Verlaine was often considered as one of the most talented performers of the early punk rock era. Verlaine's poetic lyrics, and his accomplished guitar playing technique were highly influential and widely praised in the music media. He, and Television bandmate, Richard Lloyd were one of rock music's most acclaimed and inventive guitar duos.
Verlaine's stage name is a reference to French symbolist poet Paul Verlaine.
Famed for his trailblazing work as the singer and guitarist for the seminal New York punk band Television, Verlaine also carved out an acclaimed and eclectic solo career. Verlaine trained as a classical pianist but gravitated toward rock music after an encounter with Rolling Stones' song"19th Nervous Breakdown." In 1968, he and bassist Richard Meyers (later Richard Hell) moved to New York's Lower East Side, where they and drummer Billy Ficca formed the group The Neon Boys. The Neon Boys quickly disbanded after failing to recruit a second guitarist (despite auditions by Dee Dee Ramone and Chris Stein). They reformed as Television a few months later, finding a guitarist in Richard Lloyd, and began playing at seminal punk clubs like CBGB and Max's Kansas City. In 1975, Verlaine kicked Hell out of the band for his erratic playing and behavior, and, with Fred Smith replacing Hell, they released their first single.
Beginning with their landmark 1975 debut single "Little Johnny Jewel," Television became one of the most renowned groups on the burgeoning New York underground scene; though lumped together with the punk phenomenon, the band's complex songcraft -- powered by Verlaine's strangled vocals, oblique lyrics and finely-honed guitar work -- clearly set them apart from their peers. However, after only two albums, 1977's classic Marquee Moon and the more subdued 1978 follow-up Adventure, Television disbanded, and Verlaine started a solo career.
He resurfaced in 1979 with a self-titled debut which featured the song "Kingdom Come," later covered by avowed fan David Bowie. 1981's dense Dreamtime earned significant acclaim, and even hit the U.S. album charts. Both 1982's diverse Words From the Front and 1984's Cover drew raves from the British press, spurring Verlaine to take up residency in London. After a three-year hiatus, he returned with Flash Light, regarded as one of his best solo efforts.
Following 1990's The Wonder, Television briefly reformed for a self-titled album and tour; the group again broke up.
In 1992 Verlaine issued his first instrumental LP, Warm and Cool. In 1994, he composed the score for the film Love and a .45. Currently, he and his jazz-influenced punk guitar are touring. He is responsible in part for popularizing the Fender Jazzmaster, along with Elvis Costello. In 1997 he was asked by Jeff Buckley to produce his follow-up album to "Grace", "Sketches For My Sweetheart The Drunk", before Buckley's death by drowning that year.
During the 1990s he collaborated with different artists, including Patti Smith, and composed a film score.
Verlaine was part of The Million Dollar Bashers, a supergroup also featuring Sonic Youth musicians Lee Ranaldo and Steve Shelley, Wilco guitarist Nels Cline, Bob Dylan bassist Tony Garnier, guitarist Smokey Hormel, and keyboardist John Medeski. Their work appears on the original soundtrack to "I'm Not There", a biographical film reflecting on the life of Bob Dylan.
In 2012, Verlaine collaborated with former Smashing Pumpkins guitarist James Iha on his second solo album Look to the Sky.
Venus
Tom Verlaine Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Tight toy night, streets were so bright.
The world looked so thin and between my bones and skin
There stood another person who was a little surprised
To be face to face with a world so alive.
I fell.
Didja feel low? No, not at all. Huh?
I fell right into the Arms of Venus de Milo.
You know it's all like some new kind of drug.
My senses are sharp and my hands are like gloves.
Broadway looked so medieval -
It seemed to flap, like little pages:
I fell sideways laughing with a friend from many stages.
How l felt.
Suddenly my eyes went so soft and shaky.
I knew there was pain but pain is not aching.
Then Richie, Richie said:
"Hey man let's dress up like cops
Think of what we could do!"
But something, something said "you better not."
And I fell.
