вЂњBursts of genius interspersed with oceans of inattention,вЂќ as Eno described CaleвЂ™s working methods. Cale seemed to live by an internal set of EnoвЂ™s Oblique Strategies cards. A skilled violist and pianist, he couldnвЂ™t be intimidated in the studio by a self-confessed вЂњnon-musician.вЂќ Recording with Cale meant raucous musical debate with no moderator. Six years EnoвЂ™s elder, heвЂ™d worked with La Monte Young and had recorded The Velvet Underground and Nico when Eno was still in art school. Eno вЂњwas helpless with laughter, screaming, вЂOh horseplay!вЂ™ while the bill was in flames in the ashtray.вЂќД¬ale was unlike many of EnoвЂ™s other collaborators. вЂњIt was obvious to Brian at that point that I was pretty incorrigible.вЂќ Once while dining with Eno, Cale set fire to the check. Eno treated Cale tracks like вЂњThe JewellerвЂќ and вЂњHelen of TroyвЂќ Cale played viola on Another Green WorldвЂ™s вЂњSky SawвЂќ and вЂњGolden Hours.вЂќ вЂњThere was a lot of substance abuse going on,вЂќ Cale recalled to EnoвЂ™s biographer David Sheppard. After a brief period of camaraderie in the early вЂ™70s (they once crossed into East Berlin together to be stared at by the East Berliners), their studio collaborations became sporadic courtesies. These roles-Cale as whirlwind Eno as accountant-would define their working relationship. вЂњIt was a very intense month.вЂќ A journalist visiting the Fear sessions found Cale constantly switching instruments and holding court with various visitors while Eno brewed tea and attempted to bring a bit of normalcy to the operation.

вЂњI was a kind of consultant or advisor.John was using me to bounce ideas off of, and get reactions from,вЂќ he said the following year. It was London, 1974, and Eno was serving as an вЂњideas consultancyвЂќ for John Cale, who was making his fourth solo album Fear. Brian Eno fumbled to the phone and heard an excitable Welsh voice on the other end. The calls came around 5:30 in the morning.

Eno cale spinning away lyrics