Cale spent his career as an “under-the-radar-giant” (the New York Times) and influenced musicians as wide ranging as Neil Young (who wrote in his autobiography, “J. J.’s guitar playing is a huge influence on me. His touch is unspeakable. I am stunned by it.”); Beck (who, speaking to the L.A. Times, referred to his “effortlessness…restraint and underplaying” as “very powerful”); Eric Clapton (who, in his autobiography, called Cale “one of the most important artists in the history of rock, quietly representing the greatest asset his country has ever had”); and so many more.
All of the tracks on Stay Around are previously unreleased, a fact that’s not unusual considering Cale’s modus operandi: often Cale would reserve outtakes from one album for later release on another. Mike Kappus, who represented Cale for 30 years and has worked with his estate since his passing, explains, “‘Roll On,’ the title track of Cale’s last studio album, was 34 years old. He would burn me CDs of demos, and one time I said, ‘You’ve got two good albums on here.’ Some of the tracks had detailed information, some of them had nothing. Some songs might be a full band of his buddies, others were him playing everything. These were songs he really did intend to do something with because they were carried to his typical level of production for release.”
On Stay Around, the only song not written by JJ Cale is Christine Lakeland Cale’s “My Baby Blues,” the first song she and JJ cut as a four-piece combo in Bradley’s Barn studio in 1977, the year they met. A long time member of his band, she expresses that the song “brings everything full-circle” for her. In compiling Stay Around, Christine Lakeland Cale pored over songs, both studio and home recordings that the public had never heard. She adds, “I wanted to find stuff that was completely unheard to max-out the ‘Cale factor’… using as much that came from John’s ears and fingers and his choices as I could, so I stuck to John’s mixes…You can make things so sterile that you take the human feel out. But John left a lot of that human feel in. He left so much room for interpretation.”
Cale himself said, “I like a funkier sound. I really admire the people who get really good sound. That takes expensive studios, expensive musicians. I delved into that a couple of times, but it’s more fun when I create something to do it myself; it always has a unique sound. If I start doing it standard-wise, it becomes more polished and it doesn’t sound quite as unique; it sounds like everybody else.”
JJ Cale cut his teeth during the ’50s, playing guitar in bars in Oklahoma alongside fellow natives David Gates of Bread and Leon Russell, and is credited as one of the key figures in creating the laid-back “Tulsa sound.” He managed to gather a loyal fan following and the admiration of some of the most revered rock musicians while—in the unwavering desire to lead a normal life—eluding fame, and it was via other artists recording and performing his songs that he became best known. Eric Clapton recorded “After Midnight,” “Cocaine,” and several other Cale originals, his admiration culminating with the pair’s Road To Escondido collaboration in 2006, which earned Cale his first Grammy, for Best Contemporary Blues Album, and his first RIAA Certified Gold Award.
Among the many others who covered Cale’s songs are Jerry Garcia, Captain Beefheart, Spiritualized, Beck, Lynyrd Skynyrd. John Mayer, Bryan Ferry, Santana, Chet Atkins, Johnny Cash, Lucinda Williams, The Band, Widespread Panic, Freddie King, Phish, Waylon Jennings, Maria Muldaur, Bobby “Blue” Bland, Hiss The Golden Messenger, Dan Auerbach, and Lee Fields, to name just a few.
@Neil Young , @Eric Clapton , @Mike Kappus , @JJ Cale , @Christine Lakeland Cale , @Bradley’s Barn studio , @David Gates of Bread , @Leon Russell , @RIAA , @Jerry Garcia, @Captain Beefheart, @Spiritualized, @Beck, @Lynyrd Skynyrd , @John Mayer, @Bryan Ferry, @Santana, @Chet Atkins, @Johnny Cash, @Lucinda Williams, @The Band, @Widespread Panic, @Freddie King, @Phish, @Waylon Jennings, @Maria Muldaur, @Bobby “Blue” Bland, @Hiss The Golden Messenger, @Dan Auerbach, @Lee Fields.
Those of you who have been around from the 1960's through the 1990's will remember the vibrant live music scene in almost every starred hotel in India. Those were the days when you walked into a nightclub like 'Rendezvous' at The Taj Mahal hotel and 'Supper Club' at the Oberoi Sheraton in Mumbai to see curtains going up on a band that was the prime focus of these outlets. Every seat in these restaurants allowed an unobstructed view of the band that performed every night on resident contracts. Today all this has disappeared thanks to some ridiculously high entertainment taxes on live music. Today, non off these hotels have complete bands playing save for a few that feature small duos or solo singers. The Lodhi in New Delhi, recently listed among the world's best hotels, decided to step in and rewind to the good old days. They got Goa's premier jazz quartet 'Jazz Junction' to move to Delhi on a resident contract and the decision has paid off in terms of footfalls generated by the band. Jazz Junction featuring singer Daniella Rodrigues, pianist Tony Dias,
bassist Colin D'Cruz and drummer Angelo Colasco began playing at The Lodhi in June 2018. Four months into the contract the band generated a sizeable following, with quite a few high profile guests choosing to celebrate their special occasion at the Elan bar where the band performs. Against all odds the rewind option proved to be a huge success and hopefully other properties around the country takes the cue to trigger a whole new revival of live music.