01	The Kokonino Stomp						04:40
	02	The Secret Life of Walter Riddle						08:13
	03	The Odessa Steps Sequence						08:41
	04	Mail Order Quarks						10:26
	05	Tiger Tea						12:15
	06	Joosan Lost / The Fate						21:40

Show # 222 December 22nd, 19991
The Discovery of the week:

FRENCH TV / The Violence of Amateurs
(Pretentious Dinosaur)

French TV is a band you can count on. Now with six albums under their belt, this band from Louisville, Kentucky,
embodies the progressive "DIY” 1 way of life. I really like them, especially their live CD "Yoo-Hoo" , but I would have
never thought possible for them to record such a masterpiece as The Violence of Amateurs. French TV is mostly
bassist Mike Sary and guitarist Dean Zigoris. John Robinson (keyboards) completes the band's nucleus, around
which numerous other musicians revolve: drummers Bob Douglas, Brian Donohoe (of Volare) and Chris Vincent,
flutist and saxophonist Greg Acker, keyboardist Jon Encifer and violinist Cathy Moeller. Even Eugene Chadbourne
sits in for one of his trademark banjo runs on the opening track. The Violence of Amateurs kicks in with "The
Kokonino Stomp", a dance suited for epileptics with diarrhea. In a little less than five minutes, French TV says more
than all of Genesis' records together. This track is all over the place: the craziest stomping rhythm, constantly
changing, and an angular melody line that is actually catchy. "The Secret Life of Walter Riddle” is even worse (or
better). Held together by a mood coming from old detective series, this piece is a sound orgy going from swing to
circus music to cartoon music. "The Odessa Steps Sequence” gives the listener a pause while bringing us back to a
more straightforward prog (well, it is the most straight forward track). A rendition of Volare's track (featuring their
drummer Brain Donohoe), "....Odessa...” transcends the original recording and pushes this tune one step further.
"Mail Order Quarks” starts like a fusion ballade but quickly turns into a fusion-esque Hawkwind drive or something
like that. "Tiger Tea” takes a dive into calypso music, for 90 seconds or so, and then takes a progressive left turn, the
first of a long series of strange mutations. The album closes with a 22 minute rendition of the Samla Mammas
Manna's classic song "Joosan Lost/The Fate” (also known as Odet), a masterpiece on its own and a flamboyant
interpretation.This record is nothing less than sublime and embodies everything avant-prog is about : complex,
singular, funny and subversive. As with all French TV releases, the booklet contains statistics on American military
expenses. As a bonus, we are treated with an anticipated novel in which French TV is the hit band of the hour and
young beautiful women ride In Jeeps listening to Magma's "Attahk". Heaven on Earth, just like this record. My
highest recommendation.

© 1999 Francois Couture, All Rights Reserved ; Delire Musical, CFLX Radio, 95.5 Sherbrooke, QUEBEC