The song "Venus in 2-3" by Tom Verlaine has deep, metaphoric lyrics, leaving the interpretation to the listener's perceptions. The opening verse introduces the night's atmosphere, with "Tight toy night" signifying the excitement and anticipation of the night ahead, and the streets shining bright, implying the world is full of life. The second line mentions the thin line between bones and skin, which could mean the vulnerability of humans and the fragility of human existence. The third line references the sudden realization of another person's existence, indicating a new perspective on life. The next line, "To be face to face with a world so alive," conveys the experience of a moment of clarity, where the world around feels vibrant and full of life.
The chorus alludes to the experience of falling under the spell of Venus de Milo, the Greek goddess of love and beauty, with the lyrics "I fell. Didja feel low? No, not at all. Huh? I fell right into the Arms of Venus de Milo. I stood up, walked out of the Arms of Venus de Milo." This could signify falling in love, but not feeling the typical emotional lows of such a feeling. The bridge of the song is a description of the singer's sensory experiences, with sharp senses and hands like gloves, seemingly exploring the new world around him. The lyrics about Broadway being medieval and flapping like pages make us feel like he is high on drugs or tripping in some way. The song's ending verses involve the singer considering possibilities with a friend and then deciding against them and then falling again.
Overall, the song "Venus in 2-3" explores the philosophical and sensory aspects of human existence, falling under the spell of the goddess of love and full of sensory experiences.
Line by Line Meaning
Tight toy night, streets were so bright.
The city was buzzing with life and the night was full of excitement and anticipation.
The world looked so thin and between my bones and skin
Everything seemed so ephemeral and unreal like the world was just a thin layer between the physical body and the soul.
There stood another person who was a little surprised
Some part of the singer's psyche was surprised by the intensity of the moment and experience.
To be face to face with a world so alive.
The artist is fully present and engaged with the vibrant and pulsating world around them.
I fell.
The artist succumbed to the sensory and emotional overload of the moment, losing control to the experience.
Didja feel low? No, not at all. Huh?
The singer didn't feel down at all, but the listener might not understand why.
I fell right into the Arms of Venus de Milo.
The singer felt overwhelmed by beauty and aesthetic experience, as if held in the embrace of a classic statue.
I stood up, walked out of the Arms of Venus de Milo.
The moment passed, and the artist regained their balance, leaving the state of heightened sensory awareness and emotion.
You know it's all like some new kind of drug.
The experience was as intense and addictive as a new and exciting substance.
My senses are sharp and my hands are like gloves.
The artist feels acutely aware of all external stimuli and can interact with the world with increased dexterity and sensitivity.
Broadway looked so medieval -
The perspective has changed so much that even something as modern as Broadway could appear archaic and otherworldly.
It seemed to flap, like little pages:
The movement of Broadway appeared like the rustling of old parchment pages, adding to the sense of otherworldliness.
I fell sideways laughing with a friend from many stages.
Amid the chaos and heightened experience, the singer found joy and laughter with a trusted friend from many shared experiences.
How I felt.
The singer is trying to convey the complexity of the emotions and sensations they experienced and struggling to put them into words.
Suddenly my eyes went so soft and shaky.
The singer's eyes involuntarily softened and shook, indicating they were overcome with emotion or sensory input.
I knew there was pain but pain is not aching.
Though the artist was aware of some discomfort or pain, they were able to dissociate from it and see it as different from physical aching.
Then Richie, Richie said:
A new character, Richie, is introduced into the narrative.
"Hey man let's dress up like cops
Richie suggests a wild and dangerous idea of impersonating law enforcement officers.
Think of what we could do!"
Richie sees the opportunity for mischief and excitement that could come from pretending to be cops.
But something, something said "you better not."
The artist feels a sense of foreboding or intuition that cautions them against following Richie's suggestion.
And I fell.
The sensory overload and emotional intensity of the moment takes over once again and the artist loses control to the experience.
Writer(s): Tom Verlaine Copyright: Double Exposure Music Inc.
Contributed by Samuel S. Suggest a correction in the comments below.