JOHN CALE (VELVET UNDERGROUND) "VINTAGE VIOLENCE" COL. 1971 2nd PRESS. EX/EX- LP

$

22

THREE YEARS AGO I LOST ONE OF MY BEST FRIENDS TO CANCER, HE WAS A COOL MUSICIAN A DRUMMER BY TRADE, ORIGINALLY FROM SEATTLE, BUT RELOCATED TO L.A. IN 1985, HE AMASSED A VERY LARGE MUSIC COLLECTION, AND HAD KILLER TASTE FOR ROCK & ROLL, SADLY I AM SELLING OFF A LOT OF HIS COLLECTION ON BEHALF OF HIS WIDOW TO HELP PAY OFF DEBTS INCLUDING BILLS, TAXES AND STORAGE UNIT FEES. I AM NOT TAKING ANYTHING FOR THIS SERVICE, DOING IT FOR MY FRIEND (MISS YOU DAVE!). THIS ITEM IS FROM HIS COLLECTION.

THE PHOTO'S MAY BE A LITTLE BLURRY, HAVE A LITTLE GLARE, SOME REFLECTIONS OR IN SOME CASES YOU MAY SEE SPECKS OF DUST. BUT THE PHOTO'S ARE OF THE ACTUAL ITEM YOU ARE BIDDING ON. I DO COMBINE SHIPPING. BUT I DO NOT ACCEPT “BEST OFFERS”, THE MONIES GO TO MY FRIENDS WIDOW.

THESE ARE VISUALLY & PLAY GRADED. LET ME REITERATE I DO NOT TAKE “BEST OFFERS”.

ARTISTS: JOHN CALE (EX-VELVET UNDERGROUND)

TITLE: “VINTAGE VIOLENCE” 2nd PRESSING OF 1970 LP.

TRACK LISTING (SEE PHOTOS & BELOW):

A1

Hello, There

2:45

A2

Gideon's Bible

3:19

A3

Adelaide

2:21

A4

Big White Cloud

3:32

A5

Cleo

2:38

A6

Please

4:19

B1

Charlemagne

5:00

B2

Bring It On Up

2:21

B3

Amsterdam

3:11

B4

Ghost Story

3:46

B5

Fairweather Friend

2:45

Credits

• Engineer – Don Meehan, Jim Reeves (3)

• Executive-Producer – John McClure

• Performer [Accompanying Music] – Penguin (2)

• Photography By [Cover] – Isi Valeris

• Producer – John Cale, Lewis Merenstein

• Written-By – J. Cale* (tracks: A1 to B4)

Notes

Heavy cardboard sleeve, but - unlike John Cale - Vintage Violence - not on 360 Sound label. This is the second pressing.

Barcode and Other Identifiers

• Matrix / Runout (Side A, Stamped, Variant 1): XSM152654-2B T

• Matrix / Runout (Side B, Stamped, Variant 1): XSM152654-2A PX

• Matrix / Runout (Side B, Stamped, Variant 2): XSM152655-2E T
  

LABEL: COLUMBIA RECORDS

CAT. #: CS 1037

YEAR: 1971

RECORD CONDITION: THE RECORD IS IN EX/EX-CONDITION. NO VISIBLE WEAR, SCRATCHES, LINES, BLEMS ETC. BOTH LABELS ARE IN EXCELLENT CONDITION. NICE SHINEY BLACK LUSTER TO THE VINYL. CLEAN AUDIO BETWEEN THE TRACKS. THE SONGS PLAY SUPER CLEAN. THERE'S SOME VERY VERY LIGHT BACKGROUND SOUND ON THE LEAD IN GROOVES, ALSO A SMALL “BUBBLING” ON THE LABELS (SEE PHOTO)

JACKET CONDITION: THE JACKET IS IN EX/EX-- CONDITION THERE'S NO WRITING ON THE JACKET. STRAIGHT EDGES, NO WRITING, TEARS, WRINKLES OR SEAM SPLITS, ETC.ETC. SMALL LOWER RIGHT FRONT CORNER WEAR 9SEE PHOTOS) A COUPLE OF SMALL WEAR ON THE OTHER CORNERS..

MORE INFO: I TRY AND MATCH WHAT I AM SELLING WITH DISCOGS LISTINGS.THIS RECORD IS CURRENTLY OUT OF PRINT.

MORE ON THE ARTIST & RELEASE:

John Davies Cale, OBE (born 9 March 1942) is a Welsh musician, composer, singer, songwriter and record producer who was a founding member of the American rock band the Velvet Underground. Over his five-decade career, Cale has worked in various styles across rock, drone, classical, avant-garde and electronic music.