FRENCH TV: The Violence Of Amateurs

Hey-whatever this lot are on, make mine a barrel-load! It's not often that something as simple (sorry lads - you know
what I mean) as a jazz-rock group can produce something that is just so mind-bogglingly varied, that you are
somewhat in awe of the mix of complexity, solidity, accessibility, and musical fun with which you are presented on
this brand new album. There are so many twists and turns that take your breath away, and just when you think you ye
heard it all, the band get their heads down and drive full-on into some seriously intense musical dimensions where
the lead instruments and main ensemble melodic work, from mainly synths/keys/guitars and occasional flute/sax
work, fly most high (exceedingly high, in fact). Even more fantastic is the rhythm section as, even in fusion acts, you
rarely hear the bass and drums mixed and played to such perfection as this, and it's fair to say that finer electric bass
work has rarely been heard outside of Percy Jones' days with Brand X. As the album continues, so the tracks get
longer, and the music really smokes, with track three threatening to take your head off with its sizzling performances
all round and a guitar solo that leaves you open-mouthed at the sheer scale of it all - nearly nine minutes of steaming
ecstasy. The acoustic intro to track four, thus comes as something of a relief, as liltling sax, solid bass/drums and
sweeping piano join the guitar on a dynamic but relaxed number that gradually builds up steam (all aboard!!! but
then spends the mid-section staying relatively restrained although subtly powerful throughout, with a superb flute
solo and I don't even like flute!!! (well, not on toast, anyway). After the ten minutes of superb dynamics and
occasional driving arrangements towards the end of the middle (well you will all see), this is one of the tracks that
really gets under your skin and makes you want to play it more and more often.But you carry on, and next up is the
12 minute fifth track that sees the band back on the track of throwing up....err, I mean in...the kitchen sink, with more
musical twists and turns than something with a lot of musical twists and turns in it. With the basic quintet line-up
going at it, this is one belting track that has the lot, from subtly to complex, melodic to all-out bite, relaxed to frantic,
and yet all delivered with structure, purpose, heart and a feel that most fusion hands world kill for- just superb.
Finally a near 22 minute 'magnum opus' as the band proceed to do somewhat bravely in my book, a track by Samla
Mammas Manna. But wait....they do it BETTER than the original, and the basic quartet of electric guitars, analogue
synth, electric bass, drums and keys really tear into the track and make it their own with the perfect mix of a wide
range of European, American and UK fusion music styles as you will witness on any such CD and the musicians
really give everything with each one either delivering remarkable work in its own right, with some sizzling solos
along the way from the guitar and synth/keys. The surreal mid-section starts off in slightly avant-garde territory hut
then see the structure put to great use as a storming electric guitar solo blares out from the foggy synth background
while the rhythm section attempts to keep it all on the straight and narrow. After this, there comes eight (count 'em!!)
explosive minutes of fantastic fusion music that will have you racing around the room like an idiot, grinning from ear
to ear at the sheer scale of the enjoyment factor and the finest group fusion this side of the 70's. Superbly arranged,
produced, composed and delivered, this is one of the best jazz-rock album of the last ten years and easily the finest
thing this band has ever done, and you can't say fairer than that. Essential listening.

----Andy Gee-CRANIUM MUSIC, NEW ZEALAND



French TV The Violence of Amateurs (Pretentious Dinosaur Records)

A witty sleeve cover story sets the scene for this, my first encounter with American band French TV. Here's a taste,
dear reader: “... trying to pin-point the exact moment his long-cherished genre, progressive rock, had become the
new decade's dominant musical trend ... it was when Madonna, Whitney Houston and Alanis Morisette released
nearly identical twenty minute epics about the universe (or something to that effect) ...". A clever story it may be, and
one matched by the musical cleverness of this band. Perhaps, as with the story, a lot of the nuances and detail can be
lost in what can occasionally sound cacophonous. There is no simple phrase to describe the music. So varied are the
influences, that often you are unclear if it is the same band playing!

Instrumental, progressive jazz-rock? Or how about take a great deal of Gong, the more eclectic parts of King
Crimson, get Branford Marsalis and Mel Collins involved, and allow the odd dash of Caravan, B52's, Brand X, Keith
Emerson or Spike Jones to escape. See what I mean?

Their wit permeates both the music and the song titles ("Mail Order Quarks", for example) and in the excess of some
tracks on the CD, it undermines the musical statements, ranging from the four minute 'Kokonino Stomp’ 1to the 21
minute long "Joosan Lost/The Fate". The same dichotomy exists on the CD sleeve, with a witty story nestled against a
potent comment on the unnecessary military spending when compared to Russia, Chinese and other 'rogue states’ I
advise: when they are good, they are good, and when they are bad they are bad. But on the whole, they are more
than half way good - if acquired listening.

----David Pearson--WONDEROUS STORIES # 69 [ENGLAND]



FRENCH TV: THE VIOLENCE OF AMATEURS

Any new French TV album is always a load of fun and great playing, but with 1999's "The Violence of Amateurs", the
band have taken a big step forward, both in the composition department and in the quality of production overall. The
band here seems to have found a space somewhere between a progressive rock groove and the Hatfield/NH style
Canterbury sound, with strong Zappa-like influences. A fairly consistent band membership over several albums now,
with the core of Sary, Zigoris, Robinson, and Douglas, contributes to the cohesive whole, with other members
contributing on several tunes. They are also joined on three of the album's six tunes by Volare drummer Brian
Donohoe. An excellent take of Volare's "Odessa Steps Sequence" is one of the disc's high points. "The Secret Life of
Walter Riddle" (with its hilarious marching intro and strong surfbeat inclinations) and the quirky twelve minute opus
"Tiger Tea" are high points also. The ten minute "Mail Order Quarks" is a very polished jazz oriented tune that
features guest violin and voices. Closing the album is a cover of an obscure Samla Mammas Manna tune, 20 minutes
in fact, giving another peek into FTV's wide range of influences. But where are those funny song titles this time,
Mike? Okay, the funny booklet cover art makes up for it. At any rate, this is FTV's best studio effort to date.
Recommended.

