Customer Reviews

Paris 1919

5 star:		(28)
4 star:		(0)
3 star:		(2)
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I don't know what more I can add to the Paris 1919 discussion. It's arguably the best work by arguably the most unfairly obscure popular music genius of his time. If you don't already own it, stop reading and buy it!

The reissue is what I'm really reviewing, and if I were to rate it on its own I would give it three stars. It's a case of quantity over quality, with unfortunate results.

First, the good. The booklet has great new liner notes by a writer who thoroughly understands the album. Burned Out Affair, despite a flat, possibly drunken vocal, is quite interesting. Though I'm glad it was cut from the album proper, I'm equally glad to hear it. Two alternate versions are fantastic: the Drone Mix of Hanky Panky Nohow and the hidden instrumental take of Macbeth (with masterful electric slide guitar) give new insights into the material and are great listening on their own.

Second, the bad. Pretty much all the other sketches are not particularly interesting at best. The piano mix of Paris 1919, the vocal mix of Antarctica Starts Here, and the informal takes of Endless Plain of Fortune and Graham Green are all good listening, just nothing special or revealing. Some, however, have mumbled partial vocals, muddy arrangements, lyric mistakes, and pitch problems.

Sure, these things happen while recording. This is probably the most honest set of rehearsals and takes I've ever seen on a commercial record -- there appear to be no overdubs or edits of any kind. I'm not at all convinced that's a good thing, however. It seems to me that including alternate versions of every song was overkill, and even undermines the album itself with material that obviously was never meant for public consumption.

If they'd just stuck to new and revelatory versions, we'd have three or four great bonus tracks. As it is, there's an entire alternate album that's not worth more than a couple listens.

Certainly this reissue is worth buying, for the first time or even for the second. Just don't expect anything much of the bonus tracks.

The cover pic might give it away - John sits in a wicker chair, in a very dapper white suit and vest, staring calmly into the camera (or the eye of the viewer, perhaps). The music on this album is indeed some of the gentlest he ever recorded - pop songs (his own slightly skewed variety, of course...) recorded in Los Angeles in 1973, augmented by some lovely orchestral arrangements. The only song in the set that comes close to a `rock' motif is `Macbeth', Cale's reworking/reprise of Shakespearean tragedy - the rest are slow-or medium-tempo numbers that all fall pretty much into the `mellow' category.

If you read `mellow' as `boring', however, you'd be sadly mistaken - the songs here are built upon some lovely, memorable melodies and arrangements, but they're far from boring. Cale's lyrics here are as wry and intelligent as on any of his more raucous releases - there's insight, humor and irony aplenty in these tunes. He comments on an array of subjects - loneliness, history (and the lessons we either learn or don't, as the case may be), morality, longing, love, pretension, art, religion (this subject being mentioned/invoked more than a couple of times), and more. For instance, in `Hanky panky nohow' Cale sings: `Nothing frightens me more than religion at my door - I never answer panic knocking...' In `Andalucia', a beautiful love song, the image of `castles and Christians' is painted; and in `Paris 1919' which I read as a ghost story of sorts), the perceived threat or terror felt at the encounter with the unexplainable is answered with `I'm the bishop and I've come to claim you with my iron drum'.

And speaking of ghosts, their presence haunts several of the songs - ghosts from history (Columbus, Segovia, Graham Greene, Macbeth and Banquo) parade before us, and in general the taste and feeling of eras bygone inhabit the program, leaving the listener with the feeling of actually witnessing, albeit it in an evanescent form, scenes from other times. Cale's intellect and imagination (and, again, his humor) are powerful tools - he pulls it off nicely, that which might be handled clumsily by an artist less deft.

This is certainly a far cry from the stark and seminal FEAR, and the rocked-out SLOW DAZZLE that were to follow. For a really raw, brutal live recording (and a great, energetic document), check out SABOTAGE from 1979. PARIS 1919 is definitely a transition album from his beautiful THE ACADEMY IN PERIL (1972), which is my all-time favorite from his catalogue, to the harsher music that would follow - but an essential document for anyone who wants to understand the complete artist.

I couldn't be more excited than if George Martin announced that more previously unknown parts of "Sgt. Pepper" had been found!

The 9 track original LP is just about the best LP to be released in the early 1970's (it was released in 1973) and the lousy sounding Warner Archives CD has remained a good catalog seller after all these years.

Now, UK Rhino has released a 20 track CD (US Rhino is too damn stupid to put it out here....). Even tho at the time of this review, Amazon has not updated their listing. Here's the extra tracks:

10.Burned Out Affair (amazing outtake....slightly flat vocals...could've used another take)
11.Child's Christmas In Wales (alt version)
12.Hanky Panky Nohow (drone mix)
13.The Endless Plain Of Fortune (alt version)
14.Andalucia (rehearsal)
15.MacBeth (alt version)
16.Paris 1919 (string mix)
17.Graham Greene (rehearsal)
18.Half Past France (alt version)
19.Antarctia Starts Here (rehearsal)
20.Paris 1919 (piano mix)
21.HIDDEN TRACK; Macbeth (wild unissued backing track!)

