Cale versus Cale

Flicked past this mellow fellow's elpees in the racks so many times over the years, always faintly intrigued, but never enough to listen 

This is moderately exciting (if you can push the thought of Eric Clapton out of your mind)

An influence on Jason of Spacemen 3 / Spiritualized, probably because it legimitized having a pale, murmured, barely-there singing mode in a genre that usually favors the biting and rough-edged

This is a cover of the first song on the first J.J. Cale album -  but given a different title. 

Is that actually a drum machine, or even a preset on a keyboard? Mouse-kiss soft, as rhythmic pulses go. 

The cover of the debut is evocative of that era - I'm getting a Leon Russell whiff maybe, or America

Anything else worth bothering with? 

The other Cale couldn't be more different - John Cale's much more harsh-toned as a singer, with zero blues influence. 

(I say the other Cale but it is really the other "John Cale" because J.J.'s first J stands for John. Oddly the second J doesn't stand for anything, as his actual second name is Weldon.) 

People say of John Cale's solo albums of the early-to-mid  '70s that they were among the only punk-anticipating excitements around. I've never really got to grips with them

Vintage Violence certainly sounds punky as titles go, but my - admittedly faint - memory was of something rather baroque and fussily-arranged. Or is that Paris 1919 I'm thinking of... 

It's the three Island albums that were influential on the likes of Howard Devoto

Actually that one is slightly bluesy. 

I liked that one - odd gnarly sounds swirling around in the mix. Maybe it's time to take the plunge, properly. 

Other stuff, though... it's got that mid-70s stodge rock quality....  not a real band sound, a bunch of session players and famous friends...   like a Welsh Warren Zevon maybe. 

Rock critics love this kind of thing, of course

Talking of famous friends, I'll tell you something - this is a big heap o' nothin'

Talking proto-punk - the image here is certainly quite Lou Reed-y 

Didn't he kill a chicken onstage or something? 

Apparently it was already dead. 

(Rock's mini-tradition of fowl play onstage - and offstage - Alice Cooper, John Cale, Ozzy Osbourne)

Off his rocker

This is a disconcerting album cover 

As is this

Now I do love this album though, which reminds me of Peter Skellern - like if Skellern had undergone a transformation as stark as the leap from The Walker Brothers to Scott  4. 

Actually what it reminds me of, even more, is Richard Harris's "MacArthur Park" crossed with Nilsson 

Didn't realise this was his second take on this song

Now that really does sound like Peter Skellern

It also had a bit of the sad-sack quality of Andy Fairweather-Low (another Welshman) on "Wide-eyed and Legless"

Which I love - loved it even at the time

The soundscape on this is almost like Cale doing for himself what he did for Nico

Definite Scott Walker circa Tilt and the pounding-lumps-of-meat album vibes here. 

Hark at these lyrics:

She was so afraid

Since her mother, white with time

Told her, she was a failure

She was so ashamed

Of everything she said

And everything she did for her mother, white with time

Everything around her mother, white with time

And dirty

Her mother was greedy with dirt

Greedy

Then she heard choir of angels

Singing choirs of angels

Greedy angels

Spitting glory on her failure

That stardust of failure

As if it was medicine that didn't work, anyway

Anyway

The windows they were closed

And the midwives had locked their doors

They didn't understand

And after all what was there to understand?

But the angels, cheer choirs of angels

In a friendship

No, more than a friendship

It was a marriage, a marriage made in the grave

The shivering night

The searching of the river continued

The bullet of searchlight

That searchlight found her so cockleshell and sure

Sick and tired of what she saw

But cockleshell and sure

Sure of what the world had offered a tired soul

From Istanbul to Madrid

To Reykjavik, to Bonn

To Leipzig, to Leningrad

To Shanghai, Pnonm Penh

All so that it would be a stronger world

A strong though loving world 

To die in

Fuck me, where was his head at? What was he on? 

Actually, lyrics-wise, that reminds me more of Climate of Hunter

More tortured poet bizniz

The children are all leaving school today

Mama said, don't worry, I'll be back one day

The blue men in uniform smiled and waved goodbye

She was hiding those tears in her eyes

Roll up the history books, burn the chairs

Set fire to anything, set fire to the air...