-----Peter Thelen, EXPOSE



FRENCH TV — THE VIOLENCE OF AMATEURS (1999, 65:55, Pretentious Dinosaur Records CDOO4)

Just a few months ago I received a batch of French TV discs to review, and here's another silver disc of this US
progressive rock outfit. To pinpoint FTV's music on this venture, I would say a US version of Canterbury music. They
have a healthy dose of humor in their sound. However "The Violence Of Amateurs” puts you on the wrong foot right
away. It starts off with quirky avant-garde like "The Kokonino Stomp” and continues in the same manner with "The
Secret Life of Walter Riddle". Screamish sax playing and nervous rhythms, weird sounds.

With these tracks out of the way, things get more melodic. "The Odessa Steps Sequence " is a track by fellow
countrymen Volare. This 8 minute track starts atmospheric with some lush keys and lovely flute playing makes this
an outstanding track that has a certain loveliness to it although there's a dark sound to it as well. Halfway through it
gets more upbeat and reminds me more or less of Rush playing a more jazzy style music, probably the best track on
the disc to my liking.

After these short songs we get 3 tunes that clock in (way) over 10 minutes. If you are brave enough to sit this through
you'd better strap yourself.

With "Mail Order Quarks” the mellow mood continues. It sounds pretty sweet in the beginning with some nice violin
playing halfway through it building up to a nice climax with an eastern feel to it. After this we get to the more harder
to digest tunes. "Tiger Tea” starts with a salsa-party like intro and goes through many quirks and turns, an odd track
with a Zappa touch to it. The finale of the CD is another cover. This time by Swedish avant-garde band Zamla
Mammas Manna. A 20 minute workout of "Joosan Lost/The Fate". If you are an adventurous music lover this disc
hold a lot to discover but no CD to do your dishes to ( except if you want to have a new set anyway )

***+ (Maurice)--BACKGROUND MAGAZINE #71, AUGUST 2002 [THE NETHERLANDS]



FRENCH TV the violence of amateurs [Reviewer Rikard A. Toftesund]

This fun band comes from Louisville (Kentucky) and has existed since 1983, all this time under the leadership of
bassist Mike Sary. The music of French TV is somewhat related to the classic Canterbury- style of groups such as
Matching Mole and Gilgamesh, but refers first and foremost to earlier American intrepretations of the same
influences, such as Grits, However and perhaps especially to The Muffins. Mike Sary and company fits therefore
nicely into a category together with names like A Triggering Myth, Ut Gret, Radio Piece III and Volare (whose
drummer Brian Donohue guests on three of the six tracks).I have always liked French TV, and "The Violence..." gives
me a firm confirmation as to why; this is undoubtly their best record so far. Their long jazz-harmonic-dripping
instrumental escapades literally overflows with playfulness and color. The choice of sound and tone are firmly nailed,
the production, with its clear use of space, is perfectly suited to the "mood", and gives the correct impulse of
quirkiness and measured eccentricity.All the band's other issues contain moving moments; French TV (1985) and
After A Lengthy Silence (1987) are somewhat hampered by ill-fitted "sound filtering", while Virtue In Futility (1994)
and Intenstinal Fortitude (1995) show remarkable development as to the will to experiment and vary. Yoo-Hoo (1997)
is a good live album showing that Sary & Co's songs are well suited to the stage.The Violence of Amateurs, on the
other hand, is the first of the group's initiatives that seriously "caught me off guard". Whether it is because of the
knock-on effect of the music, or just the fact that this record is a much more consistent effort than the rest, I am
unsure of. The pieces are far more ambitious and well-written than French TV's previous releases, and technically
they sound better than ever, the album grows on each hearing.There are a couple of odd elements. One is the
avant-guitar legend Eugene Chadbourne's participation on the opening track The Kokonino Stomp (banjo!). The
other is the almost 22 minute long cover version of Zamla Mammaz Manna's The Fate which neither breaks new
ground (in relation to the original) nor shows the drums/electric guitar/bass/keyboards setup (which is varied from
album to album) from a particularly exciting side, free improvisition or not.But here is an additional 44 minutes of
consistently great music, and this clearly legitimates a purchase for those who enjoy well-crafted Canterbury-prog.
And don't miss Sary's liner notes, a black, funny history of a fictious future situation where French TV has become
superstars due to a market boom for prog in general (the group's CD booklets are otherwise notorious for their
polemic intrepretations about waste and hypocrisy within the American defence industry and government).

