Reviews (page 2 of 8)
Istening to the deluxe version bc Apple Music doesn’t have the original release. My favorite track so far is hanky panky no how (drone mix) it’s very Arthur russell
I liked this more than I anticipated, especially the title track. I thought it would be more medieval by way of the 70s sounding, but it was much more sweeping than that.
fun
Loved this. Not really familiar with Cale, but I'll listen to more now.
Nothing bad, but not particularly notable
3.5/5
It's alright but didn't made me anything.
Nah
Quite classy!!! It's big and dreamy.
This was a fun album. Lush orchestral at times and intimate songwriter styles in other moments.
it could grow on me, but rn it's meh
Nice backing band, slightly odd singing. Maybe could get into this, maybe not.
Awful
I have no particular thoughts about John Cale.
3/5
First Half - Not offensive…just not good Second half- still not offensive but better.
This isn’t doing much for me. The vocals are a bit soft and flaccid and the instrumentals are disproportionate to what’s being sung. Not sure I understand this guy…
honestly this just got lost in the background to me. I found it dull and forgot it already
This is in fact music. At times, good music. I just don't really understand how it ended up on this list. It didn't really move me. It's just kinda goofy. Highlight: Paris 1919
70’s soft rock/with a classic country twang at times. A little bit of a 70’s George Harrison sound. 2.5/5.
Probably the best surprise I’ve had so far doing this. Love the way it jumps between moods
I think Robert Dimery forgot half of his own premise. This list seems to be very much just 1001 albums. Must hear before I die part seems to be omitted!?
8/10
Listened before?: never Child's Christmas in Wales - 4/5 Hanky Panky Nohow - 4/5 The Endless Plain of Fortune - 4/5 Andalucia - 3/5 Macbeth - 3/5 Paris 1919 - 5/5 Graham Greene - 3/5 Half Past France - 4/5 Antarctica Starts Here - 4/5 Average score: 3.8/5 ⭐️⭐️⭐️
It got better as it went along but it wasn't really my thing.
Pleasant enough songs to listen to, but nothing stands out
What are we doing here?
It’s hard to believe that Cale, the most avante garde of the VU creatives, could put together a record this comforting and charming. The songs and their production are effective at evoking time and place, and several of the songs - in particular the title track - are incredibly moving (if lyrically inscrutable).
What a beautiful album! I wasn't familiar with it at all! If I hadn't taken part in this fun activity, it would have remained unknown to me for the rest of my life. It’s an airy, light singer-songwriter album featuring some truly great orchestral arrangements. The lovely organ work really brings Procol Harum to mind. The lyrics are outstanding, though I still need to listen to the album a few more times—then I’ll understand even more! The music is timeless; it could easily have been recorded today. I never would have imagined that John Cale—a founding member of The Velvet Underground—could record such a multi-layered, understated, and incredibly beautiful album. I had always thought of him as the man behind creative chaos and the avant-garde. Full marks. I have to get my hands on this record!
Indie alt rock, niet echt mijn ding, maar als je een nummer dat 'Hanky Panky Nohow' heet op je album hebt staan en het een soort sad boi rock nummer maakt? Tsja, dat vind ik dan toch wel weer humor. Dat het verder vooral heel zielig is maakt het ergens dan weer grappiger. Misschien weet John niet hoe belachelijk dat nummer klinkt? Maar dit is wel een beetje muziek voor mensen die zichzelf te serieus nemen, die zullen vast een prachtig verhaal kunnen vertellen over dat Hanky Panky Nohow staat voor de onderdrukking en de oorlog in Zambia. De productie is wel best wel episch gedaan, met stukken waarop een orkest lijkt te spelen? Jammer dat John het charisma van 'een natte vaatdoek die je echt al een paar dagen in de was had moeten gooien' heeft. Maar de productie red dit album dan weer best wel! Maakt een saai sad boi indie rock album best wel interessant. Knal ergens een tuba doorheen en dan heb je mn aandacht blijkbaar al te pakken... FAVO: Hanky Panky Nohooooow, Paris 1919
It's pleasant enough to listen to.
2.7
acho que eu nunca tinha escutado john cale na vida, estou absurdamente surpreendido!! bom pra caralho filho pqp
pedradaça, hein eh um album bem popzinho padrão do john cale, mas meu deus como esse mano acertou. gostoso demais, tranquilinho, bem feito demais. coisa boa!
It’s giving rococo court intrigue. Really liked the title track.
I've been trying to get into this album for years now, going back to the 90's. I guess I liked it better on this listen than in the past, but still not sure I see the brilliance that others do.
2.5
lol
I love this! The melodies are so pretty and the production is amazing, this record just sounds so good. All songs sound really sweet, the string arrangements add a lot, but there is a melancholic and bittersweet feeling underneath everything. I would give this a 4.5/5 if I could, but since I’m sure that I’ll be revisiting this often and can definitely see this become a favourite, I’ll round up. Favourite songs: Child's Christmas in Wales, Andalucia, Paris 1919, Antarctica Starts Here
Would give it a 4.5 if I could
This was fine.
Not too crazy about his voice, but I like the feel of the album.
So close to a 5, weirdly good and quite short
Ok, I see the name and face attached to this album… however… are we 100% sure this isn’t some clone of Brian Eno?
This was pretty average but fancy a relisten. Really enjoyed title song
Nunca habia escuchado a John Cale y tampoco el genero que toca, pero me sorprendio bastante, canciones bastante armoniosas y un sentimentalismo que empapan sus canciones como la melancolia de su voz, pero a pesar de todo no soy tan fan de este genero musical, aun asi yo creo que 4 estrellas es suficiente ⭐️ Child's Christmas In Whales
This was a really fun pop album. Definitely picking up The Beatles, Beach Boys / Brian Wilson vibes, but uniquely Welsh. I like the orchestra style production of a lot of the songs, as well as the blues elements sprinkled throughout. I like hearing the influences of genres, some Caribbean style beats as well as English style skiffle and folk. This was really fun.
It is not the most noteworthy of albums and has the disadvantage of being immediately compared with other records of the Velvet Underground discography. I would keep it barely on the list. 7/10 [KEEP]
The bad thing with this album is that it sounds like 60s Brit Rock music. The good thing with this album is that it sounds like 60s Brit Rock music.
A: Det är intressant hur viss musik dyker upp vid exakt rätt tillfälle. Det kanske bara är jag men jag gillade melakolin i hans röst. "Guess I'm glad I'm on this train" känns idag på ett sätt som inte kan kännas på någon annan dag (mamma far iväg till Rovaniemi). Gillade många låtar väldigt mycket. Kändes högklassigt och äkta men ändå inte på ett självgott sätt. Fanns med kanske två lite livligare låtar som jag kunde ha levt utan (mest för att jag så värnar om den stämning som de lugnare låtarna skapade). Undrar hur långt det är musiken som bär och hur mycket sammanhang påverkar hur vi upplever dem? Känner igen mig på ett sätt som inte går att beskriva. 4,7/5 (AB-tier) D: Säkert mitt favoritalbum hittills. Gillade låtarnas namn, ord och teman och tidsperioden den möjligtvis emulerade. Dessutom var längden en passligt kort och tillfredsställande 31 min 31 sek. Enda albumet jag skulle kunna lyssna på från början till slut utan en enda onödig låt. Väldigt mysig och gul/röd stämning. Lite som i ett såndänt gammaldags målat julvykort där väggarna är gula, det finns en julgran i mitten och alla har röda kinder. Men överlag väldigt fin. Stort plus för att det inte fanns en enda såndän oh honey -låt som ingen tycks kunna undvika (krhm Dolly Parton). 6/5.
2.0 Yawn.
This was better than the Beatles! Just kidding.... it sounded more like Ringo fillers or rejects.
Might have gone and found a new favourite. Starts to lose a bit of steam after Paris 1919 but otherwise so good. RYM: N Saved a song: Y
Stille og roligt og ret fint.
kinda good
It certainly captures a certain early-70s pop-rock vibe. The orchestral arrangements don’t hold up particularly well.
