The John Cale Extravaganza I

 

The John Cale Extravaganza

 I had begun this project as a means of documenting and attempting to help bolster the rating of Cale’s music across Album

of The Year, however it has since also become a genuine passion of mine. John Cale is a musician who seems to evade

the eyes of music press and fans these days, I've called him "music's best kept secret" multiple times. For whatever

reason it seems that his influence and antics have been dismissed, very much standing in Lou Reed's shadow. My love

predicates all, I have to sing his praise. Queue Tricky.

I decided to publish my series of short-form reviews formally here. This will be a series in parts, this one featuring

selected records from 1970-1974. Originally written in December of 2022.

Vintage Violence (1970)

Coming out of the gate with a record like "Vintage Violence" when you’ve built up the reputation Cale had by this time can be a little underwhelming. Surely the mind behind The Velvet Underground’s experimental stylings would come out the gate with an album as exceptional as his contemporary and collaborator, Brian Eno, or even closer companion, Lou Reed, did. Well I think we all forget that Eno’s first single was a bizarre, unstylishly strung-out cover of “Where The Lions Sleep” & that no one remembers Lou Reed’s self titled LP which was his first before "Transformer" but was apparently received so badly that it has been substituted almost unanimously by his sophomore LP "Transformer." So. I don't know, chew on that for a little bit or something. It seems that his record’s reputation falls victim to time, leaving deep-seeded consideration to the yellowed pages of Melody Maker's and NME reviews long since thrown out with your weird uncle's trash.

John Cale was often doubted during his run with The Velvet Underground as being purely experimental and decidedly fluxus, carrying with him a certain unhinged nature in his output, pigeon holding him to the outsider genius, a musician's musician, as it were & Lou Reed as the albeit difficult but genius song-writer with the niche pop catchy ring that he would go on to be remembered as. For Cale to come out with "Vintage Violence" as his debut appears to be a statement of proof: “Look, I can do it, too.” And I think with what this record aims to prove, it succeeds. Tracks like “Amsterdam” are sincerely haunting and leave one with the remnants of a love affair they’ve never experienced, but are harrowed by — signaling further such heart wrenching ballads that we'll see in his future releases while also invoking a sort of Leonard Cohen type pain. Contrast to "Amsterdam" are well constructed pop tracks which sincerely stand thee test of time as well as stand as beyond strong contemporaries to Lou Reed’s early work. "Gideon’s Bible" is a perfect example of this with a beautifully melodic chorus which sticks to the brain like gum to a shoe. The track has a decidely gravity-defying quality to it which allows it to dance against the winds of the sonic space, swaying and displaying a real sense of fondness. The record is genuinely catchy in many areas, though it may not be what you expect, it is welcome.

Fear (1974)

Thee first instalment in what is known as “The Island Trilogy,” following John Cale’s first three years with the eponymous label. Typically regarded as the beginning of art rock, they are also extensions of pre-existing genres such as glam rock and baroque pop, both of which had seen popularity both with audiences and critics due to the likes of David Bowie and Scott Walker respectively. “Fear” sees us back in a more rounded out

pop format akin to his debut “Vintage Violence,” with more typical song formatting but what really brings this record to the status of brilliance is the delivery.

The delivery takes it to a whole new level.

Rarely before this release had we seen the extents of John Cale’s vocal ability [inability?] and within our first track, “Fear Is A Man’s Best Friend,” we see where his emotions take us exactly: The verge. What we are dealing with is "A Man Under The Influence," which will be a key concept in tee following records after this. Under what influence you may ask? Well, most likely heroin, but the options are endless! The seemingly simple lyrics are brought to a profound wit [‘Life and death are things you just do when you’re bored.’] The record takes on a more baroque pop form, coming into its own with the Serge Gainsbourg-esque perverseness which is key to the genre. “Barracuda” delivers an unbelievably catchy chorus accompanied by a twirl of odd backing sounds, upside down music for upside down people. You’ll hear this awkward half-funk type instrumentation in bands like Talking Heads and Bauhaus later down the line.

All in all, this record introduces a sort of crawling feeling; as if one is edging towards a cliff wherein the darkness is palpable but unknowable until you reach the end. One key element of John’s music is that he will always deliver a dark perversion besides an innocuous melody, or drawled out over an unsuspecting piano line. his self depreciation is introduced as well, something which will thematically continue throughout his 70’s & early 80’s work. I LOVE YOU JOHN!

Slow Dazzle (1975)

Cale’s second installment in his “Island Years” trilogy begins slow to a start, not leaving the initial rush of excitement that “Fear” provides due to a bit of a wonky track-listing. opening with “Mr. Wilson” is a fantastic decision, introducing a sense of whimsy to the album which is immediately subdued by the following track. All of these songs are worthwhile in their own right, but should be ordered into a different list. This record is infected with a pop cheese, definitely dating it more than it’s other two counterparts. However, some of Cale’s most compelling and perverse tracks are present here in “Guts” & “The Jewelers,” both of which display the hints of voyeurism & self hatred which Cale hinted to on "Fear.” With “The Jeweler” even echoing The Velvet Underground’s “The Box,” which John Cale delivered on the 1968 LP “White Light/White Heat.”

What really packs this record in for me is the jaw-dropping, demented cover of Elvis Presley’s “Heartbreak Hotel,” which brings a sense of what this record truly could have been. this one is definitely an acquired taste, without a doubt.

Helen of Troy (1975)

The third instalment in what has been dubbed Cale's “Island Trilogy,” and in my opinion, the standout record of the bunch. This record is electrifying in every way, containing only some of the dated pop elements in tracks like “Chinese Sea,” which is certainly the weakest track off of this record. What really brings this record out in comparison to it’s companions is that dirty, filthy sleaze John brings to the table with his vocal delivery — a slurring, nodding kind of zeal which comes only from a senior figure in The Bowery scene.

This record sounds like the bowery, like the smoke and the threat of broken cars crashing into each other, heroin, women, the dark at Max’s Kansas. It is impeccable and accomplishes what Lou Reed’s solo career would take 10 LP’s to perfect and deliver. Reed always played it a little safe, restraining himself from displaying true emotionality even if it is unsavory to hear about or listen to. Within just a handful of records, and within this trilogy only two records to build up the bombastic glistening. The addition of Chris Spedding on this record to play besides John adds that familiarity of 70’s glam. There is no other track quite like the title track. This record still astounds me to this day, giving me chills all throughout. One of John’s biggest triumphs in his entire career. stellar.