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American musician

Non to exist dislocated with Welsh musician John Cale of the Velvet Undercover.

J.J. Cale
Cale in 2007

Cale in 2007
Background information
Birth proper name John Weldon Cale
Born (1938-12-05)December 5, 1938
Oklahoma City, Oklahoma, U.South.
Died July 26, 2013(2013-07-26) (aged 74)
La Jolla, California, U.Due south.
Genres Americana, Cajun, blues, swamp stone, state rock, Carmine Clay, Tulsa sound
Occupation(south) Musician, songwriter, producer
Instruments Guitar, vocals
Years active 1958–2013
Labels Shelter, Mercury, PolyGram, Virgin, Rounder, Silvertone
Associated acts Eric Clapton, Leon Russell
Website jjcale.com

Musical artist

John Weldon "J. J." Cale [ane] (December 5, 1938 – July 26, 2013) was an American guitarist, singer, songwriter and audio engineer. Though he avoided the limelight,[two] his influence as a musical artist has been widely acknowledged by figures such every bit Marker Knopfler, Neil Young, Waylon Jennings, and Eric Clapton, who described him equally "one of the almost important artists in the history of rock".[3] He is considered to exist ane of the originators of the Tulsa sound, a loose genre cartoon on dejection, rockabilly, land, and jazz.

In 2008, Cale and Clapton received a Grammy Award for their album The Route to Escondido.

Life and career [edit]

Early years [edit]

Cale was born on Dec 5, 1938, in Oklahoma City, Oklahoma.[1] He was raised in Tulsa, Oklahoma, and graduated from Tulsa Central High School in 1956. As well as learning to play the guitar he began studying the principles of sound engineering while nonetheless living with his parents in Tulsa, where he congenital himself a recording studio.[4] After graduation he was drafted into military machine service, studying at the Air Strength Air Preparation Control in Rantoul, Illinois. Cale recalled, "I didn't really want to carry a gun and do all that stuff so I joined the Air Force and what I did is I took technical training and that's kind of where I learned a fiddling bit about electronics."[5] Cale'due south knowledge of mixing and sound recording turned out to play an of import function in creating the distinctive audio of his studio albums.[6]

Cale in concert in Munich, Germany, 1975

Early musical career [edit]

Along with a number of other young Tulsa musicians, Cale moved to Los Angeles in tardily 1964, where he constitute employment as a studio engineer as well as playing at bars and clubs. Cale first tasted success that year when singer Mel McDaniel scored a regional hit with Cale's composition "Lazy Me". He managed to state a regular gig at the increasingly pop Whisky a Become Get in March 1965.[7] [viii] With Johnny Rivers already performing there regularly, lodge co-possessor Elmer Valentine rechristened Cale every bit J.J. Cale to avert confusion with the John Cale in the Velvet Underground.[9] In 1966, while living in the city, he cut a demo single (in those days professional demos were actual 45 rpm vinyl singles) with Freedom Records of his composition "Later Midnight".[10] He distributed copies of the single to his Tulsa musician friends living in Los Angeles, many of whom were successfully finding work every bit session musicians. The A-side was a melody called "Ho-hum Motion", just it was the B-side that would have long-term ramifications for Cale's career when Eric Clapton recorded the song and had a Top xx hit. He establish piddling success as a recording creative person and, not being able to make plenty money as a studio engineer, he sold his guitar and returned to Tulsa in late 1967, where he joined a band with Tulsa musician Don White.

Ascent to fame [edit]

In 1970 it came to his attention that Eric Clapton had recorded a comprehend of "After Midnight" on his debut anthology. Cale, who was languishing in obscurity at the time, had no knowledge of Clapton's recording until it became a radio hitting in 1970. He recalled to Mojo magazine that when he heard Clapton's version playing on his radio, "I was dirt poor, not making enough to eat and I wasn't a beau. I was in my thirties, so I was very happy. It was nice to brand some money."[11] Cale's version of "Later on Midnight" differs greatly from Clapton's frenetic version, which is itself based on Cale's own arrangement:

The history on that deal was, the original "Afterward Midnight" I recorded was on Liberty Records on a 45-rpm, and it was fast. That was virtually 1967-68, mayhap 69. I can't call up exactly. But that was the original "After Midnight", and that is what Clapton heard. If you lot mind to Eric Clapton"s record, what he did was imitate that. No 1 heard that first version I made of it. I tried to give the matter away, until he cut it and made it popular. So, when I recorded the Naturally anthology Denny Cordell, who ran Shelter Records at the time, and I had already finished the album, he said, "John, why don't yous put 'After Midnight' on there because that is what people recognize you for?" I said, "Well, I've already got that on Liberty Records, and Eric Clapton's already cutting it, and so if I'm going to do information technology once more I'm going to practise it dull.[12]

