Wrong Way Up

Artist: Eno / Cale

Released: October 1990

Length: 41m 50s

My review:

John Cale and Brian Eno's musical careers have been closely intertwined as far back as 1974 with the notable live album recorded at the Rainbow Theatre in Finsbury park, London that also featured British composer and musician Kevin Ayers as well as German singer/songwriter Nico, the latter who, of-course, featured on The Velvet Underground's seminal debut. After a long list of guest appearances on each others records they finally produced a full length, collaborative project that came in the form of this album, Wrong Way Up released in the very early stages of the 1990's. With both stars having such stellar back catalogues and significant roles in defining and pushing popular music in the two decades prior to this release, you could be forgiven for thinking their best days were behind them, however I feel that this album contains some of the duos finest work. Even now, 35 years after its release and with both artists continuing long and fruitful careers, I would still argue that there are moments on this album that should undoubtedly be included in conversations surrounding their best music, including that of all their solo and separate ventures too!

Opening things up is Lay My Love, a gentle, yet upbeat, start to the album with elongated and emphasised lyrics from Eno that contrast well with the sharp, punchy musical notes heard alongside them. This is my first highlight on the album and is is in good company with my second coming directly after, in the form of One Word. In the interview that comes printed on the liner, Eno tackles the inevitable question of why he has returned to using words after a 12 or so year-long hiatus, he talks about working with top artists who really know how to sing being an inspiration but ultimately being confronted by the same compositional problem that "the voice always seems to become the centre of any piece of music". One way he combats this, throughout the record but particularly to great effect on One Word, is by "constructing harmonic stacks" that provide a warm and full bodied sound, similar to a choir, where vocals have been layered so that, as Brian so eloquently states, "the 'individuality' of a single voice is lost in the crowd". In The Backroom features a lot of bending guitar strings and as well as the slide guitar technique that gently push and pull you throughout the tune, acting as an invisible current gently guiding you downstream in a fully relaxed state of being. Bringing us back around with its steady 4/4 drum beat and classic rock feel Empty Frame manages to steer us in a new, more upbeat, direction, whilst keeping us afloat through its buoyant, swaying vocals. Cordoba strips away much of the instrumentation previously heard on the album, giving a much more intimate and acoustic vibe, with emphasis given to the viola and strings as well as the vocals. The short and open ended sentences coupled with the strange delivery, almost equal parts tender and sinister, leave the mood of the song isolated in some middle grey area, leaving the listener a little dazed or disoriented. Side B starts with my favourite of the bunch Spinning Away, that I explore in greater detail below, before Footsteps a slightly ominously sounding track punctuated by the unique tonal qualities of the tabla (pair of Indian hand drums). Been There Done That is another highlight for me, an upbeat tune with infectious lyrics that you cant help joining in with. The penultimate song Crime In The Desert is a fast-paced and frantic endeavour spearheaded by the keys, while The River is, in stark contrast, mellow and tame; a fitting farewell for the record.

There is also the inclusion on some (of the reissues) of two additional tracks that perfectly extend on from the record, You Don't Miss Your Water and Palanquin, the former is actually another highlight for me, the guitar provides a prime Pink Floyd-esque aura with a slightly more accesible or mainstream-friendly format. The latter is purely instrumental, an emotionally driven piece that beautifully rounds off a truly exceptional album, it is a real shame these aren't included on the record as I would love a physical copy of them both.

Eno’s solo work, while always interesting and sonically beautiful, can sometimes be a little too minimal or ambient for all occasions, on this album I love the partnership between the two, you can really feel the influence each of them bring to the table. For me Eno's impact is best felt when arranging, writing, composing and playing with fellow creatives, bouncing off of one another, for instance his work on David Bowie's "Berlin Trilogy" that includes fan-favourite album "Heroes" (included in my related recommendations at the bottom of this post) where his style and contributions can clearly be felt and heard.

Jon Cale has had an equally industrious musical career, as member and co-founder of The Velvet Underground, as well as finding success as a solo artist while also amassing over 1000 credits solely between writing, arranging and producing (mostly for other artists). Although the partnership, according to the liner interview at least, sees two very different working styles at either end of the spectrum, none of that seeps through into the music. Here we have an incredibly tight and concise album that leans on both artists strengths and through collaboration forces them to adapt, develop and grow, producing a record that still sounds fresh and relevant all these many years later.

Stand out song: Spinning Away 

This tune has been a constant in my life ever since I first discovered it (not that long ago unfortunately) and has become one of my all time favourites, it is actually the reason I discovered the rest of the record after frantically researching who wrote, produced and recorded this delightful classic that has you hooked instantly. While nothing, for me at least, will top this moment on the album, I am glad that through my excitement and enjoyment upon hearing this one song I ended up unearthing a whole record with many more hits. The songs themes touch on time, more specifically the inability to capture a moment within it, the struggle of the artist, often overlooked and under-appreciated within their lifetime along with the general fragility and fleetingness of our existence. The 'night sky at Arles' line is almost definitely a nod to Van Gough who is a great metaphor for the content explored, not only through the lyrics, but also melodiously with the expressive bowed strings that seem to mirror the iconic, swirling brush strokes that characterise his paintings and immediately spring to mind upon hearing his name. A truly beautiful song that manages to sit perfectly nestled between melancholy, a slight mournfulness and an encouraging hopefulness. For once I think my favourite song is actually one of the longer songs on the record, more often that not it seems to be the opposite, but this is actually the song with the longest duration, double win!

When to listen: 

The downtempo nature, delicate melodies and soothingly slow synth-pop style make this album a great accompaniment for early morning rituals, especially the first half of the record that really eases you into the day with a soft yet uplifting tone dotted with long, drawn out notes. All these qualities mean it can also be enjoyed in the late evenings when winding down before heading to bed, especially now the gloomy nights are drawing in as we head into winter. The underlying optimism that runs through this record is, I think, better appreciated in the morning while gearing up for the day, nudging you into the path of positivity with an air of  hope about how the day might unfold.

Spotify: Listen here

Vinyl:

It's 100% about the music with this one, I'm not a huge fan of the artwork, but that doesn't matter when the music is this good, also to be fair it was designed in 1990 so understandably looks quite dated for us today. I have the 30th anniversary edition pressed in 2020 and the quality is superb, I don't have any over version to compare it to but I can confirm all the great reviews are fully justified. It is quiet but well balanced and the production sounds bright and airy, it is a delight to have spinning on the turntable. The double sided liner contains extracts from an interview with Eno conducted by Hanz Peter Kuenzler for the German press in 1990 and is hugely insightful to Brian's approaches to both making, but also understanding and hearing music; a delight to discover and read. There are a fair few different variations and pressings of this album but you can follow the link to find the specific one I own here - Discogs link

Other useful links:

John Cale is still at it, releasing new music again this year, you can keep up to date and view his extensive discography via his website - https://john-cale.com/

Brian Eno is also standing strong with 4 releases this year including the 3 part collaborative series with Beatie Wolfe, check those out and more on his website - https://www.brian-eno.net/

If you like this try these:

David Bowie - "Heroes"

The Velvet Underground & Nico - The Velvet Underground & Nico

Peter Gabriel - So