track.

Add the guitars back in and they bring the edgier rock and roll elements again. Listen to the contrasts between the guitars. Verlaine’s guitar on the left plays big slashing chords, bringing the aggression, while Richard Lloyd’s guitar is playing arpeggios on the right, adding a sense of suspended tension, waiting to be resolved by that final walk down the scale to return to the verse melody.

And here we have the second verse. Let’s talk about Verlaine’s lyrics for a minute. Rarely anything literal, his lyrics move from really clever wordplay to indecipherable phrases. This verse has a little of both. It begins, “I get ideas, I get a notion, I want a nice little boat made out of ocean”. I like that one.

Then it continues. “I get your point. You’re so sharp”. That’s great. And then he sings “Getting good reactions with your Bebo talk”. Now, if you have any idea what “Bebo talk” means, please let me know. I think maybe only Tom Verlaine understood that line.

Now, if I had to guess, I would say that he was singing “when your people talk” there. But according to the official lyric sheet that comes with the album, it’s “Bebo talk”, so your guess is as good as mine.

There’s a nice, tasteful little drum fill there by Billy Ficca, and that gets us into the next chorus.

This time. Let’s bring up the vocals on the chorus.

That scream at the end there is great. That leads right into a guitar solo by Richard Lloyd. Both Verlaine and Lloyd were excellent soloists with their own distinctive style. On some Television tracks, they trade lines or play off of each other, but on this song, Richard Lloyd takes the solo by himself. He’s overdubbed this solo. You can hear his multi layered, repetitive pattern continuing to play in the right channel while the solo sits on top, in the middle. He begins with a melodically climbing pattern.

He tosses off some rapid-fire licks there, and then plays a descending phrase that has a middle eastern feel to it. I really like this bit a lot.

Again, some pretty flashy playing there at the end. As guitarists, both Lloyd and Verlaine were in a whole other league compared to most of the bands on the CBGB scene.

Let’s bring up the bass and the drums on this final verse.

Verlaine concludes this verse by returning to the opening lines, “what I want, I want now and it’s a whole lot more than anyhow”. And then he adds, “get it?” to drive the point home.,

Now as we reach the end of the song, they kind of merge the verse and the chorus together. Here’s what the guitars, bass and drums start playing. On top of that, you have one voice repeating “I see no evil”, while at the same time, another voice sings variations on “I’m running wild with the one I love. Pull down the future with the one you love”. It’s a somewhat chaotic but exuberant call to action. It’s a great way to end the song, and to open one of the most essential albums in rock history.

The bass is really grooving during this part. There’s also a guitar playing a nice little descending part in there, too.

Television – “See No Evil”.

Many critics raved after the release of the “Marquis Moon” album, the band toured both the US and the UK. They were more successful overseas, but in the US, outside of New York, they were relegated to playing clubs and college towns. Verlaine believed that the band were just too closely identified with that New York scene and that the punk label hurt them.

The band was broke. At one point, they had to sell all of their equipment just to survive, and Richard Lloyd was developing a serious heroin habit. The band recorded their second album, “Adventure”, released in April 1978. The album doesn’t really capture the magic of that first record. For one thing, Richard Lloyd had been hospitalized for weeks due to a heart condition caused by his drug abuse, and so his participation on that second album was limited.

At any rate, the second record fared no better than the first, and by July 1978, Television called it quits. Years later, a few reunions would follow, and they even recorded one final album in 1992.

As I mentioned at the top of the show, Tom Verlaine passed away one year ago, on January 28, 2023. He was 73 at the time of this recording. Billy Ficca, Fred Smith, and Richard Lloyd are still with us.

Thanks for listening to this episode of the “I’m In Love With That Song” podcast. I will be back in two weeks with another new episode. Until then, catch up on all of our previous shows on our website, lovethatsongpodcast.com. Or you can also find us on any podcast, app or service– Amazon, Google, Apple, Spotify, iHeartRadio, Yada yada yada, this podcast is available on all of them.

It always helps us out if you write a review and post it wherever it is that you listen to the show. And please, if you’d like to support this podcast, tell someone about it. Share it with your friends. That’s the best advertising we could ever possibly have.

On behalf of everyone here at the Pantheon podcast Network, I thank you for supporting all of our shows, and thanks for listening to this episode on “See No Evil” by Television.

ADDITIONAL INFORMATION:
Television (band)
https://en.wikipedia.org/wiki/Television_(band)

CBGB’s club
https://www.cbgb.com/

Tom Verlaine
https://en.wikipedia.org/wiki/Tom_Verlaine

Richard Lloyd
https://en.wikipedia.org/wiki/Richard_Lloyd_(guitarist)

Marquee Moon (album)
https://en.wikipedia.org/wiki/Marquee_Moon

Andy Johns (producer)
https://en.wikipedia.org/wiki/Andy_Johns

Fender guitars
https://www.fender.com/

Music Man amplifiers
https://www.music-man.com/

Richard Hell
https://en.wikipedia.org/wiki/Richard_Hell

Malcolm McLaren
https://en.wikipedia.org/wiki/Malcolm_McLaren

Patty Smith
https://en.wikipedia.org/wiki/Patti_Smith

Tag: Guitar Solos

Wishbone Ash – “Blowin’ Free”

Gerry Rafferty – “The Ark”

Television – “See No Evil”