It was suggested to Cale that he should have reward of this publicity and cut a tape of his own. His offset album, Naturally, released on 25 October 1971, established his manner, described by Los Angeles Times author Richard Cromelin as a "unique hybrid of blues, folk and jazz, marked past relaxed grooves and Cale'southward fluid guitar and iconic vocals. His early use of drum machines and his unconventional mixes lend a distinctive and timeless quality to his work and set him apart from the pack of Americana roots music purists."[13] His biggest U.Southward. hit single, "Crazy Mama", peaked at No. 22 on the U.South. Billboard Hot 100 chart in 1972. In the 2005 documentary moving-picture show To Tulsa and Dorsum, Cale recounts the story of beingness offered the opportunity to appear on Dick Clark's American Bandstand to promote the song, which would have moved information technology higher on the charts. Cale declined when told he could not bring his band to the recording and would be required to lip-sync the words.[14]

Really was produced by Audie Ashworth, who would go along to produce Cale until 1983. Cale's 2d anthology farther developed the "Tulsa sound" that he would become known for: a swampy mix of folk, jazz, shuffling country blues, and rock 'n' curlicue. Although his songs have a relaxed, casual feel, Cale, who often used drum machines and layered his vocals, carefully crafted his albums, explaining to Lydia Hutchinson in 2013, "I was an engineer, and I loved manipulating the sound. I honey the technical side of recording. I had a recording studio back in the days when no one had a abode studio. You had to rent a studio that belonged to a large conglomerate." [fifteen] Cale often acted as his own producer / engineer / session player. His vocals, sometimes whispery, would be cached in the mix. He attributed his unique sound to being a recording mixer and engineer, saying, "Because of all the technology now you tin can make music yourself and a lot of people are doing that now. I started out doing that a long time ago and I found when I did that I came upwards with a unique audio."[16]

Although Cale would not have the success with his music that others would, the royalties from artists covering his songs would allow him to record and tour equally information technology suited him. He scored another windfall when Lynyrd Skynyrd recorded "Call Me the Breeze" for their 1974 LP Second Helping. As he put it in an interview with Russell Hall, "I knew if I became too well known, my life would change drastically. On the other mitt, getting some coin doesn't change things also much, except you no longer have to go to work."[17] His third album Okie contains some of Cale'southward most covered songs. In the same year of its release, Captain Beefheart recorded "I Got the Same Sometime Blues" (shortened to "Same Old Dejection") for his Bluejeans & Moonbeams LP, one of the few covers to ever announced on a Beefheart album. The song would besides be recorded by Eric Clapton, Bobby Bland, Lynyrd Skynyrd, and Bryan Ferry. "Cajun Moon" was recorded by Herbie Mann on his 1976 album Surprises with vocals past Cissy Houston, by Poco on their album Cowboys & Englishmen, and by Randy Crawford on Naked and True (1995).

The 1976 album Troubadour includes "Cocaine," a song that would be a major striking for Eric Clapton the following year. In the 2004 documentary To Tulsa and Back, Cale recalled, "I wrote 'Cocaine', and I'm a large fan of Mose Allison...Then I had written the song in a Mose Allison purse, kind of cocktail jazz kind of swing...And Audie said, 'That's actually a good vocal, John, but you oughta brand that a little more rock and scroll, a footling more than commercial.' I said, 'Neat, human being.' Then I went back and recut it again equally the thing you heard."[eighteen] The song's meaning is ambiguous, although Eric Clapton describes it as an anti-drug song. He has called the vocal "quite cleverly anti-cocaine", noting:

It'due south no good to write a deliberate anti-drug song and promise that it will take hold of. Because the full general thing is that people volition be upset by that. It would disturb them to have someone else shoving something down their throat. And so the all-time matter to practice is offer something that seems ambiguous—that on report or on reflection actually can be seen to be "anti"—which the song "Cocaine" is really an anti-cocaine song. If yous study it or look at information technology with a little bit of idea ... from a distance ... or as it goes by ... it simply sounds like a song nearly cocaine. But actually, it is quite cleverly anti-cocaine.[xviii]

