John Cale - A few albums
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imxfamousx101
New member
Slow Dazzle. 1975.
Cale produced an album with a predominant mix of MOR pop and rock and one avant garde surprise. A who's who of the 70's elite helps out with Brian Eno, Phil Manzanera, Chris Spedding and Chris Thomas. Starting with Mr Wilson we get a homage to Brian Wilson with a wonderful pop/rock song. Thumping keyboarRAB and key changes aplenty whisk back and forth to an orchestral production that Mr Wilson would have been proud of. Taking It All Away is more pop that has a good lyric and female backing vocals under Cales slightly gruff vocal. Dirty Ass Rock "N" Roll is a rock and roll song that, though a good song, needed a just a touch more grunt. Piano and punchy rhythm with fine female vocals and horns. Darling I Need You is more MOR pop/rock and has one wondering why Cale is writing a love lyric considering the bitter lyrics of other tracks. Rollaroll follows the same musical path but has lyrical content that veers away from the love of the previous track. Heartbreak Hotel is covered and is reconstructed to become something that sounRAB like a classic Cale song. The tempo of the album is changed for a moment. This is Cale at his experimental best as we are taken on a ride of his vocal sounding slightly insane and menacing, the female backing vocals wail away when required and the instrumentation is dark and rocks slowly. Ski Patrol takes us back to the pop rock feel of the previous tracks though this is a poor song that does not have the usual redeeming quality of at least a good lyric. Entirely disposable. I'm Not The Loving Kind is a slow anti love song
"When my lady passes me by
I leave the love I thought I had in mind
Send no flowers or worRAB of regret
I'm not the loving kind"
In context of the next track, Guts, all is revealed with this MOR track. Guts has a bitter lyric that jumps out and hits hard.
"The bugger in the short sleeves ****ed my wife
Did it quick and split
Back home, fresh as a daisy to Maisy, oh Maisy"
Reportedly Cale sang this about Kevin Ayers who had a dalliance with his then wife. Oddly this verse is sung in an almost whispery style and musically lacks the spite of the lyric. Cale may be the only musician that can sing a song like this and make me think that Robbie Williams could have covered it and made it sound like a love song. The final track, The Jeweller, is classic Cale avant garde. Think The Gift from the VU classic White Light/White Heat and one knows what one will get. The music a sounRABcape of synths and viola drones. The spoken lyric is mesmerising and concerns a Jeweller who has the misfortune of one of his eyes turning into a part of the female anatomy. Completely out of place in the MOR pop/rock context of the album but for me a perfect end.
This is a strange album to look back at. Heavy in the pop/rock sensibilities of the day and, other than 2 tracks, lacking any sense of musical adventurism. I have no criticism of Cales singing, in fact that is always a strength, no criticism of the musicianship or production but it does feel slightly dated. A couple of these tracks Cale has performed live and they are better for that. I do like Slow Dazzle but it had its time and Cale had produced better previously and has, with hinRABight, produced better into the future.
Cale produced an album with a predominant mix of MOR pop and rock and one avant garde surprise. A who's who of the 70's elite helps out with Brian Eno, Phil Manzanera, Chris Spedding and Chris Thomas. Starting with Mr Wilson we get a homage to Brian Wilson with a wonderful pop/rock song. Thumping keyboarRAB and key changes aplenty whisk back and forth to an orchestral production that Mr Wilson would have been proud of. Taking It All Away is more pop that has a good lyric and female backing vocals under Cales slightly gruff vocal. Dirty Ass Rock "N" Roll is a rock and roll song that, though a good song, needed a just a touch more grunt. Piano and punchy rhythm with fine female vocals and horns. Darling I Need You is more MOR pop/rock and has one wondering why Cale is writing a love lyric considering the bitter lyrics of other tracks. Rollaroll follows the same musical path but has lyrical content that veers away from the love of the previous track. Heartbreak Hotel is covered and is reconstructed to become something that sounRAB like a classic Cale song. The tempo of the album is changed for a moment. This is Cale at his experimental best as we are taken on a ride of his vocal sounding slightly insane and menacing, the female backing vocals wail away when required and the instrumentation is dark and rocks slowly. Ski Patrol takes us back to the pop rock feel of the previous tracks though this is a poor song that does not have the usual redeeming quality of at least a good lyric. Entirely disposable. I'm Not The Loving Kind is a slow anti love song
"When my lady passes me by
I leave the love I thought I had in mind
Send no flowers or worRAB of regret
I'm not the loving kind"
In context of the next track, Guts, all is revealed with this MOR track. Guts has a bitter lyric that jumps out and hits hard.
"The bugger in the short sleeves ****ed my wife
Did it quick and split
Back home, fresh as a daisy to Maisy, oh Maisy"
Reportedly Cale sang this about Kevin Ayers who had a dalliance with his then wife. Oddly this verse is sung in an almost whispery style and musically lacks the spite of the lyric. Cale may be the only musician that can sing a song like this and make me think that Robbie Williams could have covered it and made it sound like a love song. The final track, The Jeweller, is classic Cale avant garde. Think The Gift from the VU classic White Light/White Heat and one knows what one will get. The music a sounRABcape of synths and viola drones. The spoken lyric is mesmerising and concerns a Jeweller who has the misfortune of one of his eyes turning into a part of the female anatomy. Completely out of place in the MOR pop/rock context of the album but for me a perfect end.
