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)
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.