Wow wow, so different than his work with the Velvets, but so good in its own way
Very good, artsy singer-songwriter record from the former-Velvet Underground. I'm not too familiar with Cale's solo work, but I do like this album a lot. It sounds a least three or four years ahead of its time, firmly placing it in the Art Rock realm, a label that would become more widely used later in the decade. I'm not sure what these songs are about, as I have yet to look into the lyrics closely, but there sure are a lot of places being referenced in the song titles, though. Key tracks: Child's Christmas in Wales Andalucia Paris 1919
Dreamy. To steal some adjectives from other reviewers, swoony and comforting. 3.5/5.
What a surprise. A collection of enchanting pop songs -- completely unexpected from a former member of the Velvet Underground (even if you can hear shadows of it on some songs).
The definition of boring, he gets a 2 because he’s Welsh
Listening session: july 29th, while buying groceries and cooking dinner Listened to before: no Thoughts: this album was fine and I liked some songs, but I found his way of singing a bit annoying at times Favourite tracks: Hanky Panky Nohow & Paris 1919
07/28 Meh
I enjoyed this album quite a lot - it felt summery, sophisticated, and Cale's voice is pleasantly melodious and sweet. It's certainly of its time, although that's rarely ever a fair criticism.
This was middle of the road.
Nah. Not for me.
This was certainly an album.
This guy is a god damned ninny and creeps me out.
#444 / 1089 Heard before? ❌ Revisit? ❌ Boring as anything. Yet another lyrics based album, where music is just a backdrop for the lyrics to paint a picture. I can't do mental gymnastics off words (aphantasia), I don't care for lyrics and this album has nothing for me. Bored 1/5
Wow, Im surprised how boring this is. I know John Cale have a few good songs here and there, but this really not.
I took some long time to appreciate this. Now I think is certainly a classic. His approach of rock and classical music is unusual and distinct, his words are beautiful and instrumentation is phenomenal. Great work for sure.
I have not heard this before. Several of these songs I recognize from oldies radio. Nothing here is very catchy or memorable, and the instrumentation and production and chords all have a certain mid-70s sound to it that only works for ridiculous and goofy coked out party music and sounds especially terrible on earnest singer-songwriter ballads. I didn’t know John Cale did singer-songwriter stuff and wish he stuck to weird experimental music instead.
like fables put to a melody favourite track: Paris 1919
Who is this album for? Not me. I'm not into weird concept albums with obtuse lyrics, so maybe it's a me problem. But, I'm guessing that's not the case here when you have songs with titles like "Hanky Panky Nohow"...
Why is this on here? I did a double take at the hanky panky song. Hardly passable album, so mediocre.
My imbecilic mind almost went through with guessing that this was some kind of prissy orchestral live album from 1919, though I thankfully remembered that such things didn't exist back in the day. I'm no better off for having narrowly avoided the dumbest genre prediction known to man, however, as I have absolutely no fucking idea what this album could be. The title is quintessential 2010s indie rock whereas the name John Cale is very 50s country. All of this isn't even mentioning the fancy suitcoat, which doesn't align with the aesthetic of either genre. Guess we'll have to go for the stylistic inbetween of country and indie rock, that being folk music. Here goes. Nooooope. This was art/baroque pop. Still, I thought my prediction was a valiant guess. I didn't mind this album. Dare I say, I thought it was quite good. Some nice, airy melodies, good, varied instrumentals and decent vocal performances. A good runtime as well. It's rare for me to come away feeling satisfied by an album - especially one that's on the shorter end of the spectrum. As far as the individual songs are concerned, I generally prefered the slower, more meditative stretches of this album. As a result, my favourite songs typically incorporated pleasant, vibrant strings, deep piano chords and pleasing organs. Still, the lively rock tunes were fun all the same. All in all, I thought this was a good time. I'm tempted to revisit this album in the coming weeks as there's serious potential for it grow on me. Book time. While Cale and the album's producer are British (quite surprising to me given that "Cale" strikes me as a very American name), the album was recorded in LA and features the frontman and the drummer of Little Feat. Cale was formerly of The Velvet Underground. That's a surprise. The entry closes out with "Other Cale albums might be closer to the challenging spirit adored by a minority, but none has penetrated pop history like Paris 1919." Wikipedia says that this album marked a pivot from Cale's experimental sound. Critics have been very receptive to this album, with it receiving enduring acclaim in the years following release. The songs of this album have been covered by quite a few artists, notably Yo La Tengo and Manic Street Preachers. The album didn't chart anywhere. This album has certainly won big on the critic front and appears to have been mildly influential, so I'm content with letting it through. I cosign this inclusion.
Outside with the album I was bored inside I was intrigued. Weird
Nice try, poor execution. I like Baroque. I kinda like pop. Cale could’ve fused the two into something with teeth or at least something interesting. Instead, he played it safe. This feels like running “Twinkle, Twinkle, Little Star” through Mozart and then sanding it down until it’s radio-friendly. Yngwie Malmsteen does baroque metal, and it works. It's got bite and panache and verve and attitude. This has nothing going for it. It’s cheap vanilla ice cream dressed up as gourmet: no surprises, no meat, no substance. Just airy chamber-pop that evaporates the moment you touch it. It’s culinary foam, and not even the good kind. My Rating: 1/5
Every song is beautiful and then you get to the bonus tracks and hear him sniffing coke into the microphone. They had it all figured out in the 70s.
Not much has stuck with me of this album, will need to revisit, but it was mostly pleasant to hear (although no trace of the Velvet Underground) Kudos for the lyrics "Nothing frightens me more than religion at my door" though
This would be a 3/5 easily, but knowing the rest of John Cale's career I found myself irritated by how pretty it all is. It's beautifully, impeccably crafted but felt a bit... safe? I couldn't help but think that the music Cale was doing 6 years before with the VU sounded like the future, while this sounded like the past.
2.3 2x just not my thing
It's funny that I got this today when I just had The Stooges yesterday. I haven't (to my knowledge) really heard much of John Cale's solo music but am quite familiar with Velvet Underground and a lot of the various other records he had his hands in. Starts off a little light and poppy for my taste. And there's that damn organ. I don't know what it is about the organ in pop music but I just hate it for some reason. Even in blues, it just doesn't belong. A few songs in, I never would have guessed that the guy who made this album was one of the original members of Velvet Underground and produced albums for Iggy Pop and Patti Smith. Its' not bad, just not what I expected I guess. In the end this one was a bit of a let down. I didn't hate it but wouldn't go back to it again. 3/5
Not what I expected at all. Much more accessible than Cale usually is.
Didn't know what to expect here, but this was a lot more straightforward than I thought it would be. Definitely not the super weird thing I was expecting. I was bored by it in stretches, but it's a pretty sound, he's a fine enough singer. "Hanky Panky Nohow" is a very good song, but the refrain is so goofy it's hard to get over. Really liked "Andalucia" and "Paris 1919." But my favorite track was probably "Half Past France," which I found to be just gorgeous.
Boring. Boring. Boring. Felt almost asleep. Thank God it has Macbeth & Paris 1919 on it. Otherwise it was 1/5. Now: 2/5
Guess you had to be there and then
MORE UK MID AND CAP MUSIC YAY
- I can see where bands like Geese get their tone from - makes me want to lean into his vocal style - I’m listening to this at the perfect time - I don’t now how I’m liking track 2 - I think this album is a reflection of how I do like everything but I dont know enough about the things I don’t like yet
Honestly, not as good as i remember it to be. Fear is a much better album as a whole. I’m sorry 2 John, I do love him and think he is brilliant but it didn’t hit for me like it used to.
The song Paris 1919 is great! Half Past France also very good, some other good parts in here as well. Good length, and went through enough different vibes to keep me invested. Good stuff.
3,3 Highlights: Macbeth, Paris 1919
2026.07.12.
Dreary and dubious.
Not for me. Ropey vocals, dull, and mediocre.