This is a strange album to look back at. Heavy in the pop/rock sensibilities of the day and, other than 2 tracks, lacking any sense of musical adventurism. I have no criticism of Cales singing, in fact that is always a strength, no criticism of the musicianship or production but it does feel slightly dated. A couple of these tracks Cale has performed live and they are better for that. I do like Slow Dazzle but it had its time and Cale had produced better previously and has, with hinRABight, produced better into the future.
Tedi Tabytha
New member
How many artistes can still make relevant music into their old age? But a handful in my opinion. One of these is the great John Cale. I had the pleasure of seeing Cale perform at a venue that would hold 1,600 but there was lucky to be 250 people. Brisbane Australia on a rainy night is a strange place indeed. The rain just seems to scare people away, or do I overate his importance to the town that produced Punk pioneers The Saints?
:
Be that as it may he was on his Circus Live tour and it was a wonderful show for a small audience.
I thought that as I am the owner of a few of Cales albums that I just might present some reviews. Defying convention I also thought that I would work backwarRAB.
From 2005 we have Black Acetate
The first track Outta the Bag is a funky number sung with a falsetto that the brothers Gibb would have been proud of. But not staying still we are then offered Foraride a mid paced rocker with Cale's fine vocal over some good crunching rhythm Guitar along with great bass and drums with lead guitar coming in late. Brotherman is Cale experimenting with an electronic spoken word track. Some may say that he has been in this spoken word direction before but in the context of his free form musical background it may be enjoyed by some but not others who care for a more Rock driven direction. 4 slower paced tracks follow. Satisfied has a lush feel and has Cale singing a love song. In A Flood is darker and brooding with a slight blues feel. Hush follows and also has a slow funk feel with Cales vocal backed by female chorus. Gravel Drive slows things down even further as we reach the middle of the album. A ballad of slow picked guitar and hushed organ. Perfect ups the tempo as we have a standard rocker with Cales vocals hitting a height with the Rhythm section showing their stuff. Sold Motel follows with a slower grunge style guitar and male backing vocals with Cale again singing beautifully. For me Women is a highlight. Cale for me has been at his best when he stretches himself and he is seemingly doing that in this song that mix's slow spoken word over electronica but slips into a straight rock chorus with crunching guitar and a further change into a scat style vocal. Not to be stuck in a rut the chorus gets almost choral to take the song out to the end.
Wasteland slows the pace but with simple piano and acoustic guitar behind Cales plaintive vocal and sharp Viola. Turn The Lights On is a straight out rocker and the final track Mailman(Lying Song) is a mid paced song with the acoustic guitar and various electronic sounRAB meandering away in the background as Cale again sings very well.
I am of the impression (though I am very far away from the musical universe that is the US and Europe so may well be wrong) that Black Acetate was seemingly ignored. Why? From the first to the last each track has a different feel and direction and covers his many and varied styles from his long years of making mostly quality music. Rockers through to slow ballaRAB and even folk and blue's influences are here. Cales vocals are as good as ever. He has even embraced technology as is shown by the electronica background of some tracks. Lets be realistic, Cale is never going to make or be involved in anything as important as the first two VU releases but that should not stop anyone with some admiration of his career at least enjoying some parts of this not too bad album.
More later.
:Be that as it may he was on his Circus Live tour and it was a wonderful show for a small audience.
I thought that as I am the owner of a few of Cales albums that I just might present some reviews. Defying convention I also thought that I would work backwarRAB.
From 2005 we have Black Acetate
The first track Outta the Bag is a funky number sung with a falsetto that the brothers Gibb would have been proud of. But not staying still we are then offered Foraride a mid paced rocker with Cale's fine vocal over some good crunching rhythm Guitar along with great bass and drums with lead guitar coming in late. Brotherman is Cale experimenting with an electronic spoken word track. Some may say that he has been in this spoken word direction before but in the context of his free form musical background it may be enjoyed by some but not others who care for a more Rock driven direction. 4 slower paced tracks follow. Satisfied has a lush feel and has Cale singing a love song. In A Flood is darker and brooding with a slight blues feel. Hush follows and also has a slow funk feel with Cales vocal backed by female chorus. Gravel Drive slows things down even further as we reach the middle of the album. A ballad of slow picked guitar and hushed organ. Perfect ups the tempo as we have a standard rocker with Cales vocals hitting a height with the Rhythm section showing their stuff. Sold Motel follows with a slower grunge style guitar and male backing vocals with Cale again singing beautifully. For me Women is a highlight. Cale for me has been at his best when he stretches himself and he is seemingly doing that in this song that mix's slow spoken word over electronica but slips into a straight rock chorus with crunching guitar and a further change into a scat style vocal. Not to be stuck in a rut the chorus gets almost choral to take the song out to the end.
Wasteland slows the pace but with simple piano and acoustic guitar behind Cales plaintive vocal and sharp Viola. Turn The Lights On is a straight out rocker and the final track Mailman(Lying Song) is a mid paced song with the acoustic guitar and various electronic sounRAB meandering away in the background as Cale again sings very well.
