Back in May I wrote a bunch of posts about the 50th anniversary of the Velvet Underground’s debut album. Here’s another Velvety post, celebrating the great John Cale. Here’s the word from a recent Rolling Stone interview celebrating the anniversary…

The way John Cale tells it, he had a revelation one day in the mid-Sixties. He’d dedicated the majority of his first two decades to classical and avant-garde music, to such an extent that, he says dryly, “I may have missed out on my puberty.

“I woke up one day and said, ‘Wait a minute, there are people running around singing Beatles songs,’” he recalls. “The Beatles Invasion was going on. All the enjoyment that I’d gotten as a kid out of rock & roll was receding, and I thought, ‘Let’s put something together that blends the two.’ I wanted to cross-pollinate rock with the avant-garde, and then I met Lou Reed, and that was the solution.”

The union of Cale’s musical wanderlust, spurred on by collaborating with minimalist composer La Monte Young, and Reed’s rock-steady songwriting, which he had been exercising as an in-house songwriter at Pickwick Records, became the soul of the Velvet Underground. This weekend will mark the 50th anniversary of their most daring experiment – their debut, The Velvet Underground and Nico – the Andy Warhol–produced LP that found Cale, Reed, guitarist Sterling Morrison and drummer Maureen Tucker fusing gritty garage rock with overdriven viola noise and, on some songs, the lilting, expressionistic vocals of German chanteuse Nico.

The record, whose songs vividly described drug abuse and sexual deviance at a time when the Beatles were dominating the charts with a gentler, more whimsical countercultural vision, was far from a commercial hit, but its influence over the past half century has been undeniable. Artists ranging from David Bowie to Duran Duran have covered its songs, and Brian Eno is fabled to have once said, “The first Velvet Underground album only sold 10,000 copies, but everyone who bought it formed a band.”

Read the whole article at the link above and watch this documentary to find out more about Cale’s extraordinary career in the Velvets and beyond…

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Back on track with my site live again, and keeping good to my word about celebrating the 50th anniversary of The Velvet Underground and Nico, here’s a short documentary film that brings viewers as close as they can come to getting their hands on a ticket to Andy Warhol’s Exploding Plastic Inevitable. It’s important to remember that The Velvet Underground were originally one element in a multimedia extravaganza that included pioneering light displays, dancers and very very loud music. Here’s the word from UBUWEB…

Title: Andy Warhol’s Exploding Plastic Inevitable with The Velvet Underground
Director: Ronald Nameth
Show Co-ordinator: Paul Morrisey
Lights: Dan Williams
Sound: David Faison

Music: The Velvet Underground & Nico, I’ll Be Your Mirror and European Son from The Velvet Underground & Nico LP and It Was a Pleasure Then from Nico’s Chelsea Girl LP, and two live songs from the Exploding Plastic Inevitable at Poor Richard’s, 1363 No. Sedgwick, Chicago, 1966/06/23, Heroin [5:14] and Venus In Furs [3:24]. That show was without Lou Reed who was at New York’s Beth Israel Hospital for hepatitis, and without Nico who took off for Ibiza at the beginning of June. John Cale on lead vocals and keyboards, drums, Sterling Morrison on guitar, Maureen Tucker on bass, and Angus MacLise was on drums.
Running Time: 22 minutes (long version)/12 minutes (short version)
Release Date: 1966-08-00 [US]
Cast: The Velvet Underground & Nico: John Cale (vocals, organ), Sterling Morrison (rhythm guitar), Maureen Tucker (bass guitar), Angus McLise (drums)
Gerard Malanga: Dancer
Ingrid Superstar: Dancer
Susan Pile
Edward Walsh

Note: An alternate version of this film was broadcasted on French TV channel Canal + on 1990-08-26. That version is edited to 12 minutes and the soundtrack is different: Venus In Furs [3:57] and Heroin [3:19] are not the versions sung by John Cale but those from the Columbus Valleydale Ballroom 1966-11-04 tape. Credits titles are also different (John Cale’s name appears correctly spelled even though it was mispelled as ‘John Cahill’ in the 22-min version). It was this shortened version which was shown at the Fondation Cartier exhibition in Jouy-En-Josas on 1990-06-15 and is available on the Re:Voir VHS.

Andy Warhol’s hellish sensorium, the Exploding Plastic Inevitable, was, while it lasted, the most unique and effective discotheque environment prior to the Fillmore/Electric Circus era, and it is safe to say that the EPI has never been equaled. Similarly, Ronald Nameth’s cinematic homage to the EPI stands as a parangon of excellence in the kinetic rock-show ganre. Nameth, a colleague of John Cage in several mixed-media environments at the University of Illinois, managed to transform his film into something far more than a mere record of an event. Like Warhol’s show, Nameth’s EPI is an experience, not an idea.

Here’s the film…

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Trying to sneak in a few more birthday notices before the year’s up, 2016 marks the 40th birthday of Tom Robbins’ Even Cowgirls Get the Blues. It’s also the 30th birthday of John Cale’s third album which borrowed its title from Robbins’ novel. Cale’s Cowgirls is a live record/time capsule that captures the New York punk scene one decade later…

Even Cowgirls Get the Blues is the third live album by Welsh musician John Cale. It was originally released on LP in 1986 and then later reissued on cassette in 1987 with a different cover and drastically altered track listing. In 1991 it was reissued on CD with a third cover design, but with contents identical to the cassette edition. It was recorded in CBGB club in New York between 1978 and 1979 with three former members of Patti Smith Group, bassist Ivan Kral, keyboardist Bruce Brody and drummer Jay Dee Daugherty. The LP version contains different track listing than CD.

Here’s a sampler of the album followed by a monster Cale playlist on YouTube…

Stay Awake!

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