JOHN CALE IN BRIEF

His place in rock history may have been sealed all the way back in 1967 with the release of the ridiculously-influential experimental rock masterpiece 'The Velvet Underground And Nico', but John Cale has done more than enough since to secure a position among the greats in his own right as a solo artist. The sheer variety of music on offer in his back catalogue may suggest a 'jack of all trades', but this classically-trained viola player and pianist has rarely shown anything less than mastery of the styles and genres he explores. His music, all the way back to his VU days and even his earlier work with La Monte Young, has often emanated from that fascinating place where beauty and ugliness meet. Pick a Cale solo album at random and it may present one side of the man. There is every chance that your next selection would turn your pre-conceptions 180 degrees. Hell, he's even been known to pull this off within the confines of a single record.

Importantly, he might be playing ornate orchestral pop, or he may well be caterwauling over proto-punk noise, but there's always an intense, even menacing aura which underpins all of his disparate work and gives it an unnerving power which isn't forgotten in a hurry. On top of all of this, there's his seminal production work with artists like Patti Smith, The Stooges and The Modern Lovers, not to mention his jaw-dropping arrangement work on Nico's solo albums.



A heartfelt 90's performance of 'Frozen Warnings' from Nico's Marble Index.


Not all of his work is essential (the 70's was his most consistent decade), but a large portion of it should be recognized as such by anyone looking for an insight into why rock music, in all its myriad forms, developed in the way it did.

Oh, and there was the definitive version of 'Hallelujah', but that song's dead to me now anyway.

Here are a few choice selections, both albums and songs.


TOP 5 ALBUMS

1. Paris 1919 (1973)

One of my all-time favourites, this album simply radiates a spectral warmth. Conveniently, it's probably his most accessible record too, many of the songs drawing upon an orchestral pop sound inspired by the likes of The Beach Boys and early Bee Gees. As is to be expected with Cale, though, there's a lot more going on under the surface, the elliptical lyrics incorporating some fairly dark, disturbing themes and images to fascinating effect.


The graceful 'Hanky Panky Nohow' from Paris 1919 (with a rather odd video to boot!).


2. Fear (1974)

Just one year later and things are starting to get noticeably more angular and menacing musically. There are still plenty of moments of uneasy beauty, but guests like Brian Eno and Phil Manzanera help to create an darker, more agitated atmosphere with some experimental flourishes. This is still pretty approachable on the whole, though.


The warped splendour of 'The Man Who Couldn't Afford To Orgy' from Fear.


3. Songs For Drella (1990)

Both having cleaned up their lifestyles considerably during the mid-80's, Cale and Lou Reed came together again following Andy Warhol's death to create a touching song cycle in his memory. It's a sparse but very listenable affair with an unflinchingly honest emotional current running throughout.


Cale and Reed perform 'Hello It's Me' from Songs For Drella. A nice example of John on viola.


4. Church Of Anthrax (1971)

Cale returns to his minimalist roots with this largely instrumental Terry Riley collaboration. The mix of melodic rock influences and expansive repetition works wonders and is highly recommended to any Krautrock fans out there.


The chaotic title track from 'Church Of Anthrax'.


5. Music For A New Society (1982)

A run of intense, noisy rock LPs is interrupted by this exploratory, brooding work which gets genuinely avant-garde at times. Far from an easy listen, this is still never less than eye-opening, plus there are several moments of more conventional elegance.


A frazzled South Bank Show performance of 'Thoughtless Kind'.


TOP 10 SONGS

1. Paris 1919 (from Paris 1919, 1973)

I'm going to limit myself to just the one track from this album - i could quite happily include at least five in this list.


Delightful full-orchestra take filmed in Amsterdam.


2. Mr. Wilson (from Slow Dazzle, 1975)

I find this album rather inconsistent but its peaks are stunning, such as this eloquent, highly melodic tribute to Beach Boy Brian.


This must have been particularly potent stuff at the time given Wilson's situation. Now it seems highly prescient too.


3. Ship Of Fools (from Fear, 1974)

How Cale manages to create something so lovely from two chords is beyond me.


A nice-enough acoustic version with Nick Cave and Chrissie Hynde, although you don't really get the full effect - the album recording's definitely the best.


4. Taking You Life In Your Hands (from Music For A New Society, 1982)

This album opener combines elegiac music and frankly disturbing lyrics to eerie effect.


Nightmarish yet sublime. It's all about the contrasts.


5. There Was A Saviour (from Words For The Dying, 1989)

This album, which brought together the poetry of Dylan Thomas and Cale's classical background, stands as probably his most underrated moment - this exquisite example is my personal favourite.

Um, unfortunately i can't find this on HughTube, so here's another track from that album, Cale's majestic take on 'Do Not Go Gentle Into That Good Night'.




6. Heartbreak Hotel (from Slow Dazzle, 1975)

One of the finest, most inventive cover versions you will ever hear (a later piano reading is just as revelatory).


Here's a wonderfully demented version featuring Andy Summers (couldn't imagine what the credit card signifies)...


... and here's the rather more sober yet no less fascinating take featuring Richard Thompson, Shawn Colvin and BJ Cole.


7. Mercenaries (Ready For War) (from Sabotage/Live, 1979)

Cale at his most incendiary, this growling rocker is best described as 'horribly compelling'. "500 feet and closing, visibility ZERAAAAAUUUUUGHHHHHHHHH!!!!!"


A particularly deranged 80's live performance featuring Chris Spedding finds Cale (possibly, just possibly under the influence) in classic ugly-yet-brilliant mode.


8. Gideon's Bible (from Vintage Violence, 1970)

Maybe the clearest example of his penchant for mixing melodic loveliness and hideous lyrical imagery ("throttling children carelessly, a messy day with Clancy" indeed).


Genial pop songcraft with a grim twist.


9. Fear Is A Man's Best Friend (from Fear, 1974)

Paranoia pervades this classic, stately piano giving way to churning rock, followed by piano demolition and inimitable, blood-curdling Cale screams to close.


That Island Years compilation in the vid is essential for newcomers (along with Paris 1919 of course).


10. I Keep A Close Watch (from Helen Of Troy, 1975)

A reflective moment from an otherwise unhinged rock album, this was written with Frank Sinatra in mind (a haunted revamp on 'Music For A New Society' is equally essential, bagpipes included).


A perfect solo take from the 'Fragments Of A Rainy Season' DVD. Such a nice boy when the mood suits.


11. Dying On The Vine (from Artificial Intelligence, 1985)

Oh go on then, since you're so nice (whoever you are, i'm sure you're very nice!) - here's an extra track to keep you going. It's fairly typical of Cale to bury one of his finest songs on an otherwise mediocre album ('Wilson Joliet' from Honi Soit being another classic example).


A masterful version performed on the Old Grey Whistle Test.