.....wow these are just plain fabulous....early versions, rough rehearsals, alternative versions of 9 of the greatest pieces of serious pop music ever!)

Anyone who like this classic album needs this reissue.

Wouldn't it be nice for Amazon to update their listing?

There is an unlisted 21st track-- an instrumental version of 'Macbeth' featuring some fine slide guitar from Lowel George!

This classic early solo album is like a collection of short stories and contains some of Cale's most poetic lyrics. There is a subdued, almost melancholic air about most of these, like Child's Christmas and Hanky Panky Nohow. The impressive orchestral backing make it less of a rock album than most of his best later work (like the Island period). An exception is Macbeth - a robust slice of rolling rock. The arrangements may be orchestral, but the melodies are simple and tuneful for the most part, as on the lovely Andalucia. The delightful title track with its edgy arrangement, birdsong and "you're a ghost" refrain is especially evocative, while the swaying reggae beat and trenchant lyrics of Graham Greene make this another classic track, and quite catchy too. Half Past France is a sad slow ballad and Antarctica is a moody piece with subdued, whispered vocals. Paris 1919 is a very "literary" album and Cale at his most accessible.

A fully realized suite of music from a restless artist who knew better than to get stuck purveying crowd-pleasing pop. Cale's instinct is always to push beyond self-satisfaction. The result is a lushly produced set of songs that grow on you, that deepen in your ear, that finally make you wonder how in the world such smart, relentlessly melodic, rocking and rolling music could have escaped your notice for so long...and yet a set of songs that ache to be something more than just "a set of songs on an album." In this sense Paris 1919 is both a consummate example of early seventies post-Beatles English modern rock and a pulling away from that very same accomplishment--albeit a gentle pull. Cale, skeptical of pop music's desire to satisfy completely, needs that edge.

When Paris 1919 was issued , I was 18 . Glitter , decadence & old time music were up to date . John s album was clearly looking in the " good old European time " direction .But it was more than that . The perfect mixture of bombastic orchestration ( Chris Thomas , at the same time than Procol Harum' s Live , David Bowie' s Hunky Dory .. ) , decadent poetry ( it was an influence for me , as well as Beaudelaire or Rimbaud ),insiduous melodies caught me for years , making my LP now full of sratches & rumors, ( particularly Antartica starts here ) I m happy to see it on CD & envy those who still have to discover it .

This album may easily qualify as my favourite John Cale album (a toss up between Paris 1919, Fear, and Honi Soit). Granted, it's not much like the other two albums cited, and probably has more in common with Vintage Violence. Paris 1919 shows a much more tender side to Mr. Cale, and because of this, the album almost seems to coddle you through the speakers. It seems to be a reminiscent whiff, an attempt at recapturing certain moods and atmospheres, all of which make this album feel very familiar. This is not to say that there aren't more melancholic or upbeat moments; but regardless of individual songs, the overall impression given is of some tender longing, some whistful moodiness, and a hint of subtle menace here and there.

As other reviewers have mentioned, Mr. Cale is backed by the core of Little Feat (Lowell George, Ritchie Hayward, Bill Payne) adding superb musicianship to the mix on favourite tracks like "A Child's Christmas in Wales", "Hanky Panky Knowhow", "Andalucia", "Macbeth", and "Antarctica Starts Here". Though it's only about half an hour, this album is definitely worth the price of admission and would make a splendid introduction to the ouevre of Mr. Cale.

How many rockers could write beautifully symphonic pieces of music and credit Brahms, Graham Greene, or John Milton as influences? Very few - probably just one - the singularly unique and exquistely talented John Cale. This is my favorite Cale album, with Vintage Violence and Fragments of a Rainy Season close behind - this is first and foremost a pop album, though the classical influence is obvious. But those of you who are not into classical, do not fear - this is extremely accessible pop music from a classically trained avant-grade rock musician. The songs are very catchy and endearing. The Dylan Thomas influenced "Childs Christmas in Wales" is my favorite track simply for the phrase "seducing down the door" - lovely language...lovely album - well worth the $. Enjoy!

To echo one of the reviews, I know idea what the songs are about. And it really doesn't matter. The overall mood and atmosphere they create is more important than any meaning. The songs give you an amazing sense of listening to a weary traveler, and make you nostalgic for your own past journeys. The songs kind of remind me of Leonard Cohen's "First We Take Manhattan" and the Horseflies "Sally Ann" in that they're apocalyptical in their subject. What are they singing about? Who knows, it isn't important.

My only complaints, and they are minor and don't justify giving this album any less than five stars, is the length, only 33 minutes. And some of the songs have orchestration that is too lush sounding, especially the title track. But they're minor complaints. Every song is fantastic, but especially "A Child's Christmas in Wales" and the last two songs: "Half Past France" and "Antarctica Starts Here," two of the greatest songs ever written.