JOHN CALE: ‘ECCENTRIC BALLADEER’

“When we started in the ‘60s we were trying to be radical and commercial at the same time, which is really opening a can of worms,” says John Cale, recalling the heyday of the Velvet Underground.

“When we got on stage we turned up the amps, destroyed the equipment, acted unsociable. It wasn’t entertainment, it was aversion therapy--but with a human side.”

Though the Velvets broke up 14 years ago, the New York band’s legend and influence continue to overshadow the prolific solo career of Cale, the hulking Welshman who teamed with Lou Reed to guide the Velvets through their first two albums.

The release earlier this year of some “lost” Velvet Underground tracks created more excitement than any of Cale’s recent records, and young bands these days are more inclined to revive Velvets’ songs like “Foggy Notion” and “Train Around the Bend” than such Cale classics as “Fear Is a Man’s Best Friend” and “I Keep a Close Watch.” Cale has had to send copies of his new album “Artificial Intelligence” to various record companies in an attempt to land a U.S. distribution deal for the LP.

For Cale, who plays solo shows tonight at Fender’s Ballroom in Long Beach and Saturday at the Lingerie, consistent critical praise and a loyal cult following don’t erase the frustration.

“I would have to be frustrated,” Cale, 44, said during a phone interview from Houston this week. “No one would believe me if I said I’m not.”

Cale attributes the relative neglect to his image as “an eccentric balladeer.” His music, especially in live performance, tends to go from achingly sweet, haunting reveries to jarring, screaming psychodrama--often in the course of one song. “I don’t see what I do as rock ‘n’ roll,” Cale said. “It’s some weird byproduct.”

Under the circumstances, it’s not surprising to hear Cale reserve most of his enthusiasm for a completely different kind of undertaking. “I’ve talked about this so much that it’s become like a joke, but it’s the Dylan Thomas song cycle,” Cale explained. “My real strength is in orchestral music, and I consider myself a classical composer. I intend at some point to extend the tradition of European music.”

Cale’s Dylan Thomas project, which he calls “The Falklands Suite,” is a work that incorporates vocal soloists, chamber orchestra and children’s choir, among other elements. Cale’s ambition is to see it released on a classical label, but he still has some work to do.

“I’ve started the orchestrations, but I want them to be really detailed and exact. I want it to sound like a film score. I want it more intricate and detailed, like Mahler. It’s not something you can just throw together in a week. I’ve got to forge a solid month of working, day in and day out.”

Of course, that’s not easy for Cale, who is also managing his own career at the moment. “That’s for want of a better way of putting it,” he said, adding, “It’s painful. It gives me no gratification at all.” Cale’s attention is also occupied these days by his first child, a daughter born three weeks ago in New York, where Cale lives with his wife, Resa.

Asked if he can picture himself leaving the pop world entirely and devoting himself to classical music, Cale answered without hesitation: “Yes. Effortlessly.”