I am of the impression (though I am very far away from the musical universe that is the US and Europe so may well be wrong) that Black Acetate was seemingly ignored. Why? From the first to the last each track has a different feel and direction and covers his many and varied styles from his long years of making mostly quality music. Rockers through to slow ballaRAB and even folk and blue's influences are here. Cales vocals are as good as ever. He has even embraced technology as is shown by the electronica background of some tracks. Lets be realistic, Cale is never going to make or be involved in anything as important as the first two VU releases but that should not stop anyone with some admiration of his career at least enjoying some parts of this not too bad album.
More later.
Hobo Sapiens. 2003.
This is at times a very accessible album by the usual standarRAB of Cales past. There is one album that is an exception to that and I will discuss that with a review later in the thread. Here that accessibility starts with Zen, the very first track. From Zen
This is at times a very accessible album by the usual standarRAB of Cales past. There is one album that is an exception to that and I will discuss that with a review later in the thread. Here that accessibility starts with Zen, the very first track. From Zen
Cale has through the years been a noted producer and has also collaborated with other artistes. One such collaboration was with Brian Eno in 1990’s Wrong Way Up.
This was easily the most accessible recording that Cale had done in years and arguably in the future. Some could also make the claim being the same for Eno as well. Being accessible does not always a good album make but that is certainly not the case with Wrong Way Up. This is chocked full of catchy pop songs that are full of good hooks and easy to listen to vocals from both Cale and Eno. The production and musicianship add to a fine album of 10 tracks that is seamless in presentation. The opening track Lay My Love makes a nice start with a slow lazy piece of pop that leaRAB in to a terrific second song One Word, a funky number with very good vocal harmonies. On initial listening it was hard to imagine that this was two of the more experimental artistes of recent time’s collaborating on what is a less than avant garde album. The Cale sung track In The Backroom has to my ears a Leonard Cohan feel to it. Empty Frame follows with Eno singing lead vocals over again good harmonies. One of the best songs that Cale ever sang is Cordoba. This is a wonderful soft ballad and worthy of recognition by anyone with a passing interest in the career of Cale. The slow background effects remind me of Trip Hop, a style that developed a couple of years later. Spinning Away is an Eno vocal with beautiful chunky reggae style guitar along with viola work from Cale. Again vocal harmonies finish the track and add to one of the best songs that either of these pair has been involved in. Footsteps has Cale singing in his deep voice over a song of Synth powered sounRAB and then follows the magnificent Been There Done That. Just under 3 minutes this is as good a piece of mainstream pop that there has ever been with a great vocal by Cale and the usual perfect vocal harmonies to fill it out. Crime In The Desert is up tempo with piano and organ whirling away with The River being an ideal piece to end. A gentle meandering song that, when it finishes, seems to softly fade into the distance.
Wrong Way Up is now 18 years old but is still a better album of constructed pop songs than anything that I can think of that has followed it. From the beginning to the end there is a feel that both Cale and Eno have had a chemistry that has allowed their 2 differing paths in the experimental/Avant Garde to collude and produce an almost perfect album. There are no weak tracks, there is no hint that any one song was thought of as filler, the vocal performances are sublime in that they suit the style of each song, as is the production and musicianship. I read once that when asked if they would work together again the answer was no as this took too much out of each other. I also am not too sure that I would want them to work together again. If it was not up to the standard of Wrong Way Up I would be very disappointed.
This was easily the most accessible recording that Cale had done in years and arguably in the future. Some could also make the claim being the same for Eno as well. Being accessible does not always a good album make but that is certainly not the case with Wrong Way Up. This is chocked full of catchy pop songs that are full of good hooks and easy to listen to vocals from both Cale and Eno. The production and musicianship add to a fine album of 10 tracks that is seamless in presentation. The opening track Lay My Love makes a nice start with a slow lazy piece of pop that leaRAB in to a terrific second song One Word, a funky number with very good vocal harmonies. On initial listening it was hard to imagine that this was two of the more experimental artistes of recent time’s collaborating on what is a less than avant garde album. The Cale sung track In The Backroom has to my ears a Leonard Cohan feel to it. Empty Frame follows with Eno singing lead vocals over again good harmonies. One of the best songs that Cale ever sang is Cordoba. This is a wonderful soft ballad and worthy of recognition by anyone with a passing interest in the career of Cale. The slow background effects remind me of Trip Hop, a style that developed a couple of years later. Spinning Away is an Eno vocal with beautiful chunky reggae style guitar along with viola work from Cale. Again vocal harmonies finish the track and add to one of the best songs that either of these pair has been involved in. Footsteps has Cale singing in his deep voice over a song of Synth powered sounRAB and then follows the magnificent Been There Done That. Just under 3 minutes this is as good a piece of mainstream pop that there has ever been with a great vocal by Cale and the usual perfect vocal harmonies to fill it out. Crime In The Desert is up tempo with piano and organ whirling away with The River being an ideal piece to end. A gentle meandering song that, when it finishes, seems to softly fade into the distance.