This was super nice. I don't know that any of it's memorable or striking enough to take it much higher, but this was a fantastic, easy listen. For the most part, the orchestra really works without seeming too melodramatic or cringe. Fan of this. Fave tracks: - Hanky Panky Nohow - The Endless Plain of Fortune - Andalucia - Macbeth - Half Past France - Antarctica Starts Here
Nothing wrong with it just felt like elevator music
Really lovely song writing and arrangements, surprisingly ‘pop’ given his work with velvet underground, etc
gave up after two songs. not a fan of artists who are self indulgent. never really cared for the velvet underground either
Singer, songwriter, Velvet Underground alumni, noise cellist and Hallelujah coverer John Cale delivers little of his bread and butter from the Velvet Underground years, but he *does* very successfully reinvent his art, while maintaining his identity on Paris 1919. If you are a fan of The Velvets, there's a good chance you're aware that John Cale was kind of the band's secret weapon. On their first two albums, his searing, wounded cello playing was instrumental in establishing the band as a classic act within the world of avant garde and noise rock. But on Paris 1919, he is much quieter, delivering a masterful collection of baroque pop songs instead. But at their core still lies the understated attention to detail, exploratory spirit, and creativity that one would expect, given his past. Andalucia, Paris 1919, and Antarctica Starts Here are probably the brightest moments here. Andalucia is kind of mesmerizing, Antarctica Starts Here Delivers on it's promise of chillies, and Paris 1919 prominently features his incredible cello playing, which I could honestly do to see more of. My biggest complaint, aside from the aforementioned absence of cello, is that Macbeth kind of interrupts the flow of the album, with something more driving and rock centered than anything else here. Also, this could do to be just a *touch* longer. But John Cale has something great here that feels worlds away from his older work, while maintaining his identity. I don't know whether or not this *is* his most essential work, but it's certainly worth listening to.
No private session used for Spotify. Based on his other work I was surprised how mainstream and poppy this was.
Weird but ok. 3.9
transportive, lovely, large yet intimate, creative, dreamy, great.
I love his voice. The songs sound like The Kinks sometimes and maybe a bit like Nick Drake. John's songwriting really shines on Paris 1919 and there's a terrific variety of tunes here.
I'm going into this with high hopes. Pretty much being dashed right out of the gate. This is a far cry from The Velvet Underground. This album sucks. Lou Reed and John Cale clearly need each other desperately. This feels like a concept album where the concept sucks. A British artist with a ska influenced song? Who could ever have imagined? Why is he just dropping one place name after another in these songs? Not a great album after I went in with such high hopes.
Favorite track(s): Child's Christmas in Wales, The Endless Plain of Fortune, Andalucia, Paris 1919, Half Past France
This is a good album. Many John Cale records are good. Not sure theres a great one in his discograpy. But this is as good as any.
Genuinely, is there anything on this record that the Beatles didn't do better, and in many cases also earlier? 2.1/5
I've heard this album discussed in reverent tones over the years and I am only now starting to scratch the surface of it's charms and beauty. Strangely enough, this album needs to be heard loud. You wouldn't think so, since it's chamber pop, but the lush instrumental arrangements are intricate and layered enough that they need to be heard loud in order for Cale's only passable singing voice to be absorbed into the larger fabric of sound. Lyrically, however, he is on another level. His songs are beautifully efficient short stories, with incredibly specific people, times and places that somehow also remain elusive in their meaning. The melodies and words evoke nostalgia for a literate, Euro-centric world that has passed us by, and I find the character-based historical lens very comforting and funny ('you're a ghost/la la la la la la la'). Music that has this kind of wonderful depth but that is not based in angst or anguish is rare. This is the guy who produced the first Stooges album? Okay.
Less madness than his stint with VU. Lush and musical, probably just over a 3 for me.
Very sweet and soft.
Yeah alright. Panic at the disco looking man tellin me he’s got the hanky panky know how. At least he’s a good songwriter outside of that. I chilled since writing that, hated that song but this album is really good. I guess I did want to know how the velvet underground would handle the Beatles.
It is unbelievably odd hearing John Cale’s solo work a part from his amazing work with the Velvet Underground. It is like there are two different people. This record which I bought in 1979 was such a detour as I was already deep into my punk rock conversion. And yet, this record with its conventional yet beautiful melodies was entertaining and engaging. In fact, I was truly taken back to the time when I purchased this record nearly 50 years ago. Wow. In many ways this record has aged remarkably well and I can actually hear it being released today. The only true anachronism is the word smithing of the lyrics which harken back to a time when details mattered and the quality and nature of language mattered. Still enjoyable but does it really fit on the list? I think not but only because time has introduced a new weight of worthy admittees to this list. 3/5
Eh
A sort of wistful travel folk music thing. 3 for its ability to escape any genre typecast I know.
Surprisingly enjoyable, especially in the heat
I think this one might be a little too British for me. The music is ok, but I just think it's boring. 2.5
Me pareció un álbum extraño y particular. Prácticamente cada canción era un género distinto, uno sonaba a country, otro como folk, otro orquesta, etc. Curioso.
En ja, daar is die weer: een PRIMA album
I must not sniff cocaine😤😤😤 Okee albumpje, soms tikkeltje saai.
Honestly a surprisingly decent listen Fave track: Paris 1919
Nonsensical. Silly shit. 2/5
6/10 I wasn’t really sure what to expect from this. John Cale is obviously most well known for his part in the Velvet Underground, and his involvement in avant garde music, but with this album tagged as art pop and baroque pop, I wasn’t sure where he was going to go with it. It turns out that, for the most part, those genre descriptions are actually pretty bang on. There’s rich orchestrations, a touch of folksiness to the songwriting and an approach to melody that leans towards a recognisably pop music sensibility. It’s a tonally rich record and there’s some really beautiful soundscapes here, but personally, I feel that it sort of sits in a middle ground between a warm, ambient sound bath of an experience, and something that commits more to the pop side of things, focuses in on melody and rhythm to produce more memorable and directly engaging songs. As a result, it’s kind of neither one thing nor the other and ends up being a very pretty, but largely uninspiring experience that doesn’t really offer the hookiness that you end up grasping for as he works his way through the tracklist. There are some stronger moments, with the opening two tracks of the second side starting to embrace a clearer focus to the songwriting and latching on to some punchier rhythms and more engaging motifs, but for much of the record, I sort of felt a creeping inertia that it just couldn’t shake. I’d be interested to hear what else Cale has done through his solo career and I did largely enjoy the listening experience here, but there are a lot of albums in the world and this isn’t one I’m likely to head back to any time soon. Child's Christmas In Wales - This is quite pretty baroque pop stuff. It’s got a nice lilt to the rhythm and some enticing melodic moments. The bass work is great too. Actually, there’s really nice parts for most of the instruments on here. It’s not a vastly remarkable track in many regards, but it’s very competently done and is quite an engaging and enjoyable listen nonetheless. Hanky Panky Nohow - The vocal work is quite pleasant on this one, although perhaps a touch forward in the mix. The rest of it is pretty, but doesn’t really do anything exciting. The chorus hook is actually really good, but only shows up a couple of times because of how short the track is. It’s a bit of a shame really, because while this is good, it doesn’t really take its ideas anywhere and is a bit bland as a result. The Endless Plain Of Fortune - Moving on to something quite dramatic now. It’s got a thick, warm orchestration and there are some nice melodic moments in the vocal, but it’s quite rhythmically monotonous and thee’s just not really anything particularly memorable about it either. It kind of feels like it’s an exercise in pomposity and orchestration, rather than a particularly strong piece of songwriting. Andalucia - This is a better song than the last one and there are some great performances, particularly the subtle lead guitar work and a really nice turn from the drummer. It’s still a touch on the bland side, but it’s a warm and comforting listen, with a decent enough melodic flow. But again, there’s nothing really exciting about it. Macbeth - A bit more bite now on this one and it’s got a good groove and swing to it while remaining punchy. It’s quite a departure from the clean, baroque pop sound of the first four tracks, but it’s certainly more exciting. There’s some nice moments in the vocal melody and some great guitar work too. The sound design is fantastic too, with great depth and range to the production. Paris 1919 - Back to the standard sound of the album, but at least there feels like there’s a bit of punch dragged from the last track too, even if it’s more orchestral and clean. The vocal reminds me quite a bit of Mrs Robinson by Simon and Garfunkel, both melodically and in the delivery. I think this is pretty good actually. The middle eight is a slightly flouncy departure, but it’s a nice change of pace and we get back to the melodic core pretty quickly. I’d say this is the strongest track on the album thus far. Very good. Graham Greene - This adds a slightly off-kilter approach to what we’ve had before, but I think it adds depth and personality to the track that was absent from most of the first side of the record. The blend of rhythms across the instruments is very nice and it’s melodically strong. It’s super twee, but in a knowing way that embraces that side of itself and just runs with it. Very good stuff. Half Past France - This is pretty, like much of the record’s first side, but it definitely picks up a bit more when the beat kicks in to give it more depth and impact than some of those early tracks. It does sort of float along a touch in places and it’s another that’s a pleasant but not invigorating listening experience. The mix and blend of sounds is really lovely, but it just doesn’t do enough with it in either direction to be a lush, ambient experience or a more focused, engaging song. Antarctica Starts Here - I don’t quite know what he’s going for with the vocal here, because it sounds like he’s lost his voice and just couldn’t be bothered to wait a couple of days to record it when he felt better. It’s a folksy orchestral number that’s musically pretty and ebbs and flows really nicely. It’s a shame, because it feels like there’s a bit more to the instrumentation here than some of the more flat efforts, but the vocal just drags it down in a slightly weird way.
