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John Cale

While John Cale is one of the most famous and, in his own way, influential underground rock musicians, he is also one of the hardest to pin down stylistically. Much has been made of his schooling in classical and avant-garde music, yet much of what he's recorded has been decidedly song-oriented, dovetailing close to the mainstream at times. Terming him a forefather of punk and new wave isn't exactly accurate, either. Those investigating his work for the first time under that premise may be surprised at how consciously accessible much of his output is, at times approaching (but not quite attaining) a fairly "normal" rock sound. There is always a tension between the experimental and the accessible in Cale's solo recordings, meaning that he usually finds himself (not unwillingly) caught between the cracks: too weird for commercial success, and yet not really weird or daring enough to place him among the top ranks of rock's innovators.

Any assessment of Cale's solo contributions also tends to be overshadowed by his other considerable achievements. Before launching his solo career, he was, with Lou Reed, a primary creative force behind the Velvet Underground, as bassist, viola player, keyboardist, and occasional co-songwriter (the exact nature of his compositional contributions is still a matter of heated debate among group members). He was without question one of the most influential producers of pre-punk, punk, and new wave, overseeing important recordings by the Stooges, Nico, Patti Smith, the Modern Lovers, and Squeeze. Ultimately, he may be better remembered for his work in the Velvets and as a producer, than for his own large discography.

The son of a Welsh coal miner and a schoolteacher, Cale was a child prodigy of sorts, performing an original composition on the BBC before he entered his teens. In the early '60s, he drifted toward the avant-garde, gaining a scholarship (with help from Aaron Copland and Leonard Bernstein) to study music in the United States. Moving to New York in 1963, he participated in an 18-hour piano recital with John Cage (pictures of Cale performing at the event made The New York Times). More important, he became a member of LaMonte Young's minimalist ensemble the Dream Syndicate, whose use of repetitious drones would influence the arrangements of his next group, the Velvet Underground.

Cale founded the Velvets with Reed and guitarist Sterling Morrison in the mid-'60s. Cale met Reed when the latter was a struggling songwriter for the rock & roll exploitation label Pickwick Records. Cale tested the rock waters as part of the Primitives (with Reed and fellow Dream Syndicate member Tony Conrad), who did a few live shows to promote a silly novelty that Reed had written and recorded at Pickwick, "The Ostrich." What Cale and Reed shared was an ambition to bring the sensibilities of the avant-garde to rock music.

They succeeded in doing so over the next three years with the Velvet Underground. While Reed was the most important member of the band as the lead singer and primary songwriter, Cale was just as crucial in devising the band's sound. It was Cale who was responsible for the most experimental elements of their first two albums, The Velvet Underground & Nico and White Light/White Heat (1967), especially with his droning viola parts on "Venus in Furs," "Heroin," and "Black Angel's Death Song," his pounding piano on "I'm Waiting for the Man" and "All Tomorrow's Parties," his deadpan narration of "The Gift," and the white-noise organ of "Sister Ray."

Yet Cale was ousted from the band in an apparent power play by Lou Reed in the summer of 1968. Accounts still vary as to whether he was fired and/or quit, but it's been suggested that Reed's ego found Cale's talents threatening his leadership of the band. Morrison has said that Reed told him and Velvets drummer Maureen Tucker that if Cale didn't leave, he would leave instead; the pair reluctantly opted to side with Reed. The Velvets would continue to make great music for a couple of years, but their experimental edge was considerably blunted by Cale's absence.

In any case, Cale was soon busy producing ex-Velvets singer Nico's Baroque-gothic The Marble Index (1969) and the Stooges' self-titled debut album (also 1969). Though about as different as two projects could be, both were extremely influential (though initially extremely low-selling) cult items that helped lay the ground for punk and new wave about five years later.

In 1970, Cale began his proper solo career with one of his best albums, Vintage Violence. Those expecting a slab of radicalism were in for a surprise; the material was the work of a low-key, accessible singer/songwriter, working in the mold of the Band rather than the Velvets. Listeners wouldn't have to wait long for something a bit more radical. His next album, Church of Anthrax, was a collaboration with minimalist composer Terry Riley that was almost entirely instrumental.

In some respects, these two records defined the poles of Cale's solo career. Even at his most accessible, his music had a moody, even morbid edge that precluded much radio airplay. Even at its most experimental, it was never as avant-garde as, say, LaMonte Young. Cale would reserve his most experimental outings for collaborations with Riley, Brian Eno, and, much further down the road, Lou Reed.

