released in 1996 from VIRGIN RECORDS

There are those who embrace tradition and those who pursue modern technology. Among musicians, the split between the two is generally well-defined. J.J. Cale is a rare artist who marries the two seamlessly while continuously maintaining his trademark low-key style. Whether he's playing, producing, or songwriting, this understated brilliance always takes center stage. The release of his 12th album, Guitar Man, gives him yet another opportunity to shine. His newest effort is a tour de force in which the musical legend guides its every facet -- from writing 11 of its 12 compositions, to playing virtually all of the instruments on the session, to single-handedly producing and engineering the project with his inimitable style and expertise.

This stunning release showcases Cale the musical artist and Cale the studio technician, both in rare form. The artist in him provides stellar songwriting -- insightful, thought-provoking and often humorous lyrics embedded in the harmonic structures of his signature sound. Equally potent is his unmistakable guitar playing itself. And the technician in him creates the unique production sound that he's developed in the course of three decades in the studio.

Guitar Man speaks from a lifetime of experiences. Offering commentary on topics ranging from the decline of modern society ("Death In The Wilderness," "This Town") to his yearning for greener pastures (both intergalactic -- "If I Had A Rocket" -- and more down-to-earth -- "Miss Ol' St. Louie"), its songs encompass both curiosity and despair but are regularly tempered with a welcome sense of humor. Cale's playful side toys with sex and drugs. "Perfect Woman" is a light-hearted ode to the ultimate mate, while "Days Go By" is a clever commentary on those who pursue the simple pleasures of getting high. Not to be left out, the final member of the triumvirate, rock-n-roll, commands the focus of the title track, about the stereotypical guitar-wielding cult figure -- in many ways the antithesis of Cale. Appropriately, Cale's lyrical prowess in Guitar Man is matched by that element of his sound which has earned the warm respect of the musical world since his beginnings -- his one-of-a-kind guitar playing.

In the course of 12 albums in 24 years, Cale has produced sounds sometimes raw and biting, and at other times breathtaking in their grace, precision and fluidity. Known as a primary exporter of the "Tulsa sound," a blend of rock-n-roll, country, blues and jazz with its own particular flavor, he has refined a unique homegrown approach to music-making that has earned him a reputation as a stylistic innovator, an American original of the highest order. Straddling the seemingly incongruous worlds of digital technology and a laid-back natural style, Cale continues to indulge his fascination for both while doing the same for his listeners on Guitar Man. Its natural feel is reminiscent of his earliest records, although Cale has invited his trusted companion, modern technology, complete with synthesizers, drum machines, and state-of-the-art digital recording techniques, to ironically help him to achieve his trademark down-home sound. High-tech innovations such as these are nothing new for Cale, though. Unbeknownst to many, the natural sound they fell in love with on his 1972 hit "Crazy Mama" actually represented one of the first uses of a drum machine on record.

While Cale seems to be forever ahead of his time, he's certainly always had the respect of his contemporaries in the present era. With this admiration has come the widespread emulation of his songwriting perspective, as evidenced by the multitude of Cale songs that have been recorded by a list of artists ranging from Captain Beefheart to Bryan Ferry. Eric Clapton scored big with his versions of "After Midnight" and "Cocaine" while Deep Purple, Lynyrd Skynyrd, Johnny Cash, Jose Feliciano, and Santana, among numerous others, have also covered Cale compositions. His impact has gone beyond the songs though as Clapton, for a period, and Mark Knopfler in defining the Dire Straits sound, borrowed liberally from Cale's style indicating the broad scope of his musical influence.

The development of his musical persona is rooted in his native Tulsa, where he began playing in clubs at age 17 and was soon leading his own band, Johnny Cale and the Valentines. In 1964, he headed to Los Angeles where the mid- to late-60's found him working as a studio engineer and playing live with a variety of musicians including fellow Tulsa emigre Leon Russell and Delaney & Bonnie's soon to be famous entourage. He returned home in 1969, working locally until Clapton's cover of "After Midnight" opened the door to a solo career. He moved to Nashville in 1970 and began recording his debut, Naturally.

The immediate appeal of his style as a singer and guitar player spread worldwide, building on his budding reputation as a writer. This success combined with a desire to live life at his own pace led to a move to Southern California in 1980 and a dramatically reduced touring schedule. Rare studio guest appearances have included work on Paul Simon's platinum-plus Rhythm Of The Saints project and on his old friends, The Tractors' 1994 multi-platinum debut, all the while producing a steady stream of his own recordings. He's also produced two records for John Hammond in the past few years with both projects scoring Grammy nominations. While J.J. Cale has reached milestones of commercial and artistic recognition in this variety of capacities his formula for success has always been simply to do what he does best, naturally, and allow the rest to follow. Guitar Man is no exception.

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