----©2001 Tarkus Magazine[ Norway]



French TV-The Violence of Amateurs [1999, Pretentious Dinosaur]

The improbably named French TV actually come from Louisville, Kentucky and, since their formation in 1984, they
have recorded a total of six albums; "The Violence of Amateurs" being the most recent. Despite numerous personnel
changes over the years, one constant has remained in the band's mainstay - bassist Mike Sary. He is joined by
guitarist Dean Zigoris throughout this album, but the remainder of the lineup seems to be fairly fluid, with different
combinations of players appearing on the the various tracks.

The band plays a form of jazz oriented progressive rock. Comparisons have been made in the past, likening French
TV to Frank Zappa and their innovative style and often complex nature of the music make it very clear why. One can
also spot further influences from the likes of Gentle Giant and Van der Graaf Generator showing through at various
points.

How else can one describe the music? With great difficuhy is the short answer. This album, which is purely
instrumental by the way, tends to jump readily between moods while at the heart of much of the music lurks a sense
of unpredictability that keeps the sound fresh and vibrant. It is sometimes raucous, sometimes humorous and quite
often just plain weird! On this final point I offer as evidence, not just the the album covers for this and the preceeding
releases, but also the band's web site -although don't mistake me here, this is intended as positive feedback. Another
comment worth making is in connection with the production which in terms of quality is very high, with the sound
coming over as very sharp and clear throughout

Getting things underway is "The Kokonino Stomp", a somewhat disjointed and slightiy discordant piece, which is
punctuated with strong sax work from Greg Acker, who also p1ays flute on the track. The effect of the piece is wacky
in places (I'm sure I heard a doorbell ringing in the early stages) and the inclusion of a bizarre banjo part is totatly
mad! Honky tonk piano adds to the chaotic nature -yet despite its initially unsettling nature, it really flows along
rather nicely.

"The Secret Life of Walter Riddle" opens with what sounds like a marching band with the sound of whistles and flutes
-and to say this is strange is putting it rather mildly. However, after the first half minute or so the percussion cuts in,
followed once more by throbbing sax work, and the track takes on a more business-like approach. The sax play
divides into two distinct styles: the first providing dependable rhythmic playing, while the other takes off on
improvised lead breaks which are truly phenomenal. In addition to this, Dean Zigoris puts in a powerful performance
on lead guitar, set against a solid underpinning of drum and bass. Although the keyboard work tends to be
somewhat overshadowed, it too is worth listening out for.

Probably the most easily accessible track on the album is "The Odessa Steps Sequence". From the gentle acoustic
guitar lead that heralds the opening section, this is a very comfortable piece to listen to. The mood early on is quite
easy going with some marveflous flute passages buoying it along. Following on from this, a slightly more threatening
undercurrent starts to develop but never really takes complete command. The emphasis changes once again in the
latter stages when the tempo picks up considerably with faster flowing keyboard runs taking the lead.

"Mail Order Quarks" is, for me, one of the highlights of the album. The track runs through a whole range of moods:
starting off tripping lightly along, then heading through a darker more brooding mid section featuring acoustic
guitar. There are some wonderful flute overlays, provided once again by Greg Acker, before the piece takes on a
more whimsical feel for the final section. Another strength here is the excellent violin work from Cathy Moeller,
which really brings something special to the sound.

"Tiger Tea" is perhaps a more straight forward jazz influenced piece, but it still has its moments of madness. The
track is very strong on keyboard work, and John Robinson does a truly remarkable job throughout. Support comes
from the by now familiar sax and flute playing of Greg Acker, while Mike Sary's bass playing should not be
overlooked. This is another more readily accessible piece that should be enjoyed by jazz and progressive fans alike.

The final number "Joosan Lost/The Fate", is apparently a cover version, originally recorded in 1977 by a Swedish
band called Zamla Mammaz Manna. I don't mind admitting I have never heard of this band, much less the track; so
how it compares to the original I cannot begin to guess. The track offers a spirited performance with masterly guitar
work and great synth sounds. The strongly improvisational playing style works well, and the constant sense of
change and evolution leaves the listener wondering where it is going next. UItimately however, this piece is its own
worst enemy -with a running time in excess of twenty minutes, it is simply too much. The playing is very intense and
there is just too much happening to keep focused for the full distance and ultimately I find myself switching off. The
old addage of less is more comes to mind here.