On his own, he was more concerned with crafting songs delivered in his lilting if thin Welsh burr, and inventively arranged. It was in his arrangements that his musical training and avant-garde background were most evident, in its eclecticism (even drawing from country-rock and guest shots from Lowell George at times) and touches of classical music. Sometimes he'd take out his viola, but generally he focused on the more traditional instruments of guitar and keyboards. Cale has covered a wide territory on his solo albums without ever quite making his mark as a major artist. His songs and concepts are interesting, but ultimately he does not have the striking traditional rock talents of someone like, say, his old rival Lou Reed. The hooks aren't that sharp and the lyrics -- often dealing with the psychological and social dilemmas of late 20th century life, in somewhat arty terms -- aren't as gripping.

Toward the end of the late '70s, his approach became harder-rocking and a bit vicious, especially in concert, where he would adopt a number of flamboyant costumes and theatrical poses that verged on the confrontational (such as in a notorious incident in which he appeared to kill a chicken -- though in actuality it was already dead -- by cutting its head off on-stage). Generally he was most successful in a more subdued and brooding mode, as on Vintage Violence or, much later, Music for a New Society (1982). His discography is so large and variable that the two-CD career retrospective Seducing Down the Door might be the best place to start for those with enough interest to buy more than one or two Cale records.

Cale never abandoned his production activities, and indeed a few of the albums with his credits are destined to endure as more important statements than anything he's done on his own. His sessions with Jonathan Richman & the Modern Lovers (from the early '70s, but not released until a few years later) anticipated punk and new wave. Patti Smith's Horses (1975) was one of the best and most influential recordings of the '70s. There were also other albums with Nico, and records with Squeeze, Sham 69, and others; for a couple years in the early '70s, he was even a staff producer at Warner Bros., handling unlikely clients like Jennifer Warnes.

After the mid-'80s, Cale slowed (but did not curtail) work on his own releases. His most high-profile outings since then have been collaborations. Wrong Way Up (1990) matched him with Brian Eno. Songs for Drella (1990), which got a lot more media ink, reunited him at long last with Reed, with whom he had feuded on and off for a couple of decades; the album was a song-cycle tribute to their recently deceased mentor and ex-Velvet Underground manager Andy Warhol. Well received both on record and in performance, it may have been one of the factors that finally led the pair to burying the hatchet and re-forming the Velvet Underground for a 1993 live European tour (and live album). These events were not as successful with the critics; more disturbingly, Reed and Cale were on the outs yet again by the end of the tour, with feuds over direction, leadership, and songwriting credits apparently resurfacing with a vengeance.

Prospects for an American Velvet Underground tour never came to realization, Cale and Reed vowing never to work with each other again. The death of Sterling Morrison in 1995 ended any reunion hopes, although it did apparently serve to reconcile Reed and Cale, who played together when the Velvet Underground were inducted into the Rock & Roll Hall of Fame in 1996. Cale, however, didn't need Reed to keep busy (or vice-versa). In the '90s, he continued to record as a soloist and a soundtrack composer. One of his most ambitious collaborations was The Last Day on Earth (1994), a song cycle and theatrical production written and performed with cult singer/songwriter Bobby Neuwirth. Cale released Nico, a tribute to his Velvet Underground bandmate, in 1998. He continued to record regularly into the new millennium, releasing a pair of well-received studio albums, HoboSapiens (2003) and Black Acetate (2005). The Extra Playful EP arrived in 2011, followed in 2012 by a well-deserved career overview, Conflict & Catalysis: Productions & Arrangements 1966-2006, and a new studio album, Shifty Adventures in Nookie Wood. In early 2016, Cale released M:FANS, a collection of stark, electronic-based reworkings of the material from his outstanding 1982 album Music for a New Society. ~ Richie Unterberger
full bio

Selected Discography


Track List: Fragments Of A Rainy Season (Live)

1. On A Wedding Anniversary (Fragments) (Live)

2. Lie Still, Sleep Becalmed (Fragments) (Live)

3. Do Not Go Gentle Into That Good Night (Fragments) (Live)

4. Cordoba (Fragments) (Live)

5. Buffalo Ballet (Fragments) (Live)

6. A Child’s Christmas In Wales (Fragments) (Live)

7. Darling I Need You (Fragments) (Live)

8. Guts (Fragments) (Live)

9. Ship Of Fools (Fragments) (Live)

10. Leaving It Up To You (Fragments) (Live)

11. The Ballad Of Cable Hogue (Fragments) (Live)

12. Chinese Envoy (Fragments) (Live)

13. Dying On The Vine (Fragments) (Live)

14. Fear (Is A Man's Best Friend) (Fragments) (Live)

15. Heartbreak Hotel (Fragments) (Live)

16. Style It Takes (Fragments) (Live)

17. Paris 1919 (Fragments) (Live)

18. (I Keep A) Close Watch (Fragments) (Live)