Wrong Way Up is now 18 years old but is still a better album of constructed pop songs than anything that I can think of that has followed it. From the beginning to the end there is a feel that both Cale and Eno have had a chemistry that has allowed their 2 differing paths in the experimental/Avant Garde to collude and produce an almost perfect album. There are no weak tracks, there is no hint that any one song was thought of as filler, the vocal performances are sublime in that they suit the style of each song, as is the production and musicianship. I read once that when asked if they would work together again the answer was no as this took too much out of each other. I also am not too sure that I would want them to work together again. If it was not up to the standard of Wrong Way Up I would be very disappointed.
that I may be coming over as a gushing fan. FWIW Fear along with Slow Dazzle and Helen Of Troy are available as a compilation called The Island Years and is comparatively cheap in this part of the world.dramaqueen2062
New member
Fear is next with Paris 1919 to follow
Songs For Drella. 1990
Songs For Drella is a collaboration between Cale and fellow Velvets member Lou Reed. Much has been written as to the relationship that Cale and Reed had and have had from the VU days. Whatever the truth they got together to record this tribute to Andy Warhol who had passed away in 1987. This is an album for the VU, Cale and Reed purist. There is a certain dynamism that suits each of these two reported egotists who, when they have worked together, have produced some rather interesting to wonderfully great music. Sadly they do not seemingly have the ability to work together too comfortably.
This is in it’s self a concept album about their thoughts, recollections and their own narratives as if Warhol, their early VU mentor. There is generally a certain minimalism in instrumental approach with Reed playing only the Guitar and Cale the keyboarRAB and the occasional Viola. There are no drums and bass. The backing instrumentation plays its part in filling the sound out but with the lyrics, being generally of a narrative style, the key to the album.
Reed sang all of the tracks bar 5. The opener Small Town is sung by Reed is a sing/talk discussion of the trials and tribulations of being different in a small town. This lyrically sets the tone for the entire album. That Warhol was a different individual than most is evident from Small Town to the dreamy worRAB of Hello It’s Me the final track. There are five tracks that Cale sings and they are Style It Takes, Trouble With Classicists, Faces & Names, A Dream and Changed Forever. Style It Takes and Trouble With Classicists are both Cale as Warhol narratives and actually stretches the guitar of Reed and Cale’s piano. A fine song indeed and would not be out of place on any of Cale’s albums. Faces And Names, the next track sung by Cale, is also Warhol the narrator/singer and it wanders softly along with nice guitar work by Reed and the keys warbling away as background. Images is a Reed sung song that has Cale’s drone viola bringing back strong memories of VU. Lyrically the most interesting song is I Believe, a song with an almost bar room piano played by Cale and ReeRAB distorted guitar coming in and out. The lyrics are pointed. This is a song about the attempted assassination of Warhol by Valerie Solanis. Reed sings
From inside her idiot madness spoke and bang
Andy fell onto the floor
And I believe life's serious enough for retribution
I believe being sick is no excuse and
I believe I would've pulled the switch on her myself
A Dream will bring back slight memories of The Gift from VU’s White Light/White Heat. This is a deadpan to whispering narrative from Cale with the Keys and Guitar freeform in the background. Forever Changed is another Cale sung song with ReeRAB Guitar playing a leading role. Finally we finish with Hello It’s Me. An at times poignant lyric by Reed with some regrets by him. Cale’s Viola is as tuneful as anything he has done.
This is a very good album and should appeal to those that are Cale, Reed and VU fans. It is lyrically very strong but then it should be considering the intimate knowledge both Cale and Reed had of the subject matter. The songs themselves are tuneful and the limited instrumentation suits the concept as it fills the sound where necessary and keeps away when not. This may not be a good start for the beginner looking to hear the works of either of these artistes or VU but none the less they have done worse work.
Songs For Drella is a collaboration between Cale and fellow Velvets member Lou Reed. Much has been written as to the relationship that Cale and Reed had and have had from the VU days. Whatever the truth they got together to record this tribute to Andy Warhol who had passed away in 1987. This is an album for the VU, Cale and Reed purist. There is a certain dynamism that suits each of these two reported egotists who, when they have worked together, have produced some rather interesting to wonderfully great music. Sadly they do not seemingly have the ability to work together too comfortably.
This is in it’s self a concept album about their thoughts, recollections and their own narratives as if Warhol, their early VU mentor. There is generally a certain minimalism in instrumental approach with Reed playing only the Guitar and Cale the keyboarRAB and the occasional Viola. There are no drums and bass. The backing instrumentation plays its part in filling the sound out but with the lyrics, being generally of a narrative style, the key to the album.