Many people seem to find French TV to be an immediately accessible band, but I must confess I have been trying to
figure out for nearly two months whether I actually like them or not. The good news is that the jury is now out on this
point and the verdict is a resounding YES! When all is said and done, this is certainly a very creditable album with
solid musicianship, challenging music and excellent production. If you enjoy progressive music with strong jazz
influences and improvisational playing and a slightly avant garde approach see what you make of French TV.

---Simon; 19th. June 2001 NEW HORIZONS; http://www.elrose.demon.co.uk



COMMERCIAL FREE CULTURAL WACKINESS: FRENCH TV--THE VIOLENCE OF AMATEURS

I know a woman who was born and raised in France, and I asked her what the biggest difference is between
American and French television. "Commercials," she snapped. "You have too many commercials on TV. Plus, your
news starts too early." She admitted, however, that she hasn't lived in France for more than a decade and knows that
French broadcasting has become more commercial and less tax-based. In an era of global de-regulation and
de-centralization of services, the world is slowly catching up to the American model of commercial broadcasting,
which may not be a bad thing. Just think: if the networks and stations didn't sell their available time, how else could
we have enjoyed those umpteen thousand years of Urkel?

You won't find commercial breaks (or traces of Urkel, praise Allah) in "The Violence of Amateurs" from Louisville's
French TV. No short, ready-for-airplay tunes that will later sound pleasing when seeped through speakers in an
elevator. Nothing hummable. Nothing that can be used in a karaoke machine. But what you will find is a wacky
miasma of long songs with strange melodies, oddly paced rhythms and instrumentation ranging from the obvious
(bass, drums, keyboard, guitar) to the bizarre (Hawaiian nose flute, doorbell, and quarter-inch jack). On your first
listen, the influences are obvious: King Crimson's progressive bombast, Frank Zappa's stream-of-consciousness leaps
from melody to melody, Carl Stallings' cartoon stingers. And with song titles that reference science, Soviet cinema
and old comic strips, the work in Violence seems to say, "The entire culture is a playground. Let's go see if we can
bury the swing set in the sandbox."

French TV consists of core members Mike Sary (bass), Dean Zigoris (guitar), Bob Douglas (drums) and John
Robinson (keyboards). Also appearing are Splatch's Greg Acker on saxes and flutes, Eugene Chadbourne on banjo
(Chadbourne will present a concert on October 1 at Artswatch), Cathy Moeller on violin, Steve Good and Aevil on
clarinet and saxes, and several others. From this collective comes the opening polyrhythmic/polymelodic track "The
Kokonino Stomp" (an appropriate anthem for the surreal Kokonino County, where the comic strip "Krazy Kat" took
place). It is followed by "The Secret Life of Walter Riddle," which starts out as a march but jumps right into a segment
that sounds like the music we would hear in the old Batman television show when he and Robin were thrashing the
crap out of the villain-of-the-week's henchmen. It even contains a few stingers so you can paste "Pow!" and "Whap!"
on your own mental TV screen. The title itself is a blend of two cultural morsels: Nelson Riddle, who composed the
music used in "Batman," and James Thurber's short story "The Secret Life of Walter Mitty," about a mousy man who
frequently leaps in and out of a world of fantasy. Admit it - there are times you wished you had Nelson Riddle's
Bat-tunes playing in the background behind you, like when you lay a patch of rubber in your driveway or have
face-off with your boss (and wished that he or she had a group of guys in black sweatshirts and wool hats to charge at
you so you could make a few "Pows!" and "Whaps!" yourself).

The band also manages some surprisingly gentle jazz in "Mail Order Quarks" and finishes with the lengthy "Joosan
Lost/The Fate," segmented into movements that are complete unto themselves, yet vaguely connected. Kind of like a
night of Internet surfing.

It's all of the above and more. So unhook your brain. Tune in to French TV and The Violence of Amateurs.

---Tim Roberts, LOUISVILLE MUSIC NEWS



J a n u a r y 2 0 0 0: The Violence Of Amateurs - French TV

This is the sixth release from bassist Mike Sary's band and by far the best one so far. It seems to me that the band has
matured considerably as they have developed a more complete sound, now with more obvious leanings towards
Zappa. They still stick to the typical complex, rhythm-breaking style that made French TV a name for themselves
though. The music here has intricate structures with a good sense of humor, is well varied and indeed very well
performed. This is an effort by highly skilled musicians who pushes the boundaries a bit further, beyond all
pre-imaginary limits. This is easily the best prog album of 1999. "The Violence Of Amateurs" is highly recommended
to anyone with some daring, a good sense of whimsy and who is truly a fastidiously listener.

---Mats Perstenberg/ LUNATIC FRINGE REVIEWS [SWEDEN]



FRENCH TV-The Violence Of Amateurs (Pretentious Dinosaur)

Eclectic art-rock with incredibly tight instrumental passages and time signatures that would make most rock
musicians cringIn terror are just a couple of the concepts running rampant throughout the 1999 album from
Kentucky-based French TV. Although not dated sounding at all, The Violence Of Amateurs wouldn't have seemed at
all out of place back In the '70s, the decade that spawned progressive rock groups from just about every country in
the world. Imagine a band of talented players who are more than happy to revel in the heyday of prog-rock icons like
Gentle Giant, ELP, Happy The Man and Return To Forever (with Al DiMeola) as well as mid '70s avant-gard prog
rockers like Henry Cow and National Health and you begin to get the drift of the French TV sound. Led by Mike Sary
(bass) and Dean Zigoris (guitars), the French TV sound is further fleshed out by a number of other fine players. A
completely instrumental set, The Violence Of Amateurs ranges in scope from the hair-raising to the picturesque and
sublime with the highlight surely being a 21 minute, true-to-life cover of "The Fate", originally written and recorded
in 1977 by Sweden's best art-rock band Zamla Mammaz Manna. The Violence Of Amateurs is adventurous
progressive rock and is recommended to anyone who remembers the days when rock musicians were still
considered artists.

---REVIEW FROM MMW3.COM



The Violence of Amateurs-- French TV

I have had the pleasure to sample much of FTV's discography. I find this recent outing a winner. FTV is one wild,
zany, and iconoclastic bunch of musicians with a penchant for the bizarre. They are all over the place
compositionally but highly skilled nonetheless. And such is the cream-pie-tossing way Sary and gang chase each
other around on these six eclectic compositions. I have been reminded by Sary that I tend to say that FTV reminds me
of nearly everything so this time I will attempt to narrow things a tad. Imagine Zappa, (Keneally and Fowler boys too),
got together with National Health, Hatfield and the North, The Banzo Dog Band, Volare, Zamlas Mammas Manna, and
way too much designer coffee. What happens is magic and unpredictable fun. Mike Sary on bass and percussion,
Dean Zigoris on guitar, gtr. synth and some keys, John Robinson on main keys, Brian Donohoe (Volare, Matter
Eater), guesting on drums, and Bob Douglas on more drums are all joined by many talented others on more keys,
flute, reeds, violin, vocals, banjo, and assorted noises to create one fine release. They cover a Volare song, "The
Odessa Steps Sequence” and Zamla Mammas Manna's "Joosen Lost/The Fate". Elsewhere we find four excellent FTV
originals. Good stuff, (surf guitar outro included with purchase).

I found the first 5:30 of the monolithic 21:40 "Joosan Lost/The Fate” wonderful, the next 7:00 was just FTV free form,
improv meanderville. Things got a lot more interesting thereafter in the overdrlven, wall-of-sound, extended 5:50
pseudo-finale movement. And finally the remaining 3:20 returns with an outro/reprise of the great jams of the piece's
early feel. if you have never tried FTV then start with this latest splash.

---By John W. Patterson, ALL ABOUT JAZZ.COM



GIANT PROGWEED REVIEWS: FRENCH TV6: THE VIOLENCE OF AMATEURS

Wow. Really, wow. This album has been a joy to listen to ever since I first put it in my cd player. For the uninitiated,
French TV plays a hybrid of Canterbury, RIO, Fusion, and Insanity; not to mention random little snippets of other
styles. All this is packaged together into a whole that at times can be zany, and at others beautiful. All the
compositions here are very strong, and along with the superb musicianship, create something that is challenging, yet
instantly appealing. What I find most engaging, is the playfulness that runs through most of the album, but the band
is still able to retain a dark and foreboding feeling in parts. An excellent balance. Bassist Mike Sary and Guitarist
Dean Zigoris form the core of this outing, with many guests on drums, keyboards, various wind instruments, and
even banjo.
Evidence of the wackiness of the band, the first track "The Kokonino Stomp" opens with a burst of horns that
sounds much like something from a big band, leading into some zany, yet complex passages, and even an banjo
solo! If nothing else, this song is just fun. "The Secret Life of Walter Riddle" has a real groove to it, and is brimming
with searing guitar solos and short sax lines punching into the melee. This leads us to my favorite piece on the
album, "The Odessa Steps Sequence"; slow building, dark and brooding, epic and cinematic. Filled with great
themes, great rhythms that leave an excellent foundation for guitar and keyboard runs and even a beautiful flute solo.
What more could you want? The next two tracks take a more lighthearted approach, with a nice eastern vibe in "Mail
Order Quarks". This leads into the monster cover of Zamla Mammaz Manna's "Joosan Lost / The Fate", a wonderful
juxtaposition of symphonic melodies and all out improv noise with a lullaby like intro.
The Violence Of Amateurs has been a staple of my listening habits since it's arrival. The wonderful, off the wall
humor of Sary and co. shines through in the playful, yet difficult music being played. This is something that should
easily appeal to fans of Canterbury, Fusion or even the more open minded symph fan, and it comes with my highest
recommendation.

---- Mike Prete [May 2001]

French TV - The Violence Of Amateurs
Released: 1999
Label: Pretentious Dinosaur Records
Cat. No.: CD004
Total Time: 65:18
Reviewed by: Stephanie Sollow, August 2000/PROGRESSIVE WORLD

Okay...how to describe French TV's The Violence Of Amateurs? I could take the short cut and say RIO-esque (as
I've seen them called). But if you're like me in not being all that familiar with the "conventions" of RIO, or if you
don't even what the term means beyond knowing it's an acronym for Rock In Opposition, then leaving it at that
would have you scratching your head. So, in my usual long-winded way, I'll tell you a bit of what I hear and "see."

"The Kokonino Stomp" which kicks off this disc, made this image come to mind: I'm sitting in an auditorium
waiting for a battle of the avant-jazz bands to begin. All the participants are warming up at once, and yet, in the
chaos they seem to actually be all playing in time. The title track basically has everything but the kitchen sink and
sounds like a melodic mishmash of 50's-70's TV themes and incidental music, including everything from segues
between scenes to cheesy action sequences. Perhaps this is where the TV in their name comes from. Beautiful it
isn't, but it is fun, energetic, and danceable...in a fashion. Yes, it also evokes some of the "cheesier" musicals.

"The Secret Life Of Walter Riddle" is another that goes in various directions, including a bit of 60's surf guitar. The
militaristic intro gave me visions of white uniformed sailors doing a dance routine on the top-forward section of a
battleship - actually, what I pictured was Gene Kelly in a white sailor uniform doing this dance. Which, of course,
he did do just such a routine, more or less, in On The Town (sans the battleship). And not quite so far fetched
when you consider that James Thurber's "The Secret Life Of Walter Mitty" begins with the titular character in a
military setting, before he's brought back to reality by his wife. Admittedly though, Mitty wasn't doing a Kelly
routine.

Along a much different, and decidedly less frenetic, path is "The Odessa Steps Sequence" (a cover of a Volarй
composition; Volarй drummer Brian Donohue guests to boot). This has a slight symphonic King Crimson feel
about it (maybe Red period), but would also go over well with the contemporary instrumental crowd, those that
edge closer to the rock element than the new age element. Djam Karet, for example, but then I also think of Italian
progressive. So, like everything else on this album, pinning them down to just one "sound" is about as easy as
defining what, exactly, progressive music is. "Mail Order Quarks" follows in a similar fashion, slowly evolving
from an understated atmospheric piece to a lively flute let piece, subsiding to flute, sax, and vocalizations, rising
and subsiding again as different instruments take the lead.

"Tiger Tea" has a bass-heavy Caribbean like feel to it, and like the first two, has odd bits that flit in and out of the
mix, giving the track some angular edges. But later you'll get gentle piano and guitar passages. Some jazzy bits,
too.