19. Thoughtless Kind (Fragments) (Live)

20. Hallelujah (Fragments) (Live)

21. Fear (Is A Man’s Best Friend) (Outtake) (Live)

22. Amsterdam (Outtake) (Live)

23. Broken Hearts (Outtake) (Live)

24. I’m Waiting For The Man (Outtake) (Live)

25. Heartbreak Hotel (Outtake [Strings]) (Live)

26. Fear (Is A Man’s Best Friend) (Outtake [Strings]) (Live)

27. Paris 1919 (Outtake [Strings]) (Live)

28. Antarctica Starts Here (Outtake [Strings]) (Live)


Track List: Hallelujah (Fragments Version) (Single)

1. Hallelujah (Fragments Version)


Track List: Music For a New Society/M:FANS

Disc 1

1. Taking Your Life In Your Hands

2. Thoughtless Kind

3. Sanctus (Sanities)

4. If You Were Still Around

5. Close Watch

6. Broken Bird

7. Chinese Envoy

8. Changes Made

9. Damn Life

10. Risé, Sam And Rimsky Korsakov

11. Library of Force

12. Chinese Envoy (Outtakes)

13. Thoughtless Kind (Outtakes)

Disc 2

1. Prelude (M:FANS version)

2. If You Were Still Around (M:FANS version)

3. Taking Your Life In Your Hands (M:FANS version)

4. Thoughtless Kind (M:FANS version)

5. Sanctus (Sanities Mix) (M:FANS version)

6. Broken Bird (M:FANS version)

7. Chinese Envoy (M:FANS version)

8. Changes Made (M:FANS version)

9. Library of Force (feat. Man In The Book Excerpt) (M:FANS version)

10. Close Watch (M:FANS version)

11. If You Were Still Around (Choir Reprise) (M:FANS version)

12. Back To The End (M:FANS version)


Track List: All Summer Long

1. All Summer Long

2. Sandman (Flying Dutchman)


Track List: Living With You

1. Living With You

2. Living With You (Organic Mix)

3. Living With You (Laurel Halo Remix)


Track List: Shifty Adventures In Nookie Wood

1. I Wanna Talk 2 U

2. Scotland Yard

3. Hemingway

4. Face To The Sky

5. Nookie Wood

6. December Rains

7. Mary

8. Vampire Cafe

9. Mothra

10. Living With You

11. Midnight Feast

12. Sandman (Flying Dutchman)


Track List: Face To The Sky

1. Face To The Sky

2. Living With You (Organic Mix)


Track List: Extra Playful

1. Catastrofuk

2. Whaddya Mean By That

3. Hey Ray

4. Pile A L'heure

5. Perfection


Track List: Circus Live

Disc 1

1. Venus In Furs (Live)

2. Save Us (Live)

3. Helen Of Troy (Live)

4. Woman (Live)

5. Buffalo Ballet (Live)

6. Femme Fatale/Rosegarden Funeral Of Sores (Live)

7. Hush (Live)

8. OuttaTheBag (Live)

9. Set Me Free (Live)

10. The Ballad Of Cable Hogue (Live)

11. Look Horizon (Live)

12. Magritte (Live)

13. Dirty A** Rock And Roll (Live)

Disc 2

1. Walking The Dog (Live)

2. Gun (Live)

3. Hanky Panky Nohow (Live)

4. Pablo Picasso/Mary Lou (Live)

5. Drone - Into Amsterdam Suite

6. Zen (Live)

7. Style It Takes (Live)

8. Heartbreak Hotel (Live)

9. Mercenaries (Ready For War) (Live)

10. Outro Drone (Live)


Track List: Black Acetate

1. Outta The Bag

2. For A Ride

3. Brotherman

4. Satisfied

5. In A Flood

6. Hush

7. Gravel Drive

8. Perfect

9. Sold-Motel

10. Woman

11. Wasteland

12. Turn The Lights On

13. Mailman (The Lying Song)


Track List: Perfect (Single)