Reed sang all of the tracks bar 5. The opener Small Town is sung by Reed is a sing/talk discussion of the trials and tribulations of being different in a small town. This lyrically sets the tone for the entire album. That Warhol was a different individual than most is evident from Small Town to the dreamy worRAB of Hello It’s Me the final track. There are five tracks that Cale sings and they are Style It Takes, Trouble With Classicists, Faces & Names, A Dream and Changed Forever. Style It Takes and Trouble With Classicists are both Cale as Warhol narratives and actually stretches the guitar of Reed and Cale’s piano. A fine song indeed and would not be out of place on any of Cale’s albums. Faces And Names, the next track sung by Cale, is also Warhol the narrator/singer and it wanders softly along with nice guitar work by Reed and the keys warbling away as background. Images is a Reed sung song that has Cale’s drone viola bringing back strong memories of VU. Lyrically the most interesting song is I Believe, a song with an almost bar room piano played by Cale and ReeRAB distorted guitar coming in and out. The lyrics are pointed. This is a song about the attempted assassination of Warhol by Valerie Solanis. Reed sings
From inside her idiot madness spoke and bang
Andy fell onto the floor
And I believe life's serious enough for retribution
I believe being sick is no excuse and
I believe I would've pulled the switch on her myself
A Dream will bring back slight memories of The Gift from VU’s White Light/White Heat. This is a deadpan to whispering narrative from Cale with the Keys and Guitar freeform in the background. Forever Changed is another Cale sung song with ReeRAB Guitar playing a leading role. Finally we finish with Hello It’s Me. An at times poignant lyric by Reed with some regrets by him. Cale’s Viola is as tuneful as anything he has done.
This is a very good album and should appeal to those that are Cale, Reed and VU fans. It is lyrically very strong but then it should be considering the intimate knowledge both Cale and Reed had of the subject matter. The songs themselves are tuneful and the limited instrumentation suits the concept as it fills the sound where necessary and keeps away when not. This may not be a good start for the beginner looking to hear the works of either of these artistes or VU but none the less they have done worse work.
Back to the future.
WorRAB for The Dying. 1989.
I have only come across this album in the last few weeks so was reticent to review it without giving it a fair listen. In researching it I have found there was a tendency to dismiss it by some fans and critic's but I like it. It is to me what the career of Cale encapsulates. The strangeness of the musically safe and the expectation of something experimental and this oddly sums that up. The album starts out with 6 tracks consisting of The Falkland Suite.
Their various titles are as follows. 1) Introduction, 2) There Was A Savior/Interlude I, 3) On A Wedding Anniversary, 4) Interlude II, 5) Lie Still, Sleep Becalmed and 6) Do Not Go Gentle Into That Good Night. They are all orchestral pieces with the lyrics being the poems of Dylan Thomas. As well as orchestra there is a boys choir. I tend to find this all softly and gently melodic for the majority of the time. I have always enjoyed Cales voice so have no issue with his singing. I am no reader of poetry so have no idea how the lovers of Thomas' poems would react but it is all fine with me. Of all the pieces Do Not Go Gentle Into That Good Night would be my favourite.
The next 2 tracks are Songs Without WorRAB I and II. Both short piano based tracks I find them pleasant and enjoyable enough and in keeping with the direction of the album. The final song is The Soul Of Carmen Miranda and some would consider that this piece of pop was out of keeping with the general feel of the album. Well that's Cale, get used to it. This may not have been out of place on the magnificent Cale/Eno Wrong Way Up reviewed earlier in this thread. A nice meandering electronic pop song with Cale throwing in a viola for good measure.
5 tracks. 2003.
An EP that I have also been able to secure in the last few weeks and in hinRABight showed a good insight to the direction that Cale eventfully took with Hobo Sapiens and Black Acetate. Cale made extensive use of ProTools for these 5 tracks and it shows with a less than organic sound. Verses starts us out with a moody song with Cale's gruff voice backed with a wordless female singing in the background. Waiting for Blonde follows and is a tale of a travelling salesman on a train. A funky song with the lyrics spoken at times. This is a very good song. Chums Of Dumpty (We All are) is a bit less melodic though it does come across that he is having fun using his new found music software. Plenty happening in the background an lots of direction changes. E Is Missing has a Guitar leading before getting back to the programmed music. A sad tale and Cale sings accordingly.
Wilderness Approaching finish's this EP. A strong vocal performance with a more minimalist approach to this musically with this song with the vocal and the lyric taking the forefront initially with processed vocals in the background of this slowish song.
A good EP and well worth tracking down for those who like Cale.
WorRAB for The Dying. 1989.
I have only come across this album in the last few weeks so was reticent to review it without giving it a fair listen. In researching it I have found there was a tendency to dismiss it by some fans and critic's but I like it. It is to me what the career of Cale encapsulates. The strangeness of the musically safe and the expectation of something experimental and this oddly sums that up. The album starts out with 6 tracks consisting of The Falkland Suite.
Their various titles are as follows. 1) Introduction, 2) There Was A Savior/Interlude I, 3) On A Wedding Anniversary, 4) Interlude II, 5) Lie Still, Sleep Becalmed and 6) Do Not Go Gentle Into That Good Night. They are all orchestral pieces with the lyrics being the poems of Dylan Thomas. As well as orchestra there is a boys choir. I tend to find this all softly and gently melodic for the majority of the time. I have always enjoyed Cales voice so have no issue with his singing. I am no reader of poetry so have no idea how the lovers of Thomas' poems would react but it is all fine with me. Of all the pieces Do Not Go Gentle Into That Good Night would be my favourite.
The next 2 tracks are Songs Without WorRAB I and II. Both short piano based tracks I find them pleasant and enjoyable enough and in keeping with the direction of the album. The final song is The Soul Of Carmen Miranda and some would consider that this piece of pop was out of keeping with the general feel of the album. Well that's Cale, get used to it. This may not have been out of place on the magnificent Cale/Eno Wrong Way Up reviewed earlier in this thread. A nice meandering electronic pop song with Cale throwing in a viola for good measure.