He studied music at Goldsmiths College, University of London, before relocating in 1963 to New York City's downtown music scene, where he performed as part of the Theatre of Eternal Music and formed the Velvet Underground. Since leaving the band in 1968, Cale has released 16 solo studio albums, including the widely acclaimed Music for a New Society. Cale has also acquired a reputation as an adventurous producer, working on the debut albums of several innovative artists, including the Stooges and Patti Smith.

Early life and career

John Davies Cale was born on 9 March 1942 in Garnant in the industrial Amman Valley of Wales to Will Cale, a coal miner, and Margaret Davies, a primary school teacher.Although his father spoke only English, his mother spoke and taught Welsh to Cale, which hindered his relationship with his fatheralthough he began learning English at primary school, at around the age of seven.Cale was molested by two different men during his youth, an Anglican priest who molested him in a church and a music teacher.

Having discovered a talent for viola, Cale studied music at Goldsmiths College, University of London. While he was there he organised an early Fluxus concert, A Little Festival of New Music, on 6 July 1964. He also contributed to the short film Police Car and had two scores published in Fluxus Preview Review (July 1963) for the nascent avant-garde collective. He conducted the first performance in the UK of Cage's Concert for Piano and Orchestra, with the composer and pianist Michael Garrett as soloist. In 1963, he travelled to the United States to continue his musical training with the assistance and influence of Aaron Copland.

Upon arriving in New York City, Cale met a number of influential composers. On 9 September 1963 he participated, along with John Cage and several others, in an 18-hour piano-playing marathon that was the first full-length performance of Erik Satie's "Vexations". After the performance Cale appeared on the television panel show I've Got a Secret. Cale's secret was that he had performed in an 18-hour concert, and he was accompanied by Karl Schenzer, whose secret was that he was the only member of the audience who had stayed for the duration.Cale would later attribute Cage's writings with his own "relaxed" artistic outlook, having hitherto been raised to believe that European composers were obliged to justify their work.

Cale also played in La Monte Young's ensemble the Theatre of Eternal Music, also known as the Dream Syndicate (not to be confused with the 1980s band of the same name). The heavily drone-laden music he played there proved to be a big influence in his work with his next band, the Velvet Underground. One of his collaborators on these recordings was the Velvet Underground guitarist Sterling Morrison. Three albums of his early experimental work from this period were released in 2001.

Belying his background in art music and the avant-garde, Cale had enjoyed and followed rock music from a young age; on a visit to Britain in 1965, he procured records by the Kinks, the Who and Small Faces that remained unavailable in the United States.

Early that year, he co-founded the Velvet Underground with Lou Reed, recruiting his flatmate Angus MacLise and Reed's college friend Sterling Morrison to complete the initial line-up. Cale ultimately left the band in September 1968, owing in part to creative disagreements with Reed. Just before the band's first paying gig for $75 at Summit High School in New Jersey, MacLise abruptly quit the band because he viewed accepting money for art as selling out; he was replaced by Maureen Tucker as the band's drummer.Initially hired to play that one show, she soon became a permanent member and her tribal pounding style became an integral part of the band's music, despite the initial objections of Cale to the band having a female drummer.

On his aforementioned visit to Britain in the summer of 1965, Cale shopped a crudely-recorded, acoustic-based Velvet Underground demo reel to several luminaries in the British rock scene (including Marianne Faithfull) with the intention of securing a record deal. Although this failed to manifest, the tape was disseminated throughout the UK underground over the following eighteen months by such figures as producer Joe Boyd and Mick Farren of the Deviants. As a result, the Deviants, the Yardbirds and David Bowie had all covered Velvet Underground songs prior to the release of their debut album in 1967.

The very first commercially available recording of the Velvet Underground, an instrumental track called "Loop" given away with Aspen Magazine, was a feedback experiment written and conducted by Cale. His creative relationship with Reed was integral to the sound of the Velvet Underground's first two albums, The Velvet Underground & Nico (recorded in 1966, released in 1967) and White Light/White Heat (recorded in 1967, released in 1968). On these albums he plays viola, bass guitar and piano, and sings occasional backing vocals. White Light/White Heat also features Cale on organ (on "Sister Ray") as well as two vocal turns: "Lady Godiva's Operation", an experimental song where he shares lead vocal duties with Reed, and "The Gift", a long spoken word piece written by Reed. Though Cale co-wrote the music to several songs, his most distinctive contribution is the electrically-amplified viola. He also played celesta on "Sunday Morning". Cale also played on Nico's 1967 debut album, Chelsea Girl, which includes songs co-written by Velvet Underground members Cale, Reed and Morrison, who also appear as musicians. Cale makes his debut as lyricist on "Winter Song" and "Little Sister".