Generally, when I am watching a film and a great song comes on the soundtrack it ends up to be John Cale and I love his covers of Hallelujah and Heartbreak Hotel. I have this one and really like it, seems like a warm Victorian musical travelogue. I have heard that it is his most accessible work and having weathered through albums like Vintage Violence, I can wholeheartedly agree.
I heard the orchestral feel of the album, songs were fun and it felt lively. One of those albums that you can't quite put your finger on whether you like it or not. It was good, and would listen to it again.
I was not familiar with this album or with John Cale, other than knowing he was one of the original members of the Velvet Underground. I didn't really get this one. Not a huge fan of his voice. The music was fine, but nothing super interesting or exciting. According to what I read, this album is considered to be Cale's masterpiece, but I guess I really have nothing to compare it to since I don't know any of his stuff.
4.5
Really quite liked this. Has a wistful air about it.
This is wild. I think of all the albums that did not make the cut, yet someone, presumably in all seriousness, felt like this piece of shit is one of the 1000 best albums ever released in the history of recorded music. I feel like I'm being trolled by this book sometimes.
Kind of ho-hum for me. Not a whole lot going on. Enjoyable but I'm not really engaged.
It probably didn't help that I read the first few sentences of Cale's bio before spinning the record, but I really don't know that it colored my experience. I kept wanting to like this, but nothing aligned. The production (he's hailed as a great producer? I don't understand.), the songwriting, the performances — it's all very proud to be different? Edgy? Artsy? Whatever it is, it ain't for me.
haven't heard this in years. It was a nice revisit. unsure if it's a 5-star album, but I like almost every song.
I like John Cale and I really love his voice. I wavered back and forth with this album. At times really interested and other times nothing remarkable.
When I saw this album drop, I thought, "Finally! Four minutes and thirty-three seconds of silence!" But no, this composition was written by John Cage, and John Cale is the keyboardist for The Velvet Underground, whose abstract ideas even Lou Reed was stunned by, and, in fact, he parted ways with him due to "creative incompatibility." So, a solo album by such an artist should have something mind-boggling? And again, no, it's orchestral baroque pop. All the genre's hallmarks are there — references to Scottish poets, abundant use of strings, and a general airiness and pomposity. A record for wandering around a European palace, basically. How should I rate it? Well, overall, it's a decent album; I didn't feel like turning it off; but if it had been fifteen minutes longer, maybe I would have.
I got a fevah and the the only curah is moah music from that othah Velvet Undahground guy!
Bit mad really.
Took me a little by suprise and perhaps caught me in the right place as I rather enjoyed this
I was rather bored by it.
It was fine
A fun listen,
Art pop, baroque pop. Worth a revisit.
This isn't really what you'd expect from John Cale after Velvet Underground, but it's a solid foray towards baroque pop. Paris 1919 is not an album I was ever particularly in love with, but I respect it. Cale's voice is constantly at odds with the music, however there is a lot to appreciate here, especially when you focus on the lyrics and the overall atmosphere. These songs are also surprisingly diverse. It's probably going to be another couple of years until I reach for this album again, but it's definitely a solid listen. Favourite track: The Endless Plain of Fortune
I was surprised by how much I enjoyed this one! Good stuff 4 ⭐️
The Welsh viola player from the Velvet Underground? Of course he would write some of the most accessible and fun pop music of the 70s with this album. The title track is a personal favourite.
I don’t know about this. Hanky Panky Now made me cringe.
As a synth/organ/keys guy, I am inherently biased towards John Cage in terms of favorite Velvet Underground members. I love jamming out to Sister Ray all the time. His solo career is pretty interesting in that his songwriting was less William S Burroughs/Lou Reed but kept the Steely Dan-esque deception lyrics. Songs that sound idyllic are about horrible things or sometimes it's just completely on the nose like "the man who couldn't afford to orgy". When in doubt, he's probably talking about heroin or cocaine. Paris 1919 is probably the perfect amount of boutique pop I can take and enjoy it. There's enough variation between songs and is short yet melodically tough enough to leave a great impression. I gave myself a relisten to this album (heard it once before 5 years ago) and I still enjoyed it.
No fav song
This was relentless in its dullness. It all sounded pretty much the same, forgot it was on. For a short album it was too long.
Very interesting sounding-album. I remember hearing "Paris 1919" with the ominous intro and very orchestral-focused music with pop elements made me feel a bit weirded out, totally wasn't used to it at the time. Now hearing the album, no song quite matches it in sound, the others are quite more tame. My description of "Paris 1919" applies to most other songs, very luscious songs. But I'm not the biggest fan of this album, it gets a bit dull near the end. It's alright, but this isn't an album that is a must-hear one. Highlight Song/s: "The Endless Plain of Fortune"
An ode to Victoria-era Europe, a major low point in human history. Every once in a while this would rise to some good heights, but overall pretty meh.
This is better than what happened to Paris in the 1910s but not by much
Pleasant background noise. At one point I forgot I was even listening to it, it was that 'meh', but I'm not mad about it.
This is fine. Honestly not much I'll remember about this one. Macbeth was really the only track that made my ears perk up. I much prefer the Velvets.
Ma saan aru, kuidas see võis 1973. a kohta päris revolutsiooniline olla. Instrumentatsioon ja masterdamine kõlab siin päris tänapäevaselt isegi. Aga see vokaal on tõesti kohutav ja tüütu. Ning tegelikult on laulud ka päris igavad või tüütud. Positiivseid tundeid nagu ei tekigi seda albumit kuulates. John Cale vast mõjutas paljusid teisi selle plaadiga, aga ta enda originaal pole minu jaoks väärt kuulamist. 2.3/5
This was a creative record, and I enjoyed most of it. Favourite Track(s): Antartica Starts Here Least Favourite Track(s): Hanky Panky Nohow
Love the Velvet Underground, don't love this.
didn't really like it, kid of vanilla start to finish
This is not at all what I expected from a John Cale album. It's not bad but I almost would have preferred some of his weird shit.
**THIS** I've got to hear before I die? Really!? Whatever. Bland, boring, mid-70s soft (with a dash of early prog-) rock from some Welsh dude once connected to the Velvet Underground. He apparently 'experimented' on the album. I don't hear anything particularly experimental (or good, for that matter) and it's utterly forgettable as music goes, even a little cringe at times. He was better with the VU IMO. (2/5) Because it was over in a merciful 30 or so minutes.
Hadn't heard of John Cale previously, but thought I knew what I was in for as soon as I identified him as the co-founder of Velvet Underground. I was mostly wrong, as this was a much more piano driven, orchestral sound than I would have guessed. There were certainly songs here that fit the bill (particularly Macbeth, which easily could have been a VU track), but it also gave a sense of differing experimentation that I found mildly compelling. I didn't love it, but I didn't hate it, so it slides neatly into a 3/5 that I may never revisit.