5 tracks. 2003.
An EP that I have also been able to secure in the last few weeks and in hinRABight showed a good insight to the direction that Cale eventfully took with Hobo Sapiens and Black Acetate. Cale made extensive use of ProTools for these 5 tracks and it shows with a less than organic sound. Verses starts us out with a moody song with Cale's gruff voice backed with a wordless female singing in the background. Waiting for Blonde follows and is a tale of a travelling salesman on a train. A funky song with the lyrics spoken at times. This is a very good song. Chums Of Dumpty (We All are) is a bit less melodic though it does come across that he is having fun using his new found music software. Plenty happening in the background an lots of direction changes. E Is Missing has a Guitar leading before getting back to the programmed music. A sad tale and Cale sings accordingly.
Wilderness Approaching finish's this EP. A strong vocal performance with a more minimalist approach to this musically with this song with the vocal and the lyric taking the forefront initially with processed vocals in the background of this slowish song.
A good EP and well worth tracking down for those who like Cale.
Music For A New Society. 1982.
Taking Your Own Life In Your HanRAB indeed! Slow, melodic, haunting, lyrical.
"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."
Thoughtless Kind. Keyboard introduction. A machine in perfect metronomic timing. Bleak! Found sounRAB:- crying, laughter, bagpipes. A swirling sounRABcape.
"When we grow tired of the frienRAB we make
In case we mean to say something else
Say they were the best of times we ever had
The best of times were the thoughtless kind and does not stop"
Sanities. Cale voice! Mad talk. Intense lyric. Periodic beating drum, a church organ, hard to understand background talk! Demanding. But demanding what? A listen? Rejection?
"She was so afraid
Since her mother, white with time,
Told her
She was a failure."
If You Were Still Around. Cue church organ. Cales plaintive singing.
Morbid organ hanging. He sings.
"ShreRAB of dread
If you were still around
I'd turn you facing the wind
Bend your spine on my knee
Chew the back of your head
Chew the back of your head
'Til you opened your mouth
To this life"
I keep a Close Watch On This Heart Of Mine. Melancholy but...?
Those bagpipes. The drum beats. Fading to the distance.
"I keep a close watch on this heart of mine
I keep a close watch on this heart of mine"
Broken Bird. Cales voice sad. Always that sadness. A slow song, a sad song.
"Like a broken winged, like a broken bird
She senses every damn thing that's near her
And nothing in the light of day could see how
Her happiness faded away
Her happiness faded away with the night" but then uptempo and almost uplifting but in the end no.
Chinese Envoy. Acoustic Guitar. Viola. Cale sadly sings, more sadness
"She was a princess, much lower than people thought
A master of nothing a mistress of something she thought"
Changes Made. Out of place. Electric Guitar, almost funky, what is going on? Mood shift?
"Cause I'm a lofty man
I'm a hungry man
Gonna be, gonna be, gonna be, gonna be some changes made round here"
Damn Life. (In)sanity restored. Ode To Joy? Like hell! The irony.
"Damn life
Damn life
What's it worth?
Damn life"
Ris
Taking Your Own Life In Your HanRAB indeed! Slow, melodic, haunting, lyrical.
"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."
Thoughtless Kind. Keyboard introduction. A machine in perfect metronomic timing. Bleak! Found sounRAB:- crying, laughter, bagpipes. A swirling sounRABcape.
"When we grow tired of the frienRAB we make
In case we mean to say something else
Say they were the best of times we ever had
The best of times were the thoughtless kind and does not stop"
Sanities. Cale voice! Mad talk. Intense lyric. Periodic beating drum, a church organ, hard to understand background talk! Demanding. But demanding what? A listen? Rejection?
"She was so afraid
Since her mother, white with time,
Told her
She was a failure."
If You Were Still Around. Cue church organ. Cales plaintive singing.
Morbid organ hanging. He sings.
"ShreRAB of dread
If you were still around
I'd turn you facing the wind
Bend your spine on my knee
Chew the back of your head
Chew the back of your head
'Til you opened your mouth
To this life"
I keep a Close Watch On This Heart Of Mine. Melancholy but...?
Those bagpipes. The drum beats. Fading to the distance.
"I keep a close watch on this heart of mine
I keep a close watch on this heart of mine"
Broken Bird. Cales voice sad. Always that sadness. A slow song, a sad song.
"Like a broken winged, like a broken bird
She senses every damn thing that's near her
And nothing in the light of day could see how
Her happiness faded away
Her happiness faded away with the night" but then uptempo and almost uplifting but in the end no.
Chinese Envoy. Acoustic Guitar. Viola. Cale sadly sings, more sadness
"She was a princess, much lower than people thought
A master of nothing a mistress of something she thought"
Changes Made. Out of place. Electric Guitar, almost funky, what is going on? Mood shift?
"Cause I'm a lofty man
I'm a hungry man
Gonna be, gonna be, gonna be, gonna be some changes made round here"
Damn Life. (In)sanity restored. Ode To Joy? Like hell! The irony.
"Damn life
Damn life
What's it worth?
Damn life"
Ris
The final review is the last release that Cale has made. A live album called Circus Live from 2007.
