“Pain and anger are beautiful in the right strokes,” the musician John Cale says, in a new interview on art, “The Velvet Underground,” and Cale’s forthcoming album “Mercy.”
respectively, you conjure these dear people from your past and pay homage to them. Was there something in particular that compelled you to revisit them in this moment?
I was kind of stunned by how that song came about and worked itself out. I was thinking of when I taught Bowie viola for a benefit concert we were doing at Town Hall. I asked him if he wanted to play the viola part on a song and he said, “Yeah.” You can be awkward about these things or you can be creative. He just came aboard and did it, which is the sign of a great artist.
Well, if you read enough Dylan Thomas you’ll come across it. If you look at “Marilyn Monroe’s Legs,” that’s the mirror image of what Dylan Thomas is trying to do. It seems like you wasted no time when you got to New York. How quickly did you find yourself in the avant-garde music world with Cage and La Monte Young?
When you were sixteen, you were hospitalized following a nervous breakdown. Lou Reed famously was institutionalized around the same age and given electroshock therapy. Do you think there was a sense of camaraderie between you and Lou because of your shared experience of having these kinds of troubled adolescences, where you both dealt with illness?
There’s a story about Reed bringing in the words to “Sunday Morning,” then refusing your offer to help flesh out the song, saying that he didn’t think of you as a songwriter. How much did that hurt, and how much did it motivate you to prove him wrong? Were you inspired by any of the work he was doing? It feels like you’re both doing something worlds away from each other.I’m a big fan of your first solo album, “Vintage Violence.” I’ve heard you put that album down a bit, but are you surprised by the endurance of songs like “Big White Cloud,” which continues to find listeners, more than fifty years on?
Do you feel that way with every new album? Like you’re getting closer to what you’ve always wanted to do? An underrated aspect to your career that I think people forget is that you produced these incredible albums for other artists—Iggy and the Stooges, the Modern Lovers, Patti Smith, to name a few. Would you say that was a result of good luck, or did you have a sense for what was going to be an exciting project to work on?
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