104. Paris 1919 - John Cale (1973) 6.6.26 Variety: 5 Adequacy: 5 Listenability: 5 Uniqueness: 4 Emotionality: 3 = 4.4 rounded down to a 4 "You're a ghost la la la la la la la la la/ I'm the church and I've come/ To claim you with my iron drum/ La la la la la la la la la la" This is one that I discovered almost twenty or more years ago on a very similar list of recommended, but underrated albums. U liked it enough to keep most of the songs on my iPod, but there's one particular track that I listen to relatively frequently and which serves as the keystone to this for me. Dissapointingly, further expaditions into Cale's discography proved rather fruitless in comparison, and the handful of other albums I excitedly looked into after this one, while interesting, proved far different than the sound I had decided I liked so much. It'll likely be a pleasure to revisit this one in its entirety. THE TRACKS Side A "Child's Christmas in Wales" - Cale, like Brian Eno, is usually considered a very non-traditional singer. I wouldn't call either guy robotic or cold, but maybe very restrained. Cale doesn't just do the bare minimum either. The emotion comes across, but it's muted. The instrumentation does the heavy lifting here, with the gospely piano and organs lifting things up and providing a nice contrast with the vocals. "Hanky Panky Nohow" - I think you might be able to fool a good portion of people into thinking this was a modern track by some unfamiliar indie band, and most definitely not from 1973. I would be very surprised if the Belle and Sebastien crew didn't count this among some of their most listened to tracks. "The Endless Plain of Fortune" - I love Cale's intonation on this one, which kind of goes in the opposite direction you expect it to, again giving it a weird sort of ahead of it's time feel. The murky, warm production here is the main giveaway this is older than it sounds. There are a host of modern chamber pop acts that try very hard to get this sound and ultimately fail due to cold modern clean sound. The dramatic ending might also be a tip of the hat as a lot of those modern acts wouldn't attempt such a big swing. "Andalucia" - This feels much more of its era, with the singer songwriter folky atmosphere and the country tinges. Cale flips the script pretty handily with his vocals and this becomes a bizzarro sort of version of that Laurel Canyon sound. "Macbeth" - Here we find Cale beating Jeff Lynne to the punch, virtually creating the sound Lynne would use on hits like "Turn to Stone" several years later. This is the one song I could see getting him closest to the mainstream, but someone would have had to remix those vocals which are buried here in addition to , well being Cale's. He does put some real energy in to some of the phrasing though. Side B "Paris 1919" - And we finally come to the centerpiece of the album, and my favorite track ( this still has regular rotation in my 5 star playlist). This track just dances in the air and always manages to stun me with its flourishes. The instrumentation is key on this one with the very slightly... "determined" is the best way I can describe it, horn line providing entry into the open bright areas of the song. The narrative is all over the place, but feels rich with cryptic nods to history. You've even got an exorcism story buried in there! What's not to like. Beautiful orchestral pop. "Graham Greene" - Dude brings a small bit of reggae flavor here, a year before Clapton exposed the very white ( at the time) rock market to such sounds. Although I think the genre was already well infused into UK culture at large by this point. Jaunty and fun and does a lot of heavy lifting for the variety. Cale's singing is most exposed here, but it still works for me. I'd much rather have an adequate singer who puts his all in than a superstar just going through the motions. "Half Past France" - Dreamy and a bit mesmerizing when you realize by the end of the song that that electric organ line has been sustained for the entirety ( majority as there is some definitely playing at points, but the sustain never breaks) of the song ( I had to go back ad check). It's a nice bed upon which Cale can drop more of that alternate universe Laurel Canyon folk rock sound, with it's very slight country affects. The organ very solidly boosts up the contemplative spiritual feel. "Antarctica Starts Here" - How many pop tracks can you think of where the vocals are whispered? Not many, especially back then. Instead of creepy, the whispering comes across as a secret being told by some dying old man or something. Not 100% effective for me I have to say, and it felt like a compromise between what he's been doing on previous tracks and a more spoken word performance. Which I can see. The sing-talk thing is an area he mostly stays just out of, and to drop in now would have been jarring. Luckily the instrumentation is pretty damn solid and rescues this one from the bin. HIGHLIGHTS - "Child's Christmas in Wales" - "Hanky Panky Nohow" - "The Endless Plain of Fortune" - "Macbeth" - "Paris 1919" - "Graham Greene" - "Half Past France" MIDLIGHTS - "Andalucia" - "Antarctica Starts Here" LOWLIGHTS - None to be found FINAL THOUGHTS The lush arrangements, cryptically narrative lyrics, untraditional vocals and unexpected choices make this feel a lot more modern than I had recalled since my last listen, and I can see it possibly being the dark horse favorite of many a wierdo chamber pop musician to come out of the late 2000s. There's a lot to like here, and if you like variety in your music, even more. Way back I only attempted a few more of Cale's other efforts before giving up, but in the spirit of discovery, which is one the main things I love about this list, maybe I'll give it another go. Not an all time classic, but it will forever sit on the bench with all the other almost made it's as another "sixth man", ready to be called up at a moment's notice. PLAYLIST ALTERATIONS - Nah FURTHER LISTENING - Emitt Rhodes by Emitt Rhodes - Song Cycle by Van Dyke Parks - Here Come the Warm Jets by Brian Eno - Past, Present, and Future by Al Stewart - Bryter Layter by Nick Drake
An interesting album. I am not familiar with. John Cale. This is quite the easy listening experience, however, it throws out a few threads to pull on if one is so curious. Cale is poetic in his lyrics and comfortable in his music. The sound never challenges the listener but also never seems to settle in boredom, it is varied track-to-track to keep the pace and attention up. Theres is very little chaos, musically, to sift through on this album. It’s straightforward in its mission, though its attempts feinting mysteries in the lyrics. After listening to the album once in full I saw the connection to The Velvet Underground. That tracks, I guess. The rock critic set seemed to love this album, I read the word “masterpiece” a few times. That would be a bridge too far for me. It was fine. I’m not sure I’ll ever be returning to this album on my own, but I wouldn’t mind hearing it play again. A solid 3/5. Track highlights The Endless Plain of Fortune Macbeth Paris 1919
Wow, this rabbit hole has no end. John Cale solo, talk about never sniffing success in the US. He's not a frontman (just listen to "The Endless Plain Of Fortune" if you can), that's why Lou did all the singing in Velvet Underground. I feel like this list is part educational and part torture. Nothing bad to say about John and this album, it's all fine and dandy but nothing stands out about it, it has zero hits (at least stateside), no one has ever mentioned it to me in 50 yrs, and it has no legacy or impact. Vanilla as vanilla gets (just listen to "Hanky Panky Nohow"). I give this a generous 2 stars.
when i realized this guy was in velvet underground i liked it a little more. but not much more good but something about its kind of nondescript to me idk. half past france is gorgeous though listen to that song fs
Blind album and artist. Thoroughly impressed from song to song but generally I would not go out of my way to listen to this often. 4.
I want to get to the other albums but I can’t stop listening to this one. It is a no skip unadulterated baroque pop treasure. Loved the contrast between the orchestral textures and the melancholic historical vignettes that he muses over. This is going into the rotation. I’ve followed a lot of Lou Reed’s solo career but clearly have been sleeping on Cale. 4.5/5 Favorite tracks: Hanky Panky Nohow, Andalucia, Macbeth, Paris 1919, Half Past France, Antarctica Starts Here
This one was chill. I got a lot of Beatles vibes from it.
Day878 - i know it’s a concept album but the concept is lame
Pretty decent background music.
Wasn't bad but nothing memorable
It’s one of those albums with such esoteric lyrics that critics claim they love it just so they don’t feel stupid.
Enjoyed this considerably more after re-listening to a few of the tracks
Didn't know that Coldplay ripped off this rando.
I know this said it was 1973, but this got that 60s STANK on it. I don’t need an album by the guy who was in Velvet Underground instead of that another Velvet Underground album. Not like this list doesn’t loooove its repeats
Maybe closer to a 3.5, that hanky panky song was a real low point
I'd not heard of him, quite nice
ok
Didn’t really catch the vibe.
I don't know, instantly forgettable for me.