By the time he recorded 5 in 1979, Cale had also met singer and guitarist Christine Lakeland, and the LP marks her first appearance on his albums. In the 2005 documentary To Tulsa and Back, Lakeland says they met backstage at a prison benefit show featuring B.B. Male monarch and Waylon Jennings. Cale and Lakeland would afterward ally. As William Ruhlmann observes in his AllMusic review of the anthology, "Every bit Cale's influence on others expanded, he just continued to turn out the occasional album of bluesy, modest-key tunes. This i was fifty-fifty sparer than usual, with the artist handling bass as well as guitar on many tracks. Listened to today, it sounds and so much similar a Dire Straits anthology, it's scary." The release of 5 coincided with a remarkable alive session with Leon Russell recorded at Russell's Paradise Studios in June 1979 in Los Angeles. The previously unseen footage was discovered in Nashville in 2001 and features several tracks from 5, including "Sensitive Kind," "Lou-Easy-Ann," "Fate of a Fool," "Boilin' Pot," and "Don't Cry Sister." Lakeland also performs with Cale'due south ring. While living in California in the late sixties, Cale worked in Russell'southward studio as an engineer. The footage was officially released in 2003 equally J.J. Cale featuring Leon Russell: In Session at the Paradise Studios.

1980s [edit]

Cale moved to California in 1980 and became a recluse, living in a trailer without a telephone. In 2013, he reflected, "…I knew what fame entailed. I tried to back off from that. I had seen some of the people I was working with forced to be careful because people wouldn't leave them lone… What I'm saying, basically, is I was trying to get the fortune without having the fame."[19] Shades, which continued Cale'south tradition of giving his albums one give-and-take titles, was recorded in diverse studios in Nashville and Los Angeles. It boasts an impressive listing of height shelf session musicians, including Hal Blaine and Carol Kaye of the Wrecking Crew, James Burton, Jim Keltner, Reggie Immature, Glen D. Hardin, Ken Buttrey, and Leon Russell, among many others. 1982's Grasshopper was recorded in studios in Nashville and North Hollywood, and while a more polished production, information technology continues Cale's exploration into a diversity of musical styles that would get known as Americana.

His 1983 anthology #8 was poorly received, and he asked to be released from his contract with PolyGram. Lyrically speaking, with the exception of "Takin' Intendance of Concern," the subject matter on #8 is unremittingly grim. The cynical "Coin Talks" ("You'd exist surprised the friends you tin can buy with small change…"), "Hard Times," "Unemployment," and "Livin' Here Likewise" deal with harsh economical woes and dissatisfaction with life in full general, while the provocative "Reality" is well-nigh using drugs to escape many of the problems he chronicles on the anthology, singing "One toke of reefer, a niggling cocaine, i shot of morphine and things begin to modify," and adding "When reality leaves, and so exercise the dejection." When afterwards asked how he had spent the 1980s he replied: "Mowing the lawn and listening to Van Halen and rap."[20]

1990s [edit]

Later on making a name for himself in the seventies as a songwriter, Cale'south ain recording career came to a halt in the mid-1980s. Although he scored a handful of small-scale hits, Cale was indifferent to publicity, preferring to avoid the spotlight, then his albums never sold in loftier numbers. In 1990 he explained in an interview, "In 1984 I was with a different tape visitor, and it didn't seem to exist working out too skillful, and so I asked to exit of my contract, and that took a couple of years to shuffle the paper around. Then when I got through doin' that, I thought I'd take a little break from recording; maybe get in once or twice a year and record somethin' I'd written."[21] Travel-Log was the first solo album Cale produced himself without long-time producer Audie Ashworth, although Ashworth co-wrote the opening track "Shanghaid" with Cale. While the album has a travel theme, with titles like "Tijuana" and "New Orleans," Cale insisted he did not set up out to make a concept album, and only recognized it afterwards he picked the songs:

Information technology'south kind of ironic. When Andrew Lauder of Silvertone said he'd similar to put out some tapes, I just got a bunch together and they put 'em out equally an album. It wasn't till I got to listening to the anthology that I noticed that I'd written a bunch of tunes in the last four or five years near towns, and places, and travellin' around.[21]

