On this audio complement to a home video, John Cale is heard in two concert appearances, one on each CD, filmed and recorded for the German Rockpalast television series. On the first disc, from October 13, 1984, he plays with a band consisting of guitarist Dave Young, bassist Andy Heermans, and drummer Dave Lichtenstein; on the second, from March 16, 1983, he is solo, accompanying himself on either acoustic guitar or piano. Thus, the album encapsulates the two sides of Cale, the aggressive rocker and the classically trained recitalist and singer/songwriter. Interestingly, the two sides are explored sometimes with the same songs, albeit played differently.
This double cd pack is more than a simple anthology. It starts with a complete John Cale-overseen remaster of the long out-of-print 1982 album "Music for a new society", along with 3 exclusive new tracks. But the real meat of the work is M:Fans, a complete reworking of the entire original 1982 album, to which the remastered "Music for a new society" serves merely as preface. "John Cale re-contextualises the original songs into radical new forms to resonate with the digital age. Includes a new recording of 'Back To The End' - a previously lost track from the original session."
John Cale's 1992 live Fragments of a Rainy Season holds a special place in the hearts of longtime fans. Cale was no stranger to concert sets. Among his most notorious are the snarling Sabotage/Live from CBGB's and 1986's howling Even Cowgirls Get the Blues. Fragments captures Cale completely solo. His iconic singing voice, rainbow variety of melodies, and poetic lyrics are accompanied only by his piano or acoustic guitar. It's easily his most welcoming album, the one that provides a solid introduction as he ranges through his back catalog.
Live set by former Velvet Underground member and the ringmaster of the avant-garde, Mr. John Cale. The album is virtually a career retrospective, recorded live on John's 2006 European tour. Cale felt like he'd finally found the personnel to interpret his songs with new twists, new dimensions and new emotions. None more so evident than the track 'Gun', originally appearing on 1974's Eno & Manzanera produced Fear but now sounding akin to a heavy arsenal of crunching weaponry. Inspired, Cale recorded the dates and the band began to tear up a 40 year musical history book, challenging and breathing new life into Cale's work. In full, confident stride they take in everything from 'Femme Fatale', the Warhol tribute 'Style It Takes', a capricious 'Pablo Picasso', the sweet groove of 'Hanky Panky Nohow' from 'Paris 1919', 'Look Horizon' & 'Zen' from 2003's 'Hobosapiens', the Neptunes inspired funk of 'Outta The Bag' and 'Hush' from 'black:Acetate', an impassioned take of Presley's 'Heartbreak Hotel' and the viola swathed VU masterpiece 'Venus In Furs'.
Songs for Drella is a concept album by Lou Reed and John Cale, both formerly of the Velvet Underground, and is dedicated to the memory of Andy Warhol, their mentor, who had died unexpectedly in 1987. Drella was a nickname for Warhol coined by Warhol superstar Ondine, a contraction of Dracula and Cinderella, used by Warhol's crowd but never liked by Warhol himself. The song cycle focuses on Warhol's interpersonal relations and experiences, with songs falling roughly into three categories: Warhol's first-person perspective (which makes up the vast majority of the album), third-person narratives chronicling events and affairs, and first-person commentaries on Warhol by Reed and Cale themselves…
Funding Velvet Underground member John Cale performed the band’s 1967 masterpiece, The Velvet Underground & Nico, alongside selections from its follow-up, White Light/White Heat, during a gig at La Philharmonie de Paris. As previously reported, he was joined by a handful of guest performers including Animal Collective, Mark Lanegan, Pete Doherty and Carl Barât of The Libertines, and more…
Both Brian Eno and John Cale have always flirted with conventional pop music throughout their careers, while reserving the right to go off on less accessible experiments, which means they've always held out the promise that they would make something as attractive as this synthesizer-dominated collection, on which Eno comes as close to the mainstream as he has since Another Green World and Cale is as catchy as he's been since Honi Soit. The result is one of the best albums either one has ever made. [A 2005 reissue added two bonus tracks: "Grandfather's House" and "You Don't Miss Your Water."]