Kind of forgettable
How have I never even heard his name?! Loved the slightly overblown, triumphant, baroque late 60s/early 70s pop thing he has going on, in particular on 'Paris 1919'
Comfy and cozy.
Nothing stood out to me in particular, but decent vibes
This was not quite what I expected but was worth hearing. Music >>> singing here.
Not really my thing. I see wikipedia has it described as "baroque pop." Well, at least I know I don't really like baroque pop. It kind of just sounds like the last gasp of "let's try to sound like the Beatles." It's not terrible, just not really that great. 2/5
chill music, kinda cool
It’s just over mediocre for me. Can't quite give it a 4 but I did enjoy listening to it. Just that there’s as many good aspects as there are bad ones. I liked the production, the distinctness of the songs, and the baroque elements. I didn’t like the plodding at times, the whisper vocals of the last song, and the cheesiness overall. Also, he kind of looks like Christian Bale on the cover.
I love me some art pop
A couple of tracks are pretty interesting. Nothing I would pick up on my own though.
Pas pour moi.
Visai žavingas, kai antrą kartą perklausiau.
Well I didn't know what to expect but it certainly wasn't this. I thought it would be some avant-garde plinky plonking. I instead got late whimsical Beatles crossed with Manhattan Transfer. Not unpleasant but certainly nothing special.
Primer musiquita en franchute
2.5
2.5 c’caine
I usually only listen to the "original version" of the album and skip the deluxe super mega editions. But when the first song on the extra disc is called "I Must Not Sniff Cocaine", it is definitely getting listened to. Worth it.
some solid tracks about the end of WWI
The title track is a firm favourite but I was surprised how much o found the rest of the album a bit dull and ordinary. I do generally like JC but most of the album was just a bit ordinary.
Another superb artist and album I never paid attention to. I have to come back and explore this genius talent.
613/1001 2026.05.13 🌕🌕🌗🌑🌑
I’ve obviously heard of John Cale being a Welsh Charli XCX fan but never heard any of his music. I did know that his solo work can be a little avant-guard so this one intimidated me a bit but I really enjoyed it and was very accessible. Loved John’s voice. Half Past France and Paris 1919 are very catchy. Macbeth and Hanky Panky Nohow were just lovely More please
No esperaba nada, logró sorprenderme.
Incredibly masterful minimalist art pop-rock with a classical flare. John Cale is a madman in a refined intellectual’s body and is such a singular singer and songwriter and this album is the best gateway into his oeuvre. He’s still doing it and is still very under appreciated.
first listen good stuff
The first thing I'm struck by is all the beige in the artwork, and the music mostly matches. Macbeth and the title track are standouts, however.
bem produzido como esperado de um multi-instrumentista formado em música, mas chatinho. gostei de antarctica starts here, sonoramente é mais 'inovador' que o resto do album.
Surprisingly good listen, probably a 3.5 at best, but not good enough to put down as a 4
4 out of 5. This album was a fun, pleasant surprise.
Not my cup of tea
I listened to this in the morning on my commute to work. It’s now 7:30 at night and I can’t recall any of the songs I listened to. This album made zero impression on me.
This sounds like the first draft of a collection to be released next year. There is semblance of a cohesive product, but I feel like it all needs some tweaking before it’s consumed by the general public. It wasn’t bad music, just not complete and not really something that belongs on this list.
I’m starting to understand that when I read “this reminds me of the Beatles” in reviews, it means it’s going to be really shitty British pop. Case in point …
Pretentious brit pop. Unremarkable.
I thought this was an interesting album with only a couple of songs that stand out. Interesting lyrics & excellent compositions. 3
Nice
Didn't enjoy
Listened previously. Expectations: High - Verdict: Great - Two Velvets adjacent albums in a row! This is a classic. The Endless Plain Of Fortune is awesome, as are the preceding tracks. Macbeth is such a contrast, it comes out of nowhere. The orchestra on the title track is gorgeous, the staccato strings remind me of Eleanor Rigby. Every song here really is fantastic, this album is much better than I remember and I remember liking it quite a lot! A stunning, mesmerising and richly textured album.
Kinda easy-listening crap. I only liked the song Macbeth and the rest was entirely bland.
Found this too much like the early 70s rock that I really disliked. Didn't hate it enough to give it 1 star but I really don't need to hear this every again.
Not bad. Definitely where John Graham gets his inspiration.
Quite depressing and forgettable
recontra medio pelo, dice que formó parte de la Velvet y es un rockito muy simple y cansador.
I'm really surprised about the clean sound and pretty melodies of something VU-adjacent, it's closer to Mccartney than to Reed. I Really like it!
Very good album with little interesting bits sneaking in here and there.
I Must Not Sniff Cocaine is a great song name
John Cale is an amazing musician and I love his work with The Velvet Underground and a lot of the stuff he's done since. Songs For Drella (with Lou Reed) is one of my favourite albums. However this is not one of his best. It's very accessible, almost poppy and that's fine. Songwriting is great. But it's his voice.... he's really not the best singer and it's very exposed here. In some cases (e.g. on Andalucia when he goes high) it's off-pitch and this music can't take it. A bit off-pitch can be good, maybe with more edgy music, or with more raspy voices. Cales' voice is very drawling though (not a bad thing per se)... the off-pitch bits just hurt my ears. Just about a four.
Highlights: The Endless Plain of Fortune, Andalucia, Paris 1919 A pretty boring record with some neat historical and cultural themes but presented in a very abstract way. You really need to know your lore to grasp some of it. I guess that there is a lot to dig but I wasn't inspired to do so because the record oozes with snobbery. It sounds pretty dull so I don't think it deserves full attention.
I guess it’s alright cause of the length of it - infinity forgettable pop rock music though
Second time writing this review; there are three decent songs that, when listening in the right context, sound pretty great. However, when listening to it on headphones, it takes all of the light out of it. This album is like seasoning, not particularly great by itself, but with something, it works wonders. Objectively, I'm rating the seasoning, not the meal, so this forgettable album with fine vocals suffers.
OK, it’s fair to say that this album is not quite what I was expecting from the founder of the legendary Velvet Underground. It opens with some perfectly fine 70s arty pop, but the lyrics pretty soon take off into surreal flights of fancy with references to murdered oranges, singing elephants and a glam rock stomp about Macbeth. The title track, a Beatles-esque reference to the post-WWI Treaty of Versailles, is probably the highlight, even if it’s an unlikely subject for a pop song. The reason for all of the random whimsy quickly becomes clear on the second disc of this deluxe edition with a series of demos and outtakes that openly reference the prodigious amounts of cocaine that Cale was evidently doing during the recording with much sniffing and odd bits of studio chatter. Probably not going to listen to this one more than once, to be honest.
It’s that Beatles-esque psychedelic big sound that is supposed to be captivating and interesting but somehow isn’t. Just a bit tedious.
2.5
A set of sturdy tunes, delivered pleasantly enough by the artist. Sounds somewhat like a mating of Village Green-era Kinks with Richard Thompson. Unfortunately, both of them do this kind of thing better than Mr. Cale.
Forgot all the songs after 19 minutes and 19 seconds. 4/10
Ganz nett. Mehr nicht. Ich mag Orchester, aber diesmal funkte es nicht.
:')
Without doubt his greatest album. From the early to mid 70s period of his best albums this is number one.
interesting, a bit avant-garde
Title track is good - the rest isn't really grabbing me Some of these later tracks are nice. I think its probably a grower
Nice orchestral popish music with arty lyrics which is the kind of thing that might grow on me.
I’m underwhelmed. I heard from people that this was great. Not to me though
Child’s Christmas In Wales // 2.5/5
I dunno, it was just eh, didn't do anything for me.