1992'due south Number 10 was Cale's 2nd LP for Silvertone. Compared to his albums in the 70s and 80s, he employed fewer session players for this album, however still accomplished his signature sound. Notoriously wary of the spotlight, Cale quietly went near his ain business his way, delivering his own unique blend of musical styles augmented past his laid-back vocal delivery. Ironically, in an era of grunge and the MTV Unplugged trends, Cale became immersed in electronics and synthesizers. "I did the unplugged, live kind of thing in the '70's and the '80's," he told i interviewer. "I've gone to the other direction at present that all that'due south become popular. Been there washed that! They didn't call it unplugged in those days just that is what it was…There is a fascination about electronics…It is an art form in itself."[22] 1994's Closer to You is best remembered for the alter in audio from Cale's previous albums due to the prominence of synthesizers, with Cale employing the instrument on five of the twelve songs. Although the use of synthesizers may take seemed like a left plow for fans used to his laidback, rootsy sound, it was non new; Cale had used synthesizers on his 1976 Troubadour album. In an interview with Vintage Guitar in 2004, Cale acknowledged the dismay some fans felt, recalling:

…me playing with the synthesizer, everybody hated. [Then producer/manager] Audie Ashworth did the first eight albums, and those were kind of semi-popular, for an obscure songwriter similar me. Then I started doing these albums in California with all synthesizers and me being the engineer. I liked those, but the folks wanted a petty warmer kind of affair.[23]

Produced by Cale, Guitar Man differs from the albums he made in the seventies and early eighties in that while those records featured numerous peak shelf session players, Cale provided the instrumentation on Guitar Human being himself, augmented by wife Christine Lakeland on guitar and background vocals and drummer James Cruce on the opener "Death in the Wilderness." In his AllMusic review of the LP, Thom Owens writes, "Although he has recorded Guitar Human being equally a one-man band try, it sounds remarkably relaxed and laid-back, like it was made with a seasoned bar ring." In assessing the album, rock writer Brian Wise of Rhythm Magazine commented, "'Lowdown' is typical Cale shuffle, 'Days Go By' gives a jazzy feel to a song nigh smoking a certain substance while the traditional 'Old Blueish' reprises a vocal that many might first take heard with The Byrds version during the Gram Parsons era."[22] After Guitar Man, Cale would take a second hiatus and not release another album for 8 years.

Later career [edit]

Between 1996 and 2003, Cale released no new music just admiration for his work and musicianship only grew among his fans and admirers. In his 2003 biography Shakey, Neil Young remarked, "Of all the players I ever heard, it'south gotta be [Jimi] Hendrix and J. J. Cale who are the all-time electrical guitar players."[24] In the 2005 documentary To Tulsa and Back: On Bout with J.J. Cale, Cale'due south guitar style is characterized by Eric Clapton equally "really, really minimal", calculation "information technology's all about finesse". Mark Knopfler was also effusive in his praise for the Oklahoma troubadour, but Cale'due south early 90s experimental synth-heavy output left him at odds with the music industry. 2004'due south To Tulsa and Back reunited him with long-fourth dimension producer Audie Ashworth, as he recalled to Dan Forte:

A few years ago, earlier Audie passed abroad, I said, "I've been making synthesizer records; own't nobody likes 'em but me. I'll come to Nashville, and we'll rent all the guys who are withal alive who played on the offset albums." Audie said, "Dandy." I told him to book some studio time. Merely then he passed abroad, and I put the bargain on hold. Somewhen, I decided to do the aforementioned program, only go to Tulsa instead of Nashville. David Teegarden, of Teegarden & Van Winkle, is a drummer who has a studio, and then I told him to get the guys in Tulsa that we used to play with when we were kids. I cut some there, and had some demos I did here at the house, and I sent them all to Bas [Hartong] and to Mike [Test].[25]

The album returns to the mode and audio Cale became famous for – a mix of laid-back shuffles, jazzy chords, and bluesy rock and gyre with layered vocals – but it likewise embraces applied science, resulting in a cleaner sound than on Cale's earlier albums. Lyrically, Cale makes a rare foray into political songwriting with "The Problem," an indictment of so-President George Due west. Bush-league with lines like, "The homo in charge, he don't know what he's doing, he don't know the world has changed." "Stone River" is an understated protest song nearly the water crisis in the Westward.

In 2004, Eric Clapton held the Crossroads Guitar Festival, a three-day festival in Dallas, Texas. Among the performers was J. J. Cale, giving Clapton the opportunity to ask Cale to produce an album for him. The ii ended up recording the album together, releasing it as The Road to Escondido. A number of high-profile musicians also agreed to piece of work on the anthology, including Billy Preston, Derek Trucks, Taj Mahal, Pino Palladino, John Mayer, Steve Jordan, and Doyle Bramhall 2. In a insurrection, whether intended or not, the unabridged John Mayer Trio participated on this album in i capacity or another. Escondido is a city in San Diego County near Cale's domicile at the fourth dimension located in the modest, unincorporated town of Valley Center, California. Eric Clapton endemic a mansion in Escondido in the 1980s and early '90s. The road referenced in the album's championship is named Valley Center Road. The album won the Grammy Laurels for Best Contemporary Dejection Anthology in 2008, with Cale writing 11 of the 14 tracks on the anthology, with two cuts, "Whatever Way the Current of air Blows" and "Don't Cry Sister", beingness re-recordings of songs that Cale recorded previously in the 1970s. In a 2014 interview with NPR, Clapton spoke at length about Cale's influence on his music:

What seemed to evolve out of the '60s and into the '70s and then, in another style, the '80s — heavy metal came out of all of this stuff — was, similar, volume and proficiency and virtuosity. There didn't seem to be whatsoever reasonable limit to that; it was merely crazy. I wanted to go in the other direction and endeavour to find a way to arrive minimal, merely however take a great deal of substance. That was the essence of J.J.'due south music to me, autonomously from the fact that he summed up so many of the unlike essences of American music: rock and jazz and folk, blues. He merely seemed to take an understanding of information technology all.[26]

Clapton, who toured with Delaney & Bonnie in 1969, recalled in the 2005 documentary To Tulsa and Back, "Delaney Bramlett is the one that was responsible to go me singing. He was the one who turned me on to the Tulsa community. Bramlett produced my offset solo album and "Subsequently Midnight" was on it, and those [Tulsa] players played on it…461 Body of water Boulevard was my kind of homage to J.J."

Expiry [edit]

Cale died at the historic period of 74 in San Diego, California, on July 26, 2013, after suffering a centre attack. He was survived by his married woman Christine Lakeland, whom he married in 1995.[27] [28] [29] [30]

His catalogue is published by independent music publishers Fairwood Music International.[31]

Posthumous album [edit]

On August 10, 2018, it was announced on his official website and on his page on Facebook that a posthumous anthology of previously unreleased cloth would be released after in the year. On what would have been Cale'due south 80th birthday on Dec five, his Facebook page appear that the album would be released in the spring of 2019. The new album, chosen Stay Around, was released on Apr 26, 2019.

Tributes [edit]

  • In 2014, Eric Clapton & Friends released the tribute anthology The Cakewalk: An Appreciation of JJ Cale. On it, Cale's tunes are covered by Clapton with Tom Picayune, Mark Knopfler, John Mayer, Don White, Willie Nelson, Derek Trucks, Cale'due south married woman Christine Lakeland, and others. In the video version of Phone call Me The Breeze for this anthology, Clapton declares of Cale, "He was a fantastic musician. And he was my hero."[32]
  • Kevin Chocolate-brown's 2015 anthology, Dust, contained a track called "The Ballad of J. J. Cale", in tribute to Brown'south musical inspiration.[33]
  • Hungarian alternative rock band Quimby'southward 2009 album, Lármagyűjtögető, contained a runway called "Haverom a J. J. Cale" ("My Buddy J. J. Cale").[34] [35]

Discography [edit]

  • Naturally (1971)
  • Really (1972)
  • Okie (1974)
  • Troubadour (1976)
  • five (1979)
  • Shades (1981)
  • Grasshopper (1982)
  • #8 (1983)
  • Travel-Log (1990)
  • Number 10 (1992)
  • Closer to You (1994)
  • Guitar Man (1996)
  • To Tulsa and Back (2004)
  • Roll On (2009)
  • Stay Around (2019)

References [edit]

