He’s Unsung, His Songs Aren’t : Heard ‘Cocaine’? ‘After Midnight’? What J.J. Cale Writes, Others Make Famous

J.J. Cale epitomizes the best inferences of the much-maligned term “laid-back,” both in his quietly blues-steeped music and in his deadpan but witty personality. The reclusive singer, songwriter and guitarist is as mellow and self-deprecating as they come.

Cale, who performs tonight at the Coach House in San Juan Capistrano, doesn’t have much name recognition among the general public, but his is one of the most respected reputations behind the scenes.

Author of two of Eric Clapton’s biggest hits (“After Midnight” and “Cocaine,” the latter frequently misinterpreted as a paean to drug abuse rather than a chronicle of it) and unsung architect of Dire Straits’ sound, Cale’s material has also been covered by such divergent admirers as Lynyrd Skynyrd, Johnny Cash, Bryan Ferry, Santana and Captain Beefheart. His mumbled, bemused vocal style, slickly light-fingered guitar playing and top-notch compositional skills are much admired by his peers.

A mostly acoustic performer early in his career, Cale, 57, has been turning to electronics and digital technology in more recent years, just when “unplugged” is all the rage. His newly released “Guitar Man” album is the culmination of that interest.

In a recent phone interview from his desert ranch north of San Diego, Cale characteristically laughed at his bad timing.

“I never get it straight,” he said, chuckling through a still-thick Okie accent. “I’m always doing something that ain’t happening, and I’m always happening when there ain’t nothing going on. I kind of digitized myself to death on this here album, but that’s what I wanted to do. I don’t know if people will like it or not, but the new technology is starting to replace the old.”

While “Guitar Man” features a more high-tech sound and denser instrumentation than Cale fans may be accustomed to, the trademark stamps are still there: the dry wit, the stellar song craft, that deft guitar work. Always, Cale keeps it simple.

Like songwriters Jimmy Reed, Doc Pomus and Lieber & Stoller, Cale can make three simple chords and a few lines of verse into a three-minute work of art. On “Guitar Man,” Cale tackles a variety of subjects--among them: annoying guitar hotshots, the decline of society, the nature of hemp heads and the elusiveness of women--in 11 exceptionally well-conceived new songs, plus a bonus cover of the folk chestnut “Old Blue.”

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“The songs just kind of fall out,” Cale said. “I used to write more about the ladies and love and stuff; some of my albums have been more of a girl-boy kind of thing.

“This is a little more . . . I don’t know. . . . It’s my 12th album is what it is.”

Cale, who admits to being less than fond of being interviewed, was born in Oklahoma City and raised in Tulsa. He played guitar in a series of high school bands (one including Leon Russell) and was influenced by such early rockers as Elvis Presley and Chuck Berry, as well as the pioneering guitar work of Les Paul and Chet Atkins.

He moved to Los Angeles in the ‘60s and was in Delaney and Bonnie and Friends briefly before becoming the first act to be signed to Russell’s Shelter Records in 1972. His debut album, “Act Naturally,” yielded a minor hit (“Crazy Mama”), but that’s about the extent of Cale’s success as a recording artist.

His bank account, however, is well-padded with royalties earned for cover versions of his songs, even if Cale is hard-pressed to explain why his work has been so popular with his musical peers.

“Chet Atkins even cut an instrumental album of ‘After Midnight.’ People set out to make an album, and they don’t want to cover anything that’s too popular. So when you set out to cover obscure stuff, I’m standing right there, I guess.

“Sometimes I think I make my stuff a little too simple. In Monday morning quarterbacking, I always think I could have or should have done this or that, but it’s already done.

“All artists are redundant about their own style; they can’t escape themselves. I always wrote for musicians, especially guitarists. I write songs that people who aren’t great virtuosos can play. Sometimes, if people just want to sing a song, the simpler the better.”

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Even if you’ve never heard Cale’s work, you know something of his sound if you’ve ever listened to Dire Straits’ Mark Knopfler--who most charitably could be called highly influenced by Cale both as vocalist and guitarist.

Cale is forgiving: “I guess some of the stuff [Knopfler] did sounds like some of the obscure cuts off some of my obscure albums. I don’t mind. I’ve stolen licks from just about every person that ever picked up a guitar. We all borrow from one another; it’s called legitimate stealing.”

While J.J. Cale probably will never be a household name, he seems content with his humble lot. He has respect among musicians, a small but devoted fan base and those Clapton-borne royalty checks to keep him happy.

“I’m not trying to get anywhere,” he said. “I’m still in the same place. My deal hasn’t went up or down for about 25 years. I just play some songs, make a few records and live my life just like anyone else.”

* J.J. Cale plays tonight at the Coach House, 33157 Camino Capistrano, San Juan Capistrano. Stan to the Right opens, 8 p.m. $19.50. (714) 496-8930.