Meh
My mom would love this album, and I mean that as both praise and damnation
Strong 4
Got some oldie rock going on here somewhat akin to Beatles songs. Its a mellow vibe that has some orchestral moments. Good vocals but unlikely to listen to a majority of the album outside of this. Personally enjoyed Hanky Panky Nohow and Paris 1919 the most
## Musical Composition & Arrangement The music of *Paris 1919* represents a deliberate fusion of classical orchestration and rock sensibilities. Cale assembled an unlikely ensemble: Little Feat members Lowell George (guitar) and Richie Hayward (drums), Motown session bassist Wilton Felder of The Crusaders, and the UCLA Symphony Orchestra . The album's sound palette is extraordinarily rich. "A Child's Christmas in Wales" opens with shimmering organ, piano, and George's soaring slide guitar, creating what critics have called "an intoxicating mix" . "Hanky Panky Nohow" features picked acoustic guitar, church organ, orchestral strings, and heavily-reverbed tambourine—a "dose of pure serenity" that contrasts with the song's unsettling lyrics . The orchestrations are dramatic and sweeping. "The Endless Plain of Fortune" builds through three verses to a massive orchestral climax, while the title track strips away rock instrumentation entirely for chamber music featuring Cale's viola, strings, and brass . Cale himself arranged all the orchestral parts—a rarity in pop music that demonstrates his classical training at Goldsmiths College . The album's influences are eclectic: Brian Wilson's pop sophistication, the Bee Gees' baroque tendencies, and particularly Procol Harum's 1972 live album with the Edmonton Symphony Orchestra, which inspired Cale to pursue this orchestral-rock hybrid . --- ## Lyrical Analysis Cale's lyrics on *Paris 1919* are notoriously abstruse—"frustratingly beautiful" and "incredibly infuriating" by design . The writing is dense with literary, historical, and geographical allusions that resist easy interpretation. **Literary References:** - "A Child's Christmas in Wales" borrows its title from Dylan Thomas's prose poem, though Cale's surreal imagery ("ten murdered oranges bled on board a ship") diverges significantly from Thomas's nostalgic tone - "Macbeth" directly references Shakespeare's tragedy, name-checking Banquo and alluding to Lady Macbeth's conniving nature - "Graham Greene" imagines tea with the British novelist, with lyrics about "chopping down the people where they stand" reflecting Greene's themes of espionage and moral ambiguity **Historical & Geographical Allusions:** The album is saturated with European references: the Paris Peace Conference of 1919 (which ended WWI), Dunkirk, Andalucía, Segovia, Chipping Sodbury, Berlin, Dundee, and the Champs-Élysées . "Half Past France" reportedly depicts a dead soldier's final train ride from Dunkirk to Paris . Cale described the album as "an example of the nicest ways of saying something ugly" . The title references the 1919 Paris Peace Conference, which redrew European borders and imposed war reparations—conditions that arguably contributed to the rise of the Third Reich and WWII . The lyrics often employ sparse, imagistic language that strips away identifying features, leaving only evocative fragments: "With mistletoe and candle green / To Halloween we go" and "The cows that agriculture won't allow" . Even Cale admitted, "Some of the lyrics on *Paris 1919* are still opaque to me" . --- ## Production Producer Chris Thomas brought considerable credentials to the project, having worked on The Beatles' *White Album* and mixed *Dark Side of the Moon* . The recording took place at Sunwest Studios in Los Angeles during what were reportedly cocaine-fueled sessions—yet this was the most time Cale had ever devoted to a recording project . The production is "top-notch" and "velvety soft and thick" . The 2024 Domino remaster by Heba Kadry (known for work with Björk and Beach House) has been praised for bringing new clarity to the arrangements . The original recording captures a warmth that balances the album's wintery themes with what one critic described as "the weight of an old man looking through his photo albums" . --- ## Thematic Content Beneath the ornate arrangements lies a deeply personal meditation on several interconnected themes: **Nostalgia and Loss:** The album evokes "the halcyon days of 1920s Europe, the time of his parents' childhoods"—a "last flash of innocence before the 1930s" . "Andalucia" stands as perhaps the most straightforward emotional expression on the album—a love song about two people becoming "ships passing in the night" . **War and Its Aftermath:** Multiple songs address WWI and its consequences. "Half Past France" captures a soldier's liminal state between war and peace, while the title track reflects on the dissatisfaction that persisted even after the "war to end all wars" concluded . **Dislocation and Yearning:** Cale's own biography—Welsh-born, New York avant-gardist, Los Angeles transplant—echoes through lyrics about travelers, ghosts, and those "so far away from home where we belong" . **Addiction and Decay:** "Antarctica Starts Here" draws from both Gloria Swanson's fading star in *Sunset Boulevard* and Cale's own cocaine addiction, which he once suggested naming the album after ("Cocale") . The closing line—"The anesthetic's wearing off, Antarctica starts here"—delivers a chilling finality . --- ## Influence and Legacy *Paris 1919* has grown in stature since its release. AllMusic considers it "the most accessible and traditional of Cale's albums, and the best-known of his work as a solo artist" . Pitchfork described it as "the most accessible and most purely beautiful record of his storied, multi-faceted career" . The album occupies a unique position in the rock canon as a bridge between avant-garde experimentation and orchestral pop. It has been compared to Van Morrison's *Astral Weeks* as "a distant cousin... both ethereal, impenetrable, and deeply feeling" . Cale's subsequent career took a harder turn with the "Island trilogy" (*Fear*, *Slow Dazzle*, *Helen of Troy*), making *Paris 1919* a singular achievement—"like no other album John released" . The album has influenced countless artists working at the intersection of classical and popular music, and the 2024 deluxe reissue (with a full LP of outtakes) testifies to its enduring relevance . --- ## Pros and Cons ### Strengths | Aspect | Assessment | |--------|------------| | **Melodic Beauty** | Contains some of Cale's most gorgeous compositions, particularly "Andalucia" and "Hanky Panky Nohow"—"one of the most perfectly constructed pop songs you'll ever hear" | | **Orchestration** | Cale's self-arranged orchestral parts are stunning and unique in rock music; the UCLA Symphony Orchestra adds tremendous depth | | **Vocal Performance** | Cale's Welsh baritone is "one of the most beautiful and unique male voices in all of rock-and-roll"—resonant, emotive, and perfectly suited to the material | | **Atmosphere** | Creates a cohesive mood that is simultaneously warm and melancholic, nostalgic and unsettling | | **Musical Chemistry** | The unlikely combination of Little Feat's southern rock, Motown bass, and classical orchestration somehow works brilliantly | | **Literary Depth** | Rewards repeated listening with layers of allusion and meaning, even when the lyrics resist definitive interpretation | ### Weaknesses | Aspect | Assessment | |--------|------------| | **"Macbeth"** | The hard-rocking "Macbeth" is "jarringly out of place" among the contemplative, orchestrated songs—"sticks out like a sore thumb" despite being a strong track in isolation | | **Lyric Opacity** | The abstruse lyrics can be "incredibly infuriating"—attempting literal interpretation is "a tall order destined to fail" | | **Orchestral Overpowering** | At times the arrangements overwhelm Cale's vocals, which can get "a bit lost in how ornate the arrangements are" | | **"Graham Greene"** | The reggae-inflected track strikes some listeners as "silly" and musically incongruous, despite entertaining lyrics | | **Accessibility vs. Challenge** | The album's beauty can obscure its darker themes, potentially leaving listeners unaware of the "ugly" content beneath the "nice" presentation | --- ## Conclusion *Paris 1919* is a masterpiece of orchestral pop that represents the confluence of John Cale's avant-garde training, classical composition skills, and pop instincts. It is an album of profound beauty that conceals dark themes beneath lush arrangements—war, addiction, dislocation, and loss filtered through literary allusion and surreal imagery. While the inclusion of "Macbeth" creates a jarring disruption in the album's flow, and some lyrics remain stubbornly opaque even to their author, these are minor quibbles against the achievement of the whole. The album stands as Cale's most beloved solo work and a unique document of early 1970s rock experimentation—one that continues to reveal new details with each listen, "little details to be picked out from the subtly perfect arrangements" . For listeners willing to engage with its mysteries, *Paris 1919* offers what one critic called "a heavenly half-hour of pure class; the musical equivalent of a vintage Cabernet" .