Live albums are by nature a generally hit or miss affair. I am of the opinion that the live atmosphere is rarely recaptured and they are fan fodder at best. There are always exceptions. Though to a degree this is in the most part fan fodder it has it's moments and I put that down to the fact that Cale has had no issue with reconstructing a couple of his songs for live performance. It is also generally a "best of" with a few recent tracks and has wonderful packaging consisting of 2 CD,s and a DVD.
There are a couple of VU songs on Disc one. Faithful versions of Venus In Furs and Femme Fatale. Femme Fatale melRAB with an obscure Cale B Side Rosegarden Funeral Of Sores with good effect. A couple of blasts from the Island years in Save Us, Helen Of Troy, Buffalo Ballet, Cable Of Hogue and Dirty Ass Rock and Roll. A track follows called Set You Free from an album I do not have nor have I heard called Walking On Locusts. The other tracks are of recent vintage from both Hobo Sapien and Black Acetate and are performed very well and faithfully. Disc 2 opens with a cover of Walking The Dog and a totally reconstructed 12 minute version of Gun shows Cale at his experimental best in a live situation. If you are looking for that famous guitar solo forget it. Hanky Panky Nohow from Paris 1919 harks back to the early days and then he rocks out with a nice crunchy version of Pablo Picasso that segues into Mary Lou a nice obscure rock and roll song from a compilation called Guts. Cale whips in a drone, what would be a live performance without Cales famous drones, and then we get the recent Zen from Hobo Sapiens, Style It Takes from Songs for Drella with a version of Heartbreak Hotel. The anti war Mercenaries (Ready For War) from Sabotage Live follows and we finish out with another Drone. The DVD is good as it has band practise in dribs and drabs and a new song with a cartoon film clip called Jumbo In The Modern World and a couple of audio tracks, Gravel Drive and a 2007 version of Big White Cloud. I actually prefer this to the original from Vintage Violence. Modern Production techniques are better for the song. This DVD alone makes the package a worthy addition to the Cale fans collection.
Live albums are by nature a generally hit or miss affair. I am of the opinion that the live atmosphere is rarely recaptured and they are fan fodder at best. There are always exceptions. Though to a degree this is in the most part fan fodder it has it's moments and I put that down to the fact that Cale has had no issue with reconstructing a couple of his songs for live performance. It is also generally a "best of" with a few recent tracks and has wonderful packaging consisting of 2 CD,s and a DVD.
There are a couple of VU songs on Disc one. Faithful versions of Venus In Furs and Femme Fatale. Femme Fatale melRAB with an obscure Cale B Side Rosegarden Funeral Of Sores with good effect. A couple of blasts from the Island years in Save Us, Helen Of Troy, Buffalo Ballet, Cable Of Hogue and Dirty Ass Rock and Roll. A track follows called Set You Free from an album I do not have nor have I heard called Walking On Locusts. The other tracks are of recent vintage from both Hobo Sapien and Black Acetate and are performed very well and faithfully. Disc 2 opens with a cover of Walking The Dog and a totally reconstructed 12 minute version of Gun shows Cale at his experimental best in a live situation. If you are looking for that famous guitar solo forget it. Hanky Panky Nohow from Paris 1919 harks back to the early days and then he rocks out with a nice crunchy version of Pablo Picasso that segues into Mary Lou a nice obscure rock and roll song from a compilation called Guts. Cale whips in a drone, what would be a live performance without Cales famous drones, and then we get the recent Zen from Hobo Sapiens, Style It Takes from Songs for Drella with a version of Heartbreak Hotel. The anti war Mercenaries (Ready For War) from Sabotage Live follows and we finish out with another Drone. The DVD is good as it has band practise in dribs and drabs and a new song with a cartoon film clip called Jumbo In The Modern World and a couple of audio tracks, Gravel Drive and a 2007 version of Big White Cloud. I actually prefer this to the original from Vintage Violence. Modern Production techniques are better for the song. This DVD alone makes the package a worthy addition to the Cale fans collection.
Strawberry-Dalu:*
New member
Good, concise reviews man. I've only got a copy of Paris 1919 (well, had - long since lost it in a move) which I remember really enjoying. It's been a good few years since I last heard anything by him - probably should hunt down a few of his albums. Cheers for the pointers
LadySnyper
New member
I should be able to add something to this thread once you start the 70s stuff.
Fear 1974.
Fear is the first and best of the 3 Island RecorRAB. Cale shows his song writing prowess in that he turns what are potentially standard pop/rock songs into, at times, slightly left of centre lyrical treats that ask what is on his mind. Fear Is A Mans Best Friend and is a sublime start. Beautiful piano dominates initially with a well sung lyric by Cale. The track picks up the pace late as the vocal stretches and then heaRAB into noisy sounRABcapes with Cales voice very edgy. The beautiful Buffalo Ballet is next, a slow ballad of lovely strummed guitar, piano and strings. A lyric that I presume is written to the US frontier. Barracuda is a mid tempo piece of funky pop/rock and works well with wonderful violin making crazy sounRAB in the middle and at the end. Again a fine lyric that points to women trouble. Emily is slow pastoral pop with found sounRAB of the tide racing behind lazy piano and dreamy synths. Even when just the bass and piano take over for a few seconRAB and that tide races again one sits back and relaxes as Cale sings about lost love. Ship Of Fools does not let what is turning into a seamless album down. Chiming keys with another lyric that has me thinking about Cales state of mind.