Apart from appearing on the Velvet Underground's first two albums, he also played organ[15] on the track "Ocean" during the practice sessions to produce demos for the band's fourth album Loaded, nearly two years after he left the band. He was enticed back into the studio by the band's manager, Steve Sesnick, "in a half-hearted attempt to reunite old comrades", as Cale put it.[Although he does not appear on the finished album, the demo recording of "Ocean" was included in the 1997 Loaded: Fully Loaded Edition CD re-issue. Finally, five previously unreleased tracks recorded in late 1967 and early 1968 were included on the albums VU (1985) and Another View (1986).

With tensions between Reed and Cale growing, Reed gave an ultimatum to Morrison and Tucker, declaring that unless Cale was fired, he would quit the band. Morrison and Tucker reluctantly went along with the scheme.

In September 1968, Cale played his final gig with the Velvet Underground at the Boston Tea Party and according to Tucker, "When John left, it was really sad. I felt really bad. And of course, this was gonna really influence the music, 'cause, John's a lunatic (laughs). I think we became a little more normal, which was fine, it was good music, good songs, it was never the same though. It was good stuff, a lot of good songs, but, just, the lunacy factor was... gone." After his dismissal from the band, Cale was replaced by Boston-based musician Doug Yule, who played bass guitar, keyboards and who would soon share lead vocal duties in the band with Reed.

Michael Carlucci, who was friends with Robert Quine, has given this explanation about Cale's dismissal, "Lou told Quine that the reason why he had to get rid of Cale in the band was Cale's ideas were just too out there. Cale had some wacky ideas. He wanted to record the next album with the amplifiers underwater, and [Lou] just couldn't have it. He was trying to make the band more accessible."

Arguably, the artistic frictions between Cale and Reed are what shaped the band's early sound much more than any other members. The pair often had heated disagreements about the direction of the band, and this tension was central to their later collaborations. When Cale left, he seemed to take the more experimental tendencies with him, as is noticeable in comparing the proto-noise rock of White Light/White Heat (which Cale co-created) to the comparatively dulcet, folk rock-influenced The Velvet Underground, recorded after his departure.

Cale would later compare the dissonance he used in his VU compositions with the indecipherable lyricism of some contemporary southern US rap music: "If I can use out-of-tune stuff, [rappers] don’t need words to make sense. There’s definitely a lineage".

Solo career

1970s

After leaving the Velvet Underground, Cale worked as a record producer and arranger on a number of albums, most notably the Stooges' highly influential 1969 self-titled debut and a trilogy by Nico, including The Marble Index (1969), Desertshore (1970) and The End... (1974). On these he accompanied Nico's voice and harmonium using a wide array of instruments to unusual effect. While meeting with Joe Boyd (who co-produced Desertshore), he came across Nick Drake's music and insisted on collaborating with the fledgling artist. He appeared on Drake's second album, Bryter Layter, playing viola and harpsichord on "Fly" and piano, organ, and celesta on "Northern Sky".

In addition to working as a producer, Cale initiated a solo recording career in early 1970. His first studio album, Vintage Violence, is a lushly-produced roots rock effort indebted to a range of disparate influences, including the Band, Leonard Cohen, the Byrds, Phil Spector and Brian Wilson. The more experimental Church of Anthrax (a collaboration with minimal music pioneer Terry Riley) followed in February 1971, although it was actually recorded nearly a year prior to its release. While his explorations in art music briefly continued with 1972's The Academy in Peril, he would not compose in the classical mode thereafter until he began working on film soundtracks in the 1980s.

In 1972, he signed with au courant Reprise Records as a recording artist and staff producer. The Academy in Peril was his first project for Reprise. The subsequent Paris 1919 (1973) steered back towards the singer-songwriter mode of Vintage Violence with a backing band that included Lowell George of Little Feat and Wilton Felder of the Crusaders. Composed of highly melodic songs with arcane and complex lyrics, it has been cited by critics as one of his best.

While affiliated with the label, he produced albums by Jennifer Warnes (her third, Jennifer), Chunky, Novi & Ernie, and the self-titled debut of the Modern Lovers, which Reprise chose not to release; it subsequently appeared on Beserkley Records, the latest in a series of important Cale-produced proto-punk records. In 1974 he joined Island Records, working on albums with a variety of artists, including Squeeze, Patti Smith and Sham 69. He worked as a talent scout with Island's A&R department.

In 1974, Cale moved back to London. As his second marriage began to dissolve, he made a series of solo albums which moved in a new direction. His records now featured a dark and threatening aura, often carrying a sense of barely suppressed aggression. A trilogy of albums – Fear (1974), Slow Dazzle (1975), and Helen of Troy (1975) – were rapidly recorded and released over the course of about a year with other Island artists, including Phil Manzanera and Brian Eno of Roxy Music and Chris Spedding, who played in his live band. A showpiece of his concerts from the era was his radically transformed cover of Elvis Presley's "Heartbreak Hotel," initially performed by Cale on Slow Dazzle and the live album 1 June 1974, recorded with Kevin Ayers, Nico and Eno. Both "Leaving It Up to You" and "Fear Is a Man's Best Friend" (from Fear) begin as relatively conventional songs that gradually grow more paranoid in tone before breaking down into what critic Dave Thompson calls "a morass of discordance and screaming".

