john cale

O cara…

sentiu o semblante do caboclo?

pois é, pouquíssimos podem olhar desse jeito, com uma marra tão marrenta (das boas!).

basta dar um confere nas últimas décadas…

apurar quem, em 1964, iniciou algo do tamanho de um velvet underground…

quem produziu os primeiros discos de gente como the modern lovers, the stooges, patti smith e squeeze…

quem conseguiu juntar tantos discos solo tão expressivos, álbuns forévis… quem?

hahaha… Ele é o dono do playlist roNca, hoje, no rdio

kevin+cale+nico+eno

It isn’t just that the four credited lead players are together, it’s also that Robert Wyatt and (if one is excited by such a thing) Mike Oldfield are helping out as well. The whole result should have been a mind-blowing example of one moment of twisted brilliance after another, captured for the ages. And is it? Well, close enough. The week’s rehearsal mentioned in the liner notes seems to have gotten everyone more or less on the same wavelength for the chosen songs, but Ayers, who was the headliner, just sounded too laid-back in the end to match the chilling brilliance of his guests, even with old Soft Machine mate Wyatt along for the ride. The first half of the album is the real winner as a result, not least for the sharp song choices. Eno’s two selections are inspired; “Driving Me Backwards” gets even more freaked out than the studio version, turning into a lacerating death crawl thanks to Cale’s violin, while “Baby’s on Fire” in contrast almost turns friendlier at the end. Both Cale and Nico make strong marks with two of their most notable and notorious cover versions. The former’s “Heartbreak Hotel” keeps much of the spaced-out paranoia familiar from the studio cut, just ominous enough. Meanwhile, Nico’s take on “The End” easily equals her own studio take, the song creeping with dread and fear. Ayers’ selections take up the remainder of the album and they’re, well, nice. But after the earlier shadows and psychosis, there’s a little too much guitar mellowness and bongwater lounge grooves in contrast, aside from a wonderful, dramatic take on “Two Goes into Four.” His between-song asides are fun, though, while his voice is in fine shape, even if the French part on “May I?” just makes him sound like a dirty old man instead of Serge Gainsbourg.

allmusic

J.C

luciano, de BH, pirou na batatinha… do john cale.

tudo por causa do show… lá no crystal palace.

lembra, né? o programa do “festival” está logo ali embaixo.

enfim… o cidadão solicita, educadamente – claro, ele é da galoucura – ver outras páginas do papelusco.

beleza, luciano… vou aproveitar e começar com o folheto de divulgação (loucamente distribuído no embalo) do disco “slow dazzle” que tinha acabado de ser lançado, ok?

segura…

e as páginas do programa, atividade pro horário do início do show de cale & seus bluecaps (chris spedding incluso)… 12h, meio dia… que tal “acordar” ao som Dele? ah, olha como é o palco do crystal palace com o lago bem em frente…

a pepita…

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