The last track is a Zamla Mammas Manna (aka Samla Mammas Manna) tune, "Joosan Lost/The Fate." Zamla
are/were a rock-fusion band from Sweden that shifted towards a more RIO sound. This falls somewhere between
the quirky avant-jazz of the first two pieces and sections of the remainder of the album. Not quite as quirky but not
quite as smooth. Guitar leads are all over this piece, but the instrument list includes such items as "noise," "Ye
Olde Analogue Synthesizer," "1/4 Jack Noise," and "Organic Noise." There's a section about 6 minutes in (the
entire track clocks in at 21:40) that is more sound effects than "music," but is no less interesting and engaging
than the rest of the track, nay, than the rest of the album. Oh, you'll get this again at about 11 minutes in, too.
There are parts that are quite heavy - dark, low toned notes...some points that feel like an improv jam session...

Track Listing: The Kokonino Stomp (4:42)/ The Secret Life Of Walter Riddle (8:14) / The Odessa Steps Sequence
(8:42) / Mail Order Quarks (10:27) / Tiger Tea (12:13) / Joosan Lost/The Fate (21:40)

Nuno Published on: 10 Apr 2002 for PROGGNOSIS
The most common phrase that you will hear from someone that listens to this onslaught album for the first time is:
“What the Hell is going on here????”. The truth is that this feeling of perplexity will endure no matter how many
times you listen to this frantic and utterly lunatic band’s albums.

I believe there is no sub-genre in prog music that French TV leaves out of the mix in their difficult and extra complex
releases. From Symphonic to Fusion, with a lot of RIO and Canterbury escapades and the add of humor, cartoon and
circus music, old swing and many (I mean many!) other styles, they agglomerate it all in just one song, one minute,
one second. It is truly unbelievable.

Of course this makes The Violence of Amateurs an album that will be too much out of grasp for most listeners, for it
comprehends way too much explorations and odd structures for most proggers. Those who really are adventurous at
heart and have compatible ears to cope with this extreme mix of genres will probably think this is a one-of-a-kind
band that ensures music is well alive and progressing in all directions.

If there are songs here that mostly remain within the symphonic progressive status like, for instance, The Odessa
Steps Sequence or the first part of Mail Order Quarks; others are that will probably make you believe you are having
some sort of musical hallucination. In this last category you may fit the first two songs of the album, that clearly state
this band is quite abnormal in their musical approach. The compositional skills are obviously of the highest level,
completely out of any standard or status quo, making this album a classic of Avant-Garde Prog.

The closing 22 minute opus Joosan Lost/The Fate is a version of a Samla Mammas Manna song and it is a
masterpiece on its own. It has an improvisation section that really shows this band’s innovative and skillful playing.
This is a complex, refreshing and real funny sonic experience that will turn to debris any musical preconception that
we may still have. By the way, this kind of concept could only emerge in the progressive scene…really!

One thing I find most amusing and surprising is that this was the most sold album in the JungleCD’s sales booth
during the GAR2001 Art Rock Festival held in Portugal (along with Petrophonics by Birdsongs of the Mesozoic).
Also, their new album, The Case Against Art is getting a lot of focus here, these days. At least in Portugal, this is a
case of success!

Do I recommend it??? Without a doubt in my mind. But only for the real explorers.
- - - - - - - - -PROGGNOSIS

FRENCH TV 7-THE VIOLENCE OF AMATEURS
When French TV drift into some kind of framework and structure, and at times they do, they turn out some high
quality music. This is shown to its best effect on the track "The Odessa Steps Sequence" which again is totally out of
character with the rest of the album. Its opening sounds almost orchestral then the electric guitar, keys, flute and sax
turn this into a smouldering, controlled jazz classic that could almost have been used for one of those "hip" type
films of the 70s. Another highlight is "Mail Order Quarks" which has some splendid notes coming from the sax, flute
and violin creating some magical moments.

Unfortunately, at times, they do seem to indulge in things that could maybe described as tongue-in-cheek e.g.
"Kokonino Stomp" and to a lesser extent "The Secret Life Of Walter Riddle", although this just about stays on track.
After saying that there is plenty to keep jazz fans happy, no more so than on the splendid "Tiger Tea" which has
some sterling work by John Robinson on keys and Greg Acker on sax and flute. In fact the album closes with the
terrific "Joosan Lost/The Fate" which is 21mins. of tremendous jazz that's quite dark at times. It's just a pity that the
album was let down in the early stages. 73%
- - - - - - - - - - - - - Terry Tucker, EUROPEAN PROGRESSIVE ROCK REVIEWS