1. Perfect


Track List: Turn The Lights On

1. Turn The Lights On


Track List: Hobosapiens

1. Zen

2. Reading My Mind

3. Things

4. Look Horizon

5. Magritte

6. Archimedes

7. Caravan

8. Bicycle

9. Twilight Zone

10. Letter From Abroad

11. Things X

12. Over Her Head


Track List: Eat / Kiss: Music For The Films By Andy Warhol

1. Movement 1 [from Kiss]

2. Movement 2 [from Kiss]

3. Movement 3 [from Kiss]

4. Movement 4 [from Kiss]

5. Movement 5 [from Kiss]

6. Movement 6 [from Kiss]

7. Movement 7 [from Kiss]

8. Movement 8 [from Kiss]

9. Movement 9 [from Kiss]

10. Movement 10 [from Kiss]

11. Movement 11 [from Kiss]

12. Movement 1 [from Eat]

13. Movement 2[from Eat]

14. Movement 3 [from Eat]

15. Movement 4 [from Eat]


Track List: Eat/Kiss: Music For The Films Of Andy Warhol

1. Infinite Guitar, Quartet

2. Frozen Warning

3. B.J., Quartet, Moe

4. Violin Solo

5. Harpsichord, Infinite Guitar

6. Quartet

7. Quartet, Cello Solo

8. B.J. Quartet, Electric Piano

9. B.J. Quartet, Electric Piano

10. Quartet Solo

11. Solo Tiye, Strings

12. B.J. 12 String Guitar Intro

13. Reading From 'Melanethon'

14. Todd Solo, 12-String, Moe

15. Piano, B.J.


Track List: The Island Years

Disc 1

1. Fear Is A Man's Best Friend

2. Buffalo Ballet

3. Barracuda

4. Emily

5. Ship Of Fools

6. Gun

7. The Man Who Couldn't Afford To Orgy

8. You Know Me More Than I Know

9. Momamma Scuba

10. Sylvia Said (1995 Remix)

11. All I Want Is You

12. Bamboo Floor

13. Mr. Wilson

14. Taking It All Away

15. Dirty A** Rock 'N' Roll

16. Darling I Need You

17. Rollaroll

Disc 2

1. Heartbreak Hotel

2. Ski Patrol

3. I'm Not The Loving Kind

4. Guts

5. The Jeweller (Edit)

6. My Maria

7. Helen Of Troy

8. China Sea

9. Engine

10. Save Us

11. Cable Hogue

12. I Keep A Close Watch

13. Pablo Picasso

14. Leaving It Up To You

15. Baby What You Want Me To Do

16. Sudden Death

17. You & Me

18. Coral Moon

19. Mary Lou


Track List: Words For The Dying

Title: Words For The Dying

1. Words For The Dying: The Falklands Suite - Introduction

2. Words For The Dying: There Was A Saviour - Interlude I

3. Words For The Dying: On A Wedding Anniversary

4. Words For The Dying: Interlude II

5. Words For The Dying: Lie Still, Sleep Becalmed

6. Words For The Dying: Do Not Go Gentle Into That Good Night

7. Words For The Dying: Songs Without Words - Songs Without Words I

8. Words For The Dying: Songs Without Words II

9. Words For The Dying: The Soul Of Carmen Miranda


Track List: Artificial Intelligence

1. Everytime The Dogs Bark

2. Dying On The Vine

3. The Sleeper

4. Vigilante Lover

5. Chinese Takeaway (Hong Kong 1997)

6. Sorig Of The Valley

7. Fadeaway Tomorrow

8. Black Rose

9. Satellite Walk


Track List: Music For A New Society

1. Taking Your Life In Your Hands

2. Thoughtless Kind

4. If You Were Still Around

6. Broken Bird

7. Chinese Envoy

8. Changes Made

9. Damn Life


Track List: Slow Dazzle

1. Mr Wilson

2. Taking It All Away

4. Darling I Need You

5. Rollaroll

6. Heartbreak Hotel

7. Ski Patrol

8. I'm Not The Loving Kind

9. Guts

10. The Jeweller


Track List: Fear

1. Fear Is A Man's Best Friend

2. Buffalo Ballet

3. Barracuda

4. Emily

5. Ship Of Fools

6. Gun

7. The Man Who Couldn't Afford To Orgy

8. You Know More Than I Know

9. Momamma Scuba


Track List: Paris 1919

1. Child's Christmas In Wales

2. Hanky Panky Nohow

3. The Endless Plain Of Fortune

4. Andalucia

5. Macbeth

6. Paris 1919

7. Graham Greene

8. Half Past France

9. Antarctica Starts Here


Track List: The Academy In Peril

1. The Philosopher

2. Brahms

3. Legs Larry At Television Centre

4. The Academy In Peril

5. Intro

6. Days Of Steam

7. 3 Orchestral Pieces (A Faust B The Balance C Capt. Morgans Lament)

8. King Harry

9. John Milton


Track List: Vintage Violence (Bonus Track Version)

1. Hello, There

2. Gideon's Bible

3. Adelaide

4. Big White Cloud

5. Cleo

6. Please

7. Charlemagne

8. Bring It On Up

9. Amsterdam

10. Ghost Story

11. Fairweather Friend


Track List: Vintage Violence

1. Hello, There

2. Gideon's Bible

3. Adelaide

4. Big White Cloud

5. Cleo

6. Please

7. Charlemagne

8. Bring It On Up

9. Amsterdam

10. Ghost Story

11. Fairweather Friend


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I love the song hallelujah
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❤️❤️️ I got rid of pandora ads/skip limit on www.dankprom o . x y z ❤️❤️
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John & Harry Nilsson. My own personal night lights.
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My gradson sings this great he s only 6 n hits,every note
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Vintage violence is a great album, timeless music, his best solo work by far imo
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Still my favorite
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This is MY favorite song like ever
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Love this version of Hallelujah.
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Love this.
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and yes, his version is certainly preferable. so soothing.... .
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this man is a genius and I am so impressed by him. take a look at his recording history! look how young he was when he started, his resume is incredible, & I'm def going to take a closer listen;) and it was Shrek.
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Phak u
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His music is terrible
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I've heard numerous versions of Hallelujah (including Buckley's).. a n d this is my favorite.The quality of Cale's voice has a melancholy that just fits right.This is the version I strongly prefer.
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Good song! :)
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hallelujah. hallelujah. hallelujah. i love this song!
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I loved this song. When he sings it I can fell the LORD near. It kind-of gives me goosebumps. By the way, this song is on Shrek.
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Apparently. ...Mr . under hill
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I think i realize what fascinates me about John Cale's music. It's the production. The best way i could describe it is to say it sounds like something is missing.
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Excellent bio. I am new to John Cale's solo music. At first i was surprised how slow and boring his music was. But I soon realized it's really good. It has drawn me in and I now crave his music.
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let john live set me free again ana again
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This is better than the original singer
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claricentp91 7
Interested on making some extra cash? go to BLUDOS.COM You can make $300+ a week easily. Its free so no scam here.
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shawnnavuz71 1
Interested on making some extra cash? go to BLUDOS.COM You can make $300+ a week easily. Its free so no scam here.
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I am john cales fan.
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1. Kiss your left hand . 2. Close your hand. 3. Say your crushes name. 4. Open your hand. 5. Say your name 6. Post this on 15 other songs and your crush will ask you out on the day u pick!
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@mandylou4 it was sang on Scrubs and this was the cover art for that CD. why it is grainy idk.
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Why is the album artwork for the live version of hallelujah a grainy picture of the tv show Scrubs?
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Alright. Just to clear up. Hallelujah is nowhere near his best song. Stop comparing his to the others.
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Leonard Cohen's Hallelujah > John Cale's Hallelujah
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This guy is worse than jeff buckleys
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coolmusiczon e _ 3 3
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Why are Cale's two best CDs not listed? Guts (with him seen on the cover in a hockey mask) and his awesome live work Sabotage?
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dont read this because it actually works. You will get kissed on the nearest possible friday by the love of your life. tommorrow will be the best day of your life. however if you do not post this comment to at least 3 songs you will die in 2 days. now youve started reading this so dont stop. this is so scary put this on at least 5 songs in at least 143 minutes when if done press f6 and your lovers name will appear on the screen in big letters this is scary cuz it actually work
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This song is great
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It's also on the movie Shrek...list e n for it
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good song
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Wow. How good is Charlemagne.
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Hallelujah is on the Scrubs soundtrack because it is cheaper to play a song from a soundtrack versus the same track on the artist's album.
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Kourtnian, you have to hear Jeff Buckey's version. Goose bumps!
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I hate this song. I'm sorry. I don't see the appeal.
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One of my favorite songs, it never seems to get old. Love it!!!
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This is a great song. Much of this bio is good. This line strikes me as very difficult to support with the evidence available: John Cale is one of the most famous and, in his own way, influential underground rock musicians... At least the part about famous seems hard to back up with any meaningful evidence. I love Cale. I love this song. But I would be hard pressed to find anyone who would agree with you that he is one of the most famous. Influential, to be sure, but not famous. Edit, please!
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hallelujuah! ! ! i love this song its so beautiful!!! 1
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Hallelujuah, when he sing it, always gives me goosebumps.
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You guys realize that this is the artists page and not a specific need to click on the song name rather than the artist before you post something about a nameless song.
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a great force in music and a great guy too
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