Tzvi Gluckin at Premier Guitar:
Whether you’re talking about the polyrhythmic complexity of bands like the Talking Heads, the understated virtuosity of Television’s Richard Lloyd and Tom Verlaine, or even the deep chops of drummer Marc “Marky Ramone” Bell (Dust, Voidoids, Ramones), the punk scene was a wellspring of talent. Punk’s focus, for the most part, was song-centric and eschewed extended jamming, and the scene’s musicians prized restraint, as opposed to flash. But ability—despite their short hair, leather, and safety pins—wasn’t lacking. They were a reaction to the milquetoast fluff on popular radio (Debbie Boone, the Eagles), and took pains to distinguish themselves as misfits. But even the punks had their outliers, and a prominent delegate was guitarist Robert Quine.
Quine was an idiosyncratic force of nature. He was much older than most of his colleagues, he didn’t dress like a punk—he wore sport coats and cheap button-down shirts, and his guitar playing was a synthesis of his eccentric, yet specific, aesthetic. He was a master musician, but he wasn’t a jack-of-all-trades, and his instrumental voice was cultivated and singular.