At any moment, it’s difficult to tell what’s coming next. Another, his eyes glow as he lowers his voice and leans forward, exuding conspiratorial charm. One minute, the craggy lines of his face contort into a grimace, as if you’ve just awoken him with an indecipherable instruction. In the Gothic Room of Kensington’s Gore Hotel in London, the Welshman is wilting into an armchair - arms crossed, legs extended, head crowned with strands of silvery wisps - like a grumpy monarch on his throne. Besides altering the course of popular music with The Velvet Underground, as well as producing The Stooges, Patti Smith, Nico, Happy Mondays and The Modern Lovers, John Cale’s output has evolved like no other. It wouldn’t be such a surprise if he did. It really pisses you off to think, ‘Shit! I wish I’d written that.’” “I’m blown away by what Pharrell and Snoop did there. The man is fixated with the cutting edge, constantly connecting his ideas to contemporary sounds. “Somebody’s going to come up with another ‘Drop It Like It’s Hot’ and I would really like to be that person.” He bursts out laughing, but it’s true. There’s one thing John Cale has in mind to cap off five decades as a pioneer of iconoclastic music.
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