Paris 1919 [Original recording remastered]

Rhino are on pleasant form at present, reissuing the original `Nuggets', issuing those legendary Judee Sill albums, releasing the definitive Replacements' compilation, and now reissuing a remastered/expanded version of `Paris 1919', one of Cale's most popular albums. First things first, the packaging and sound is much better, it's nice to see the compact disc look like a Reprise record, but the many bonus tracks are merely curios, like most DVD-extras. The out-take `Burned Out Affair' is rather great, but I'm not sure I'd listen to any of the other versions again - perhaps this is due to the fact `Paris 1919' is kind of perfect anyway?

Following his exit from the Velvet Underground, Cale flipped between the avant and rock worlds, frequently fusing them together - whether as arranger/uncredited producer on Nico's `The Marble Index', or as producer of The Stooges' debut, or collaborating with Terry Riley (`Church of Anthrax'), or releasing the overlooked and rather splendid `Vintage Violence' (a precursor of the material here). Recorded with a band - Cale alongside Lowell George, Wilton Felder & Richie Hayward - with the UCLA Symphony Orchestra and producer Chris Thomas, `Paris 1919' remains one of Cale's strongest albums - though I'm as enamoured with `Fear', `Helen of Troy' & `Music for a New Society'. This probably is the one, however...

It's pop music, of sorts, `Child's Christmas in Wales' has the studio nous of Steely Dan and operates in a similar plain to the Eno-era work of Roxy Music. `Half Past France' and `Paris 1919' make clear that this is one of those European albums, alongside Nico's `The Marble Index' and `Desertshore' - Cale fusing his classical/avant-classical sensibilities with some gorgeous songs. Hard to single out a track on the album - it's so perfect - one of those albums that can just be played all the way through. `Macbeth' can be seen to anticipate the `Dirty Ass Rock'N'Roll' side of his canon, but otherwise this remains fixed at some point between classical and rock and roll.

Cale has often recorded great tracks - `The Jeweller', `Gun', his definitive take on Cohen's `Hallelujah' (ripped off by Jeff Buckley), `Riverbank', `Cable Hogue', `Mr Wilson', `Mercenaries (Ready for War!)' etc, I would have said his work is often well served by compilations like `The Island Years' and `Seducing Down the Door', if not the fantastic live solo recording `Fragments of a Rainy Season.' But `Paris 1919' needs to be owned too - a classic album given a thoughtful reissue.

John Cale had a already become a man of indefinable talents long before the release of Paris 1919, yet for me his best work inside or outside the Velvet Underground can be found in this album, part of his peak songwriting period (which includes the darker textures of Fear). The beauty of his lyricism is haunting. Cale's literacy is very much an undervalued weapon and becomes striking in the albums fulcrum and title track, a sly critique of the high authority of the church. The tracks have a historical quality which resonate with wit and cunningly smooth balladeering. The arrangements are exceptional and easy on the ear, making this an essential touchstone for newcomers.
One obvious point after repeated listens is the curious lack of widespread praise in comparison to the notably patchy nature of Lou Reed's catalogue. Reed, of course, made several worthy albums in Transformer and the underrated Berlin, but nothing comparable in coherence or lasting quality to Cale.
Cale's best songs are here, anyone having sampled his collections or other albums would be pushed to disagree (though his work with Eno and his production roles are key for further investigation). 'Hanky Panky' and 'Andalucia' have a majestic warmth, while 'Half past France' is a reflective masterstroke. The understated touch of the later tracks cannot be mirrored in my understatement for this album. It is a definitive british recording.

Mention the name John Cale in casual conversation and there is a risk you will be discussing the pervasive influence of the Velvet Underground on contemporary music till you eyelids wither from boredom. That or you will be regaled on how "Music For A New Society" is a bleak masterpiece. Or just as likely the other person will look at you like you have suddenly acquired a badger sprouting from your left nostril and enquire "John who?"

What is beyond doubt is Cale is a great artist , and while "Music For A New Society " is a very fine album there is a very persuasive argument that his masterpiece is "Paris 1919". Released in 1973 Cale titled the album after the 1919 Paris peace conference where the burnished glitterati of the world set out its agenda and order for the 20th Century. There are nine songs spread over 31minutes encompassing powerful themes-ennui, homesickness, turmoil, and the erosion of political boundaries- to ambiguous often imponderable lyrics.

The music is stately and melodiously sumptuous, utilising plump orchestration and tense layers of keyboard. Whether it is the baroque magnificence of the title track or the lilting yet gorgeous ballad "Andalucia" the album is relentlessly brilliant. "Hanky Panky Nohow" is an esemplasitc tower of melancholic melody. "Half Past France" sounds uncannily like a track off Enos "Before And After Science" four years before it was released. "Childs Christmas In Wales "glows with layers of tender instrumentation and effulgent detail. "The Endless Plain Of Fortune" is wonderfully sombre and portentous with a lovely high register guitar counter pointing the monochromatic walls of orchestration. "Macbeth" is by contrast verging on glam rock with a stomping arrangement and juicy scowls of guitar. "Graham Greene" is a perky vaudeville misprint with it's eccentric but caustic couplets including the choice line "Welcome back to Chipping and Sodbury". Final track "Antarctica Starts Here" is sung in a stage whisper and is a repressed little song with softly stroked keyboard notes, gentle acoustics and sparse but languid bass backing.

At the risk of being controversial I would say that this expanded version is rather superfluous. The extra tracks apart from one new song -"Burned Out Affair" which is nothing to get carried away about -are all demos or inferior versions ruined by extraneous chatter. The original album is perfect as it is ....these just break the spell that Paris 1919 so effortlessly and ravishingly casts.