http://assets-s3.rollingstone.com/assets/images/album_review/11f99245f3169e7be59e4a09c68cc786d7dedf49.jpg Sabotage: Live

John Cale

Sabotage: Live

Rolling Stone: star rating
Community: star rating
5 0 0
June 26, 1980

Ironically, John Cale's first album in nearly five years turns out to be one of the season's timeliest entries: a graphic, deadly narrative of terrorist scrimmages and doomed maneuvers that could pass for an on-the-spot report from the clandestine alleys of Kabul or the invincible deserts of Iran.

In fact, Sabotage/Live — without apology and, more important, without ideology — is something of a rough-and-ready homage to the business of war itself: "I did some work in Zaire, the jolly old Belgian Congo/... I'm just another soldier boy looking for work," sings Cale in "Mercenaries (Ready for War)." But to Cale's great credit, the protagonist in most of these songs is more than a cutthroat opportunist — he's a heartbroken, hard-bitten man, hellbent on accommodating his personal dissolution to the rhythms of global disintegration, which makes him all the more virulent.

This air of menace permeates the music, too, but with less effective results. Cale's past LPs anticipated — even goaded — punk rock and the New Wave's twin tributaries of artful primitivism and arty experimentation, though all the while his heart probably belonged to lyrical, classical romanticism. Yet Sabotage/Live, with its verbose guitar forays and heavy-handed martial tempos, seems almost antedated in comparison — like a long-lost retort to former cohort Lou Reed's Rock n Roll Animal. Still, I prefer the best moments here — the stormy and dissonant title track, the coy and undecipherable "Only Time Will Tell" (a vehicle for cooing chanteuse Deerfrance) and the jaunty and insidious "Dr. Mudd" — to practically all of Elvis Costello's Get Happy!!

After Sabotage/Live's battles have been won or lost, after the bluster has faded, it's the sobering refrain from the closing "Chorale" — a haunting, requiem-like ballad — that lingers longest. "And the code of the living," sings the thick-throated Cale, "and the code of the dead/Hand In hand, from the beginning to the end." Just a glimmer of respite in a record about holocaust. And maybe one glimmer more than any of us will get when John Cale's deathly visions become tomorrow's headlines.

Album Review Main Next


Community Guidelines »
loading comments

loading comments...


Sort by:
    Read More
    Around the Web
    Powered By ZergNet
    Daily Newsletter

    Get the latest RS news in your inbox.

    Sign up to receive the Rolling Stone newsletter and special offers from RS and its
    marketing partners.


    We may use your e-mail address to send you the newsletter and offers that may interest you, on behalf of Rolling Stone and its partners. For more information please read our Privacy Policy.

    Song Stories

    “Bird on a Wire”

    Leonard Cohen | 1969

    While living on the Greek island of Hydra, Cohen was battling a lingering depression when his girlfriend handed him a guitar and suggested he play something. After spotting a bird on a telephone wire, Cohen wrote this prayer-like song of guilt. First recorded by Judy Collins, it would be performed numerous times by artists incuding Johnny Cash, Joe Cocker and Rita Coolidge. "I'm always knocked out when I hear my songs covered or used in some situation," Cohen told Rolling Stone. "I've never gotten over the fact that people out there like my music."

    More Song Stories entries »