Cale released Animal Justice in 1977, an EP notable particularly for the epic "Hedda Gabler", based very loosely on the Ibsen play. His loud, abrasive and confrontational live performances fitted well with the punk rock scene developing on both sides of the Atlantic Ocean. Cale took to wearing a hockey goaltender's mask onstage (as evinced by the cover of Guts (1977), a compilation drawn from the Island trilogy after the label withheld Helen of Troy in the United States); this look predated the creation of Friday the 13th's villain, Jason Voorhees, by several years. During one concert in Croydon, south London, Cale chopped the head off a dead chicken with a meat cleaver, leading his band to walk offstage in protest. Cale's drummer – a vegetarian – was so bothered he quit the band. Cale mocks his decision on "Chicken Shit" from the Animal Justice EP. Cale has admitted that some of his paranoia and erratic behaviour at this time was associated with heavy cocaine use

In 1979, he began a relationship with Austin, Texas-based groupie/journalist Margaret Moser. Cale named the group of women that Moser hung out with the Texas Blondes.His relationship with Moser lasted about five years, overlapping with the beginning of his third marriage.

In December 1979, Cale's embrace of the punk rock ethic that he helped to inspire culminated in the release of Sabotage/Live. This record, recorded live at CBGB that June, features aggressive vocal and instrumental performances. The album consists entirely of new songs, many of which grapple confrontationally with global politics and paranoia.

The band included Deerfrance on vocals and percussion. An earlier live set, consisting mostly of new material, was recorded at CBGB the previous year. It was released in 1987 as Even Cowgirls Get the Blues. The band on that recording includes Ivan Kral (best known for his work with Patti Smith) on bass and longtime Brian Eno associate Judy Nylon on vocals.

In 1980, Cale signed with A&M Records and moved in a more commercial direction with the album Honi Soit. He worked with producer Mike Thorne towards this end.[28] Andy Warhol provided the cover art, in black and white, but against Warhol's wishes, Cale colourised it. The new direction did not succeed commercially, however, and his relationship with A&M ended. He signed with ZE Records, a company he had influenced the creation of and which had absorbed Spy Records, the label he had co-founded with Jane Friedman. The next year Cale released the sparse Music for a New Society. Seeming to blend the refined music of his early solo work with the threatening music that came later, it is by any standard a bleak, harrowing record. It's been called "understated, and perhaps a masterpiece."

He followed up with the album Caribbean Sunset, also on ZE Records. This work, with much more accessible production than Music for a New Society, was still extremely militant in some ways. It has never seen release on CD. A live album, John Cale Comes Alive, followed it and included two new studio songs, "Ooh La La" and "Never Give Up on You". Different mixes of the two studio tracks appeared on both sides of the Atlantic. During this period, Eden Cale was born to Cale and his third wife Risé Irushalmi in July 1985.

In a last effort at commercial success, Cale recorded Artificial Intelligence, his only album for Beggars Banquet Records. Written in collaboration with High Times/National Lampoon editor Larry "Ratso" Sloman, the album was a pop effort characterised by synthesizers and drum machines. It was not significantly more successful than its predecessors, despite the relative success of the single "Satellite Walk". However, "Dying on the Vine" is generally regarded as one of Cale's best songs.

Cale again returned to producing, this time for Happy Mondays on their first studio album: Squirrel and G-Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out) in 1987.

In part because of his young daughter, Cale took a long break from recording and performing. He made a comeback in 1989 with the Brian Eno-produced album Words for the Dying. The album consists mainly of oral work, read or sung by Cale. It was written in 1982 as a response to the Anglo-Argentinian Falklands War, using poems written by fellow Welshman Dylan Thomas. There are also two orchestral interludes, two other solo piano pieces "Songs Without Words", and finally a song by Cale, "The Soul of Carmen Miranda".

Vintage Violence is the debut solo studio album by Welsh musician John Cale, released on 25 March 1970 by Columbia Records. Cale and Lewis Merenstein produced the album.

Recording

Produced for a mere $15,000, Cale stated in his autobiography What's Welsh for Zen? that there wasn't "much originality on that album, it's just someone teaching himself to do something". He also "thought the songs were simplistic". He pieced together a band to play on the album, and they named themselves Penguin. However, the band didn't last beyond the recording sessions.

Content

The cover of the album features Cale with his face obscured by a glass mask over a nylon stocking, which he would later cite in his autobiography as symbolic of the content of the record: "You're not really seeing the personality".

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