  1. ^ a b "Biography". JJ Cale official website. Retrieved April 19, 2019.
  2. ^ "I was ever a background person. Information technology took me a while to suit to the fact that people were looking at me 'cause I always just wanted to be part of the prove. I didn't desire to exist the show." To Tulsa and Back: On Tour with J.J. Cale (2005)
  3. ^ Martin Chilton (25 July 2014). "Eric Clapton: JJ Cale got me through my darkest days". The Telegraph. Archived from the original on 2022-01-12. Retrieved 2015-11-04 .
  4. ^ To Tulsa and Back: On Tour with J.J. Cale, 2005
  5. ^ Ibid
  6. ^ Long-fourth dimension collaborator drummer Jim Karstein remarked, 'You'll cut tracks with him and you'll listen to it and you lot'll think, "Well, I don't know about that ane" and so he'll have the tapes away and he puts his undercover sauce on 'em, yous know, that nobody but he knows what it is that he does in the night of nighttime and so he'll come back out and you'll get "Wow!". Ibid
  7. ^ Lewis, Randy (10 January 2009). "Musicians will laurels Whisky founder Elmer Valentine". Los Angeles Times.
  8. ^ Friedman, Barry. "Three Who Knew John". Daily Kos . Retrieved 9 August 2013. , long-fourth dimension friend and drummer Jimmy Karstein reflects on the early LA days
  9. ^ "The Bully Rock Bible is under structure". Thegreatrockbible.com . Retrieved 10 May 2021.
  10. ^ Hoekstra, Dave (15 Apr 1990). "Songwriter J. J. Cale prefers to remain in the background". Chicago Sunday-Times. Archived from the original on 3 June 2013.  – via HighBeam Research (subscription required)
  11. ^ "Afterwards Midnight by Eric Clapton Songfacts". Songfacts.com . Retrieved 2013-09-04 .
  12. ^ Halsey, Derek (October 2004). "JJ Cale". Swampland.com . Retrieved July 4, 2019.
  13. ^ Cromelin, Richard (24 February 2009). "J.J. Cale rolls on". Los Angeles Times.
  14. ^ "J. J. Cale Biography". Sing 365.com. Archived from the original on 2013-01-eighteen. Retrieved 2013-01-06 .
  15. ^ Hutchinson, Lydia (July 2013). "JJ Cale interview". Performingsongwriter.com . Retrieved June 23, 2019.
  16. ^ "Obituary: JJ Cale was music's towering effigy". Gulfnews.com. July 28, 2013. Retrieved August xi, 2013.
  17. ^ "Remembering J.J. Cale". performingsongwriter.com. July 29, 2013. Retrieved January 19, 2022.
  18. ^ a b The Best of Everything Evidence, with Dan Neer
  19. ^ Hutchinson, Lydia (July 2013). "JJ Cale interview". Performingsongwriter.com . Retrieved June 24, 2019.
  20. ^ "JJ Cale". The Telegraph. 2013-07-28. Archived from the original on 2022-01-12. Retrieved 2017-04-05 .
  21. ^ a b Newton, Steve (March 27, 2016). "LAID-Back LEGEND J.J. CALE TELLS ME "THERE'S NO Hurry"". Ear Of Newt . Retrieved June 25, 2019.
  22. ^ a b Wise, Brian (July 28, 2013). "Tribute – J.J. Cale in 1996". Fond to Noise . Retrieved June 30, 2019.
  23. ^ [one] [ permanent dead link ]
  24. ^ McDonough, Jimmy (2013). Shakey: Neil Young's Biography. ISBN9781446414545.
  25. ^ Forte, Dan (2004). "J.J. Cale: Clapton Mentor". Ear Of Newt . Retrieved June 26, 2019.
  26. ^ Westervelt, Eric (July 26, 2014). "Eric Clapton and J J Cale : Notes on a Friendship". NPR . Retrieved July 3, 2019.
  27. ^ Gripper, Ann (July 27, 2013). "JJ Cale dead at 74: Tributes paid to singer songwriter afterwards his expiry from a heart assault". Daily Mirror . Retrieved Apr ix, 2015.
  28. ^ "JJ Cale passed away at 8:00 pm on Friday July 26 at Scripps Hospital in La Jolla, CA". JJ Cale official website. Retrieved 27 July 2013.
  29. ^ Castillo, Mariano (27 July 2013). "Writer of hits JJ Cale expressionless at 74". CNN. Retrieved 27 July 2013.
  30. ^ "Cale's agent confirms his death". The Rosebud Agency.
  31. ^ "Fairwood Music - Roster". Fairwoodmusic.com . Retrieved 30 January 2021.
  32. ^ ""Call Me The Breeze" - Eric Clapton Videos". Ericclapton.com. Archived from the original on 2014-xi-29. Retrieved 2014-11-19 .
  33. ^ "Kevin Dark-brown Trio - Kevin Dark-brown Trio, Black Mountain Jazz, Kings Arms, Abergavenny, 25/ten/2015. | Review". The Jazz Mann. Retrieved four April 2017.
  34. ^ "Quimby, Lemezek". Quimby. Retrieved 2020-02-06 .
  35. ^ "Songbook, Haverom a J. J. Cale" (in Hungarian). Songbook. Retrieved 2020-02-06 .

External links [edit]

  • Official website
  • The Long Reach of J.J. Cale on MTV.com
  • J. J. Cale at Discogs
  • J. J. Cale at IMDb

goldsmithwoolnemis.blogspot.com

Source: https://en.wikipedia.org/wiki/J._J._Cale

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