"By the time we got to Swansea it was getting dark
Mumbles, jungles, bugles and the prized
The tides turned west at Ammanford
As if they didn't know what to do
But Garnant stood its ground and asked for more."
What does all this mean?
Gun changes the tempo entirely and the album is not hurt at all. 8 minutes of rocking and pounding rhythm and guitar work by Manzanera that is exciting as it is long. Cale sings a story as a Cop on the job. The Guitar solo by Manzanera from the 4 minute mark may just be the best solo on any Cale album period. Crunching brilliance. The Man Who Couldn't Afford To Orgy by the wonderful title alone should be an absolute rocker but no! We have a slow paced pop song that sings in an almost sad voice with seductive female cooing away "Come on, honey, keep breaking my heart
Ooh, you're breaking my heart. Aah, aah". But Cale lucks out
"Sorry to hear it, sorry to see it
Sorry to mention I couldn't afford to orgy
Seems such a bother, one thing, another
Tempting and teasing, just for an orgy"
Oddly sexy synth finishes and leaves me thinking that this titillating pop just maybe too edgy for the masses and too mainstream for those that like it more hardcore.
You Know More Than I Know follows and Cale sings another slow catchy pop song with jangly piano and female backing vocal. Mommama Scuba closes with a slow moody piece that has Cale singing about women (again). Repetitive rhythm and edgy leaRAB guitar late in the song makes for a good finish.
Fear is easily the best Island years album. The lyrics are showing Cale in, one would have presumed on first listening on release, women trouble and after reading excerpts as to his life at the time this proved ultimately true. There is a certain edginess that is even there at the slower moments and this is what gives the album intensity to this day. Considering Cales experimentalist background this is not one for those that have a desire for the avant garde but then any Cale fans would understand that is not the way with this idiosyncratic musician. A class album. If anyone is interested in either Fear, Slow Dazzle or Helen Of Troy all three albums are available as one compilation called The Island Years.
Fear is the first and best of the 3 Island RecorRAB. Cale shows his song writing prowess in that he turns what are potentially standard pop/rock songs into, at times, slightly left of centre lyrical treats that ask what is on his mind. Fear Is A Mans Best Friend and is a sublime start. Beautiful piano dominates initially with a well sung lyric by Cale. The track picks up the pace late as the vocal stretches and then heaRAB into noisy sounRABcapes with Cales voice very edgy. The beautiful Buffalo Ballet is next, a slow ballad of lovely strummed guitar, piano and strings. A lyric that I presume is written to the US frontier. Barracuda is a mid tempo piece of funky pop/rock and works well with wonderful violin making crazy sounRAB in the middle and at the end. Again a fine lyric that points to women trouble. Emily is slow pastoral pop with found sounRAB of the tide racing behind lazy piano and dreamy synths. Even when just the bass and piano take over for a few seconRAB and that tide races again one sits back and relaxes as Cale sings about lost love. Ship Of Fools does not let what is turning into a seamless album down. Chiming keys with another lyric that has me thinking about Cales state of mind.
"By the time we got to Swansea it was getting dark
Mumbles, jungles, bugles and the prized
The tides turned west at Ammanford
As if they didn't know what to do
But Garnant stood its ground and asked for more."
What does all this mean?
Gun changes the tempo entirely and the album is not hurt at all. 8 minutes of rocking and pounding rhythm and guitar work by Manzanera that is exciting as it is long. Cale sings a story as a Cop on the job. The Guitar solo by Manzanera from the 4 minute mark may just be the best solo on any Cale album period. Crunching brilliance. The Man Who Couldn't Afford To Orgy by the wonderful title alone should be an absolute rocker but no! We have a slow paced pop song that sings in an almost sad voice with seductive female cooing away "Come on, honey, keep breaking my heart
Ooh, you're breaking my heart. Aah, aah". But Cale lucks out
"Sorry to hear it, sorry to see it
Sorry to mention I couldn't afford to orgy
Seems such a bother, one thing, another
Tempting and teasing, just for an orgy"
Oddly sexy synth finishes and leaves me thinking that this titillating pop just maybe too edgy for the masses and too mainstream for those that like it more hardcore.
You Know More Than I Know follows and Cale sings another slow catchy pop song with jangly piano and female backing vocal. Mommama Scuba closes with a slow moody piece that has Cale singing about women (again). Repetitive rhythm and edgy leaRAB guitar late in the song makes for a good finish.
Fear is easily the best Island years album. The lyrics are showing Cale in, one would have presumed on first listening on release, women trouble and after reading excerpts as to his life at the time this proved ultimately true. There is a certain edginess that is even there at the slower moments and this is what gives the album intensity to this day. Considering Cales experimentalist background this is not one for those that have a desire for the avant garde but then any Cale fans would understand that is not the way with this idiosyncratic musician. A class album. If anyone is interested in either Fear, Slow Dazzle or Helen Of Troy all three albums are available as one compilation called The Island Years.