John Davies Cale, a Welshman, born in 1942, notably found himself not just a musician, but someone who had found a penchant for conducting and composing. Having done so with his Concert For Piano and Orchestra in the late 50s, he joined forces with composer and pianist Michael Garrett, performing as soloist for the piece. He continued his musical training, travelling to the United States in 1963, with the assistance of fellow conductor and composer (among other disciplines) Aaron Copeland. Copeland proved an influence on Cale and in 1964 he co-founded the seminal avant-garde band, The Velvet Underground, with fellow musician Lou Reed. This continued until 1974, after which Cale worked as a record producer and arranger, most notably with Iggy Pop and The Stooges, working with Nico once again on her trilogy of albums. Discovering the music of Nick Drake, he insisted he collaborate with this emerging artist, appearing on his second album, playing viola and harpsichord.
But enough of this potted history, that doesn’t even touch the sides. 1974 and ’75 see Cale’s trilogy of albums surface, with Cherry Red releasing Ship Of Fools – The Island Albums. These contain Fear, Slow Dazzle and Helen Of Troy, along with bonus tracks, presented in a 3CD Clamshell. Fear, is Cale’s fourth studio album, beginning with the composer’s deft piano touch. Soon after these opening bars, which bear a resemblance to the music composed for The Rocky Horror Picture Show, it should be said that this was released in 1975 and the addition of a slight touch guitar is brought in. You can hear that something is about to kick off and sure enough, as the scale descends, drums with the demeanour of former bandmate Moe Tucker, break the assumed order as Cale wails “…Say fear is a man’s best friend…”, the first track on this expanded version. From Fear to the Buffalo Ballet, in which tales of the Wild West and the building of America are told, with sweet melody accompanying. ‘Emily’, is delightful, with sounds of the rolling tide, illustrated in the background, as Cale’s piano plays in the fore. Reminds me of the theme tune to Radio 4’s Desert Island Discs, such is the gentle waft of both the melody and Cale’s gentle vocal, along with the sounds of a rolling shoreline. The album’s title track is another in which tales on the darker side “…getting close to tombstone…” are told, although played to a gentle composition. A journey to Cale’s native Wales ends this tale, colouring a rosier story. The album is chock full of these accounts from the Wild West to the West side of the UK. Final track ‘Momamma Scuba’ appears to be referencing an encounter. Perhaps it’s love that is being described, but maybe a destructive encounter, when hearing the lyrics, “…Well, hug me close and stuff me tight. Quick is quick and knife is knife…”, it’s never clear, but maybe Cale’s known use of opiates, prescribed to him from childhood, is what he’s describing here. The rolling melody that accompanies this number, like its subject matter, is all embracing.
What follows is Slow Dazzle, Cale’s fifth album and the opening track ‘Mr. Wilson’, refers to Brian Wilson, of the Beach Boys. This was a band, it is no secret, that Cale had been influenced by and this number makes it all to clear in the opening verse “…I believe you Mr Wilson, I believe you anyway. And I’m always thinking of you, when I hear your music play…”. It is special to hear one titan of music reference another, and this family becomes just a little closer. Musically the number contains a funk vibe, and when the chorus opens, it speaks of the connection we can all hold with the musicians we choose to follow, such is the emotion that music has. The album continues with ‘Taking it All Away’, ‘Dirty-Ass Rock n’ Roll’ and ‘Darling, I Need You’, dealing with loss and excess, I just love the line “…From the vicious bottle the night before…” in ‘Dirty-Ass Rock n’ Roll’. Returning to loss once again from the lines “…Oh where were you, where were you? Where were you when I needed you?…”, in ‘Darling, I Need You’. Cale had what is described as a rocky relationship, in his marriage to “Cindy” Wells, finally leading to divorce in 1975. These were more than just tunes and like many songwriters, are a window into their lives and experiences. Although it may not seem immediately applicable, track six ‘Heartbreak Hotel’ really is Elvis Presley’s song, reworked and expressing an even greater tortured soul than the original, that you might just have to scratch that itch. Of the three additional tracks, ‘Bamboo Floor’ is certainly one to catch. A number with a cool swing about it, its lyrical canvas is another of John’s life experiences, this time situated in the Far East. Telling tales of the excesses of drug use, displayed none more so than the lines “…The man in the mask has sold out all for nothin’ at all. Now the monsoon’s here and it feels like judgment day…”, continuing “…Watch out for the ego’s eye. And the opium on the breakfast tray…”. A beautiful number heard within the words, this album is an education in itself.
The set concludes 1975s, Helen Of Troy, this time expanding on its original release of eleven tracks, to fourteen. Although not entirely, this album is laced with a far heavier tone. Its first track ‘My Maria’, begins with the treacle flavours of a distorted guitar. Setting the scene, wrestling with religion from the very start “…My Maria, she’s a simple kind of girl. Goes to Mass. Sees the blood of Jesus flow…”. Few words, but a very clever use of the Catholic faith. The following number ‘Helen of Troy’, has the feel of New York in the 70s. Post Velvet Underground and filled with the dirty uncertainty of the time, although filled with the confidence of a changing world. Religion appears to be a recurring element, as ’Save Us’ broaches the subject. A number which features a musical rolling motion, displayed in the musical backing, its lyrics “…Save us from the wind that bleeds. Save us from the falling rain. Save us from the House of God. Save us from the wind that bleeds…” concluding “…Nothing seems to matter anyway…”.
‘Cable Hogue’, depicts the mundane aspect of life “…Traffic moving slowly. Monday morning. Money talks, people hoping…” a song others have found solace in and a deep fulfilment in Cale’s lyrics. Whether it is the fact the central character is leaving for a new life, or the loss of someone, or something so close, this song alone displays the songwriter’s relevance to many.. But this is only track six of fourteen and track eight ‘Pablo Picasso’ returns to the sounds of his former band, in what I hear as a very Andy Wahol period of the Velvet Underground. Gorgeous rock ‘n’ roll plays to the line “…Pablo Picasso never got called an asshole. Not in New York…”, beautifully playful and describing the benefits of love of someone so known. The album completes with ‘Sudden Death’, a telling of assassination, in lyrics displaying a panoramic vista, well as far as your imagination will take you. John’s use of stringed instruments on this track is quite audible and, as someone who taught David Bowie to play the viola, speaks of John’s classical training. There are a further 3 additional session tracks on this new version, making this set wholly worthwhile.
