John Cale, Solo Artist

Let's have a look at John Cale's CV from the point at which he started work on Vintage Violence (1970), his first solo record:

1963 Student, Berkshire Music Center - Tanglewood
Following extensive music education at the University of London, was invited to study under Aaron Copland and Iannis Xanakis. Disallowed from performing any compositions, as the bulk were considered too abrasive (one of which involved taking an axe to a table).

1965 - 1968 Founding member/multi-instrumentalist, The Velvet Underground
Along with collaborator Lou Reed, oversaw New York's avant garde staple during its salad days. Forged ties with Andy Warhol. Contributed bass, viola and organ both live and in the studio. Was the chief architect behind the noise assault of White Light/White Heat. Asked to leave the band following co-founder's desire to write prettier songs.

1968 Producer/arranger, The Marble Index (Nico)
Adorned Nico's minimal Teutonic poetry and harmonium with orchestration. Despite the harmonium being out of tune with the rest of the instruments, the record was critically acclaimed.

1969 Producer, The Stooges (The Stooges)
Coaxed several raucous performances out of angsty Detroit teens The Stooges.

See the trend here? It seemed everything Cale touched was edgy, noisy, or even nearly unlistenable. Certainly, those who heard he was working on a record called Vintage Violence must have been expecting more of the same. Choirs of chainsaws, perhaps? Rusty blenders switching on and off rhythmically over a droning viola? A guitar feedback orchestra performing a symphony in quarter tones? Nobody would have batted an eyelid. Instead, Cale managed to surprise everybody - he made a conventional pop record.

Much in the way Lou Reed shocked Velvet Underground fans by following White Light/White Heat with the delicate The Velvet Underground (1969), John Cale provided his audience with a record filled with melodic and pastoral rock. Far from his work with the Velvets, Vintage Violence was filled with acoustic guitars, lap steel, and conventional song structures. From the spirited opening "Hello There" to the Spectoresque "Big White Cloud" to the downright jaunty "Adelaide," this was not the John Cale anybody was expecting. Apparently, it also surprised Cale. He would later remark in his autobiography that the album cover, featuring the his visage covered by a nylon stocking, was fairly symbolic of the album as a whole: "You're not seeing the personality."

"You're not seeing the personality."

Despite the artist's comments, I have always seen Vintage Violence as being thoroughly reflective of Cale. At its root, the album is a grand experiment - perhaps not in the sense that we usually think of, but certainly a radical one given the history of its creator. Here was a man with an established pedigree as an avant-gardist and classicist making a simple pastoral record. If nothing else, he was continuing to push his boundaries. From a musical perspective, the arrangements are all impeccable. The droning violas and distorted organs have been replaced with lap steel and reverb-drenched backing vocals, but they are evocative nonetheless. File Vintage Violence under "successful experiments."

Today's upload is "Gideon's Bible," my personal favorite track from the record (and one of my favorite tracks in general). Note that Cale's viola makes an appearance - you can hear it in the right channel of your stereo. Also listen for the tasteful use of the lap steel in the choruses (also in the right channel) - the more I listen, the more I'm tempted to buy one for myself...

Gideon's Bible