Kinda like a folky musical. Its alright.
overall to me just felt a bit meh, first half was a little boring second half bit more to it but just didnt feel much from listening to this album
I had been listening to this obsessively just before drawing it on this generator, so this is a gimme, but I still replayed it a half-dozen more times before logging on here. It is such an idiosyncratic record, and one whose baroque tendencies seem, much like Cale's The Velvet Underground, to tint generations of his successors. I hear The Innocence Mission in Andalucia, Vampire Weekend in the title track, Final Fantasy in the whole thing. Is John Cale the greatest ever Welsh cultural export? His accounting for a quarter of TVU is a good argument in itself before even accounting for this masterpiece. Sorry, Dylan Thomas.
I enjoyed this very much actually. Probably not going to revisit too often but this is a stroong 3
Fitting for the time the album was released. Nothing was great and nothing was horrible. Solid 3.
A 3.5…I’m more familiar with Warren Zevon’s music and that’s what this reminded me of. It was okay. It sounded Gentlemanly…in like a London top hat sort of way.
John Cale. Great stuff as usual. I'm not sure if it's my favourite but it's up there.
inconsistent, maybe for the point? i'm not engaging with it any further Would I listen again: no Deserves to be on this list: no 2.3
What a difference a letter makes. I was expecting something from John Cage, but got this. And I rather enjoyed it. The problem i now have is how to score it. It is most definitely better than either of the 3s that I have just awarded, but doesn't measure up to a 4. Sorry John, but I can't do it.
Didn’t know what to expect, and it kept me interested throughout. Quirky in places. If I hadn’t have been painting my fence I might have paid more attention to the lyrics, as there was a theme going on there I think. The fence? First coat done but will need a second coat tomorrow. I have Peter Gabriel lined up for that. I mean, he’s not coming round to paint it for me. I’ll be painting. He’ll be singing in my earphones.
Well, after all these years I never knew John Cale was Welsh! I have never listened to his solo material and I now wonder why I didn't, I guess it was availability of the records back in the day. I thoroughly enjoyed it, very avant-garde sort of stuff, luckily he left his viola at home, which may have destroyed the ambience he was trying to create.
Good
There’s at least a sense of fun to this and it perhaps paves a way for people like The Divine Comedy, but it failed to really grab me.
I wasn’t sure what to expect with this album. The cover is sort of boring but it has an interesting font which I appreciate. But the music was kinda all over the place for me and not in a pleasant way unfortunately. For example my favorite song on the album is the very first song. It’s very fun and poppy. It had a great energy and feels like the start to a really creative and alternative rock album. Sadly the rest of album doesn’t live up to that bar that was set fairly high. Not unachievably high, but high enough that the only other track that caught my attention from the mess was a song called “graham greene” which u also thought was really creative and original. But sadly as a whole I found it to be slow and uninspiring. I should also mention the massive track in this album called “Paris 1919”. It’s really not a bad song, I like that it has like rock opera/rock epic energy. But it just didn’t blow me away. This song, much like the majority of the album, was just sort of disappointing despite not having not very high expectations.
"Hanky Panky Nohow," "Paris 1919," and "Half Past France was nice in their concepts and sound.
Good.
🇫🇷 1919
Was not the biggest fan of this album. Some songs utilized sounds that seemed to ruin the flow they had going and it totally took me out of the experience. Overall not the worst but in no way was it special.
A forgettable Beatles style English rock album. If you want this, abbey road or Sgt peppers will do you better. Not terrible but not exactly amazing either
Pretty forgettable album of English rock music. A lot of variety but nothing really stood out, except for Macbeth, which was a surprising folk/country rock jam that I enjoyed. Cale mostly used other English pop rock bands (read: Beatles) as inspiration and replicated their orchestral style but to much lesser effect, especially because so many other artists were doing the same thing at the time. I noticed the guitar on some tracks featured a twangy country sound, and feel that incorporating more of this in his otherwise English pop sound might have been a more novel element of his "experimental nature" if it had been a larger focus of his music.
Child's christmas in wales - 3 Hanky panky nohow - 2 The endless plain of fortune - 4 Andalucia - 3 Macbeth - 3 Paris 1919 - 2 Graham greene - 3 Half past france - 3 Antarctica starts here - 2
Largely forgettable IMO.
Not utterly awful but close. Bonkers stuff.
Not doing much for me, just a bit dull really
I don't give many albums the lowest rating, but Mr. John Cale gave me no choice. The production is so bad, it sounds like background music in a movie scene, and it's the cheesiest music one can imagine. There were only a handful of enjoyable moments throughout this travesty. I feel bad for Paris, France. They don't deserve this honor. Favorite Track: "Andalucia".
The beginning had some good songs which reminded my of Joni Mitchell’s more heartfelt ballads. But then it became rather mundane and I was bored by the half way point.
It might be insane for me to say that I prefer this record to anything Cale did with the Velvet Underground, but I can't sit here and lie. This record veers between gorgeous and ferocious with ease, from lush to rocking in a span of a song. A beautiful fusion.
Middle of the road a steady 3 !
This didn't do much for me. I think the artist may be an acquired taste. It's not bad, just not what I want to listen to.
fine
Just no.
Not for me
Okayish. Paris 1919 und dieser Christmas Song sind nicht schlecht. Rest so lala
Meh. Fine I guess. It was an album. Entertaining that this is most notable for not being experimental/avant-garde. Translation "This is great, it's his most boring album ever!".
No bites taken of the commercial apple on this record and it's all the better for it. Everything on this album is done well. I appreciate records like this, it sounds to me like someone who is doing what they want and don't care if you like it or not. Solid.
What
"Father John Cale" - or can this be called a pre-cursor to a bunch of modern singer-songwriter albums? Your Elliott Smiths? Your Rufus Wainwrights? Your Father John Mistys? Stylish baroque pop that goes 7 for 9 on the hit-list. I'm happy to hear that's he making more imaginative wondrous music than his former VU counterpart. Instead of making me question life, John Cale hoses me with fresh air and joy straight from a Febreze bottle (8/10, 4/5 on this scale)
I'm giving this a 5, because there is absolutely no way it is under a 3. This was such a departure from his earlier work, showing that he could write baroque. it's not his best, that as probably one of his records for island - but this is the work of a certified genius.
I really wanted to, and expected to, love this one. But other than the title track which I really loved, it was a bit forgettable for me.
His album cover kind of describes the music...beige. No reason to dislike it but also no reason to like it. It just exists in the middle ground. The lyrcis are deep but almost too deep that I don't really understand what he is singing about at times (even lyrics meaning sites can't really explain them). The orchestral music is pretty but so mellow that it just fades into nothing special. Just beige
I thought this was pretty great...it had a lot of diversity from song to song, and I especially like the big orchestral sounds he busts out. The album has an interesting way of making songs feel both big and sparse, with just the right amount of restraint.
Agradable
As a lifelong proponent of hanky panky I have to give this my full-throated endorsement.
Hyvää poppia, en oikeen tiiä mihin tätä vertais. Vähän sellaista Simon & Garfunkel tyyppistä. Jotenkin tosi mieltä rauhoittavaa. Parhaat: Antarctica Starts Here, Andalucia
That certainly sounded like music made from a side member of a very popular band.
This didnt do much for me. Maybe I wasn't in the mood for it. Not terrible, but pretty unremarkable. 2.5/5.
I liked his singing voice! Overall I found this album to be a pleasant listen.
While much better than other stuff Cale has released, it's still boring and somehow unambitious.
A great example of how to break away from one the worlds biggest bands and make a completely separate solo project. Sounds so original and unique
Going into Paris 1919, I was expecting something a bit more in line with The Velvet Underground — experimental, edgy and a little bit different. Instead, what I got was a fairly straightforward, orchestral folk-pop album that didn’t quite land for me. There are moments where you can hear glimpses of that Velvet Underground influence, but they’re few and far between. The album leans heavily into orchestration, and while it sounds polished, the songwriting and lyrics feel a bit underwhelming. It’s not a bad listen, but it never really grabs you or gives you a reason to come back. There are a couple of decent moments, but overall it just feels quite forgettable. Favourite tracks: Paris 1919 is decent enough Least favourite tracks: Child’s Christmas in Wales felt very dull, along with a few others Album artwork: Good album cover
I was so surprised because I'd thought it would be more experimental and noisy, but turned out nice 70s rock, knowing what he did before. I wouldn't complain if it would be more experimental though.
Interesting