"Paris 1919", John Cale, 1973
Dia: 16
Mês: Abril
Ano: 2013
Ano: 2013
Ouvir: http://youtu.be/9_SINw2QTms
Coutinho suggests!
The Rolling Stone Album Guide – Third Edition (Random House, 1992): Paris 1919 returns to the song oriented structure of Vintage Violence [1970]; this time, Cale is accompanied by some members of Little Feat and some L.A. session players. "Adalucia" perfectly captures the tone Cale had been striving for: a beautiful setting infused with a troubling, vaguely mysterious air. ★★★1/2
AllMusic: One of John Cale's very finest solo efforts, Paris 1919 is also among his most accessible records, one which grows in depth and resonance with each successive listen. A consciously literary work – the songs even bear titles like "Child's Christmas in Wales," "Macbeth," and "Graham Greene" – Paris 1919 is close in spirit to a collection of short stories; the songs are richly poetic, enigmatic period pieces strongly evocative of their time and place. ★★★★1/2
Pitchfork: John Cale's 1973 album Paris 1919 has long been justly celebrated as the most accessible and most purely beautiful record of his storied, multi-faceted career. And despite the album's abiding eccentricities – the literary and historical allusions, posh orchestration, and abstruse lyricism – it has often seemed to be Cale's most personal and revealing work as well, a deeply felt meditation on loss, dislocation, and introspective yearning. [9.5]
The Guardian: With shifting instrumentation Cale described the songs as "an example of the nicest ways of saying something ugly". His sugared melodies belie all sorts of abstract frets, reflections and hilariously bitchy insults (one to the entire population of Berlin). "Macbeth" is an avant-garde Welshman's take on the Glitter stromp. The bittersweet "Andalucia" has the faintest brush of Velvet, but it all sounds fresh and is the ideal place for new recruits to Cale's contrary charms to start to get to know him.★★★★
Rolling Stone: The subject of Paris 1919 is nothing less than the entirety of Western European high culture, viewed roughly from a post-World War I, Dada-Surrealist perspective. The album is an epic reassessment of history, geography and art itself. Much of its music is in the Pink Floyd-Procol Harum genre – densely textured and post-Romantic. (Paris was produced by Floyd-Harum wizard Chris Thomas.) The strings of the UCLA Symphony Orchestra are used to magnificent effect, enhanced with what sounds like a mellotron.
PopMatters: This 1973 album marked John Cale's first real foray into what could conceivably called mainstream rock, since it's filled with joy and pop magic. But at the same time it's so mysterious and evocative, even in those moments of joy, that you find yourself wanting to dig deeper into lyrics that stubbornly resist interpretation even as they keep luring you in. There are themes and motifs, as literary and historical references continue to crop up – Dylan Thomas, Graham Greene, Shakespeare and onward. And it all seems to be taking place against a backdrop where the days of European colonialism are drawing to a close, beginning with the Paris Peace Talks and carrying straight through to the rise of Enoch "Rivers of Blood" Powell. It's a lot to try to process, and Cale does you the favor of not doing you any favors and making anything especially explicit.
Los Angeles Times – At his best: Paris 1919 never topped the charts. Yet the challenging, nuanced 1973 album is considered John Cale's master work. (...) Paris 1919's influence continues to resound: Its eccentric DNA can be found in artists as varied as the Flaming Lips, MGMT, Grizzly Bear and R.E.M. Nick Cave's dark persona clearly owes Cale a debt. LCD Soundsystem requested he cover its hit "All My Friends" for a B-side.
The Vinyl District: Most people, myself included, consider Paris 1919 Cale’s masterpiece. The reason why is simple – it’s chockablock with sublime and lovely songs that you’re guaranteed to fall in love with, just as I did.
Wales Art Review – Classic Welsh Albums: The title track of Paris 1919 is perhaps the most significant collision of classical music with contemporary pop music in the entire annals of rock. The strings striking a vivid pizzicato drive throughout the song, as catchy as it is foreboding.
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