The Frozen Borderline 1968-1970

Disc One

The Marble Index

  1. Prelude (0:59)
  2. Lawns of Dawns (3:10)
  3. No One Is There (3:36)
  4. Ari's Song (3:20)
  5. Facing the Wind (4:58)
  6. Julius Caesar (Memento Hodié) (5:01)
  7. Frozen Warnings (4:01)
  8. Evening of Light (5:44)


  1. Sagen die Gelehrten (3:52)
  2. Rêve Réveiller (4:07)
  3. Roses in the Snow (4:00)
  4. Nibelungen (3:15)

Alternate Versions

  1. Lawns of Dawns (3:15)
  2. No One Is There (3:40)
  3. Ari's Song (3:14)
  4. Facing the Wind (5:05)
  5. Julius Caesar (Memento Hodié) (5:02)
  6. Frozen Warnings (4:21)
  7. Evening of Light (5:41)

Disc Two


  1. Janitor of Lunacy (4:04)
  2. The Falconer (5:42)
  3. My Only Child (3:30)
  4. Le Petit Chevalier (1:17)
  5. Abschied (3:05)
  6. Afraid (3:30)
  7. Mütterlein (4:40)
  8. All that Is My Own (3:36)


  1. My Only Child (4:15)
  2. Janitor of Lunacy (3:58)
  3. Abschied Ode (Death/Farewell) (3:01)
  4. You Are Beