从专辑的封面无论如何也想象不到这四个形容枯槁，像已被埋葬多年又掘地出土的僵尸一样的年轻人能弄出”Marquee Moon”这样一张伟大的专辑，而从音乐上看，这张专辑中也绝不是一张典型的朋克入门专辑，虽然每首歌曲都以比较简单的和弦伴奏开始，但到了高潮时的solo、编曲乃至歌词意境，也远远超过朋克所容纳的范畴，体现出与Remones、the Clash等截然不同气质。

摇滚乐中不乏恢宏长篇的史诗级作品，如the Doors的”The End”、Pink Floyd等等，但与专辑同名的”Marquee Moon”则用最少最传统的摇滚三件套乐器营造出畅快淋漓的史诗般的感觉，近似原音的清澈的电吉他加上主唱病态的、油腻腻的嗓音，时我仿佛置身在爱伦坡的”厄谢尔府的倒塌”中的境界。

如果仅选5张我最喜欢的专辑，其中也一定会有这个”Marquee Moon”。

Marquee Moon
I remember
how the darkness doubled
I recall
lightning struck itself.
I was listening
listening to the rain
I was hearing
hearing something else.

Life in the hive puckered up my night,
the kiss of death, the embrace of life.
There I stand neath the Marquee Moon Just waiting,
Hesitating…
I ain’t waiting

I spoke to a man
down at the tracks.
I asked him
how he don’t go mad.
He said “Look here junior, don’t you be so happy.
And for Heaven’s sake, don’t you be so sad.”

Well a Cadillac
it pulled out of the graveyard.
Pulled up to me
all they said get in.
Then the Cadillac
it puttered back into the graveyard.
And me,
I got out again.

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