Cancel the day, cancel the night

Cancel the day, cancel the night

'Cause who could be watching when she steals and runs away

Full of hysterical laughter, and say

Mama, mama

I've left school today

I hope I get to see you in that funny school far away

But those gentlemen in blue, and those in grey

Say I'll never, never see mama again

'Cause she took those lives in her hands

Yes, she took all those lives in her hands....

Bajeezus

Wiki provides context:

Cale described his mood while making Music for a New Society as "grotesque." In an interview with Melody Maker shortly after the album's release, Cale said, "That album was agony. It was like method acting. Madness. Excruciating. I just let myself go. It became a kind of therapy, a personal exorcism. The songs are mostly about regret and misplaced faith." 

In What's Welsh for Zen? (1999), Cale further commented that "There were some examples where songs ended up so emaciated they weren't songs any more. What I was most interested in was the terror of the moment... It was a bleak record all right, but it wasn't made to make people jump out of windows."

The bright lights in the eyes of the ones you love will tell us nothing

Like the scars of imagination

The scars of imagination

The bright lights in the eyes of the ones you love will tell us nothing

Except that we're the thoughtless kind

 

Ooh looky here - another version of "Close Watch", for the 2016 M.FANS project, which as Gutterplekz in Comments informs was a remake of Music for A New Society. 

Here's Cale on how the project was triggered - or rather, disrupted and redirected -  by the death of Lou Reed

"Losing Lou [too painful to understand] forced me to upend the entire recording process and begin again...a different perspective - a new sense of urgency to tell a story from a completely opposite point of view - what was once sorrow, was now a form of rage. A fertile ground for exorcism of things gone wrong and the realization they are unchangeable. From sadness came the strength of fire!!!"

All this burning torturedness.... doesn't serenity, or at least stolidity, come with age? 

Actually listening, rather than "strength of fire" I'm getting more a kind of ashen exhaustion...  dying-but-still-faintly-glowing embers. 

Using various voice-processing technologies - Auto-Tune, Melodyne, Harmony Engine? 

I rather like it. And you have to admire his attempts to stay modern. 

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Talking of staying modern... one of my favorite tidbits about John Cale is that in the early 2000s he got really into LA gangsta rap and the Dre-style G-funk sound, 50 Cent, that kind of thing. He did an album influenced by the rap and R&B sounds of that time.

I always chuckle over a quote he gave to Uncut, something like: "speaking as a man, I like Snoop Dogg's style"

You can just hear the "speaking as a man" in the gravelly Welsh accent. 

He would have been 60-plus then.

Before Stylo brings it up, yes, he produced Happy Mondays. 

Also Patti Smith's Horses - it wasn't a happy experience. 

Nico, the Stooges obviously. Modern Lovers too.

And he was lined up as a potential producer for the debut Pop Group album - a meeting took place,  but the clean-livin' Bristol boys were a bit taken aback by his habits.

Come to think of it, John Cale ought to have covered J.J. Cale's most famous song.  

Actually he didn't need to, did he? 

Interesting to ponder what Y might have sounded like if Dennis Bovell hadn't got his hands on it... 

I suppose Spacemen 3 / Jason must be unique in being influenced by both Cales (via Velvets)

Well that's a funny coincidence - I had no idea when embarking on this blogpost that John Cale has a new album out soon, POPtical Illusion

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Ah I misremembered the Cale-on-Snoop quote. This is from something Uncut did with Cale in 2006:

Desert Island Disc

Tha Dogg Pound--Call Iz Active

This record is different from all Snoop's others, it's got more personalities in there. He doesn't sing all the time, there are different characters that pop up. They work in crews, four or five people involved at one time. It's a discussion group, in a funny kind of way. I saw him the other day on TV, and he was talking about his sponsorship of football teams; he had 2000 members already. It's funny because Al Sharpton was complaining about how rappers should contribute more to the community. I like Snoop's style, as a man. He's the one that got away. the one that did something.

Album of the Year

Kokane--Back 2 Tha Clap

One of the originators of G-Unit finally gets his turn. His take on the whole West Coast Gangsta Hop is much more soulful than gangsta, especially the track "When It Rains, It Pours", a heartbreaking song that most uncharacteristically ends with a comment about his mother.

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We end as we started - with "Cocaine" / Kokane. 

liner notes 2 (slight return)

John Cale, back of Church of Anthrax, his Terry Riley collab

Another ex-Velvet  - Lou Reed exalting his methamphetamine symphony Metal Machine Music (subtitle The Amine β Ring - a reference to the chemical structure of amphetamines)

“NOTATION – When I started the Velvet Underground and its various springoffs, my concern was not, as was assumed abidingly lyrical, verbally riented at heart, ‘head’ rock, the exploration of various ‘taboo’ subjects, drugs, sex, violence. Passion—REALISM—realism was the key. The records were letters. Real letters from me to certain other people. Who had and still have basically, no music, be it verbal or instrumental to listen to. One of the peripheral effects typically distorted was what was to be known as heavy metal rock. In Reality it was of course diffuse, obtuse, weak, boring and ultimately an embarrassment. This record is not for parties/dancing/background romance. This is what I meant by “real” rock, about “real” things. No one I know has listened to it all the way through including myself. It is not meant to be. Start any place you like. Symmetry, mathematical precision, obsessive and detailed accuracy and the vast advantage one has over “modern electronic composers.” They, with neither sense of time, melody or emotion, manipulated or no. It’s for a certain time and place of mind. It is the only recorded work I know of seriously done as well as possible as a gift, if one could call it that, from a part of certain head to a few others. Most of you won’t like this and I don’t blame you at all. It’s not meant for you. At the very least I made it so I had something to listen to. Certainly Misunderstood: Power to Consume (how Bathetic): an idea done respectfully, intelligently, sympathetically and graciously, always with concentration on the first and foremost goal. For that matter, off the record, I love and adore it. I’m sorry, but not especially, if it turns you off.

 

One record for us and it. I’d harbored hope that the intelligence that once inhabited novels or films would ingest rock, I was, perhaps, wrong. This is the reason Sally Can’t Dance—your Rock n Roll Animal. More than a decent try, but hard for us to do badly. Wrong media, unquestionably. This is not meant fo the market. The agreement one makes with “speed”. A specific acknowledgment. A to say the least, very limited market. Rock n Roll Animal makes this possible, funnily enough. The misrepresentation succeeds to the point of making possible the appearance of the progenitor. For those for whom the needle is no more than a toothbrush. Professionals, no sniffers please, don’t confuse superiority (no competition) with violence, power or the justifications. The Tacit speed agreement with Self. We did not start World War I, II or III. Or the Bay of Pigs, for that Matter. Whenever. As way of disclaimer. I am forced to say that, due to stimulation of various centers (remember OOOOHHHMMM, etc.), the possible negative contraindications must be pointed out. A record has to, of all things Anyway, hypertense people, etc. possibility of epilepsy (petit mal), psychic motor disorders, etc… etc… etc.

 

My week beats your year.”—Lou Reed

 

Speed can make you pedantic, or at least, obsessively annotative - on the front of Metal Machine Music, there's a footnote to the subtitle "The Amine B Ring" at the bottom of the cover

 

"dextrorotory components synthesis of sympathomimetic musics" 

- again, more pharmacological idiolect from Reed the non-dilettante ("no sniffers please... the needle is no more than a toothbrush" speed-user) who no doubt spend hours poring the big fat Pharmacist's guide to drugs

Finally, Paul Morley's first ever liner note, for the 10-inch vinyl tribute to closed-down-prematurely  Manchester punk venue the Electric Circus

 Actually, not finally - here's a whole heap of barely-legible liner notes from famous American rock critics (Ed Ward, Lester Bangs, Dave Marsh, Langdon Winner, David Dalton etc) for the label Orphic Egg and its "let's try flogging classical to long hair, dope-smoking youth" series The Musical Head (a pun I guess on the busts of composers's heads with the idea of tuned-in / turned-on hippie "head"). I wonder if the combo of this advocacy from members of their own generation, plus the trippy / surrealistic covers (see below), actually worked and they successfully sold Scriabin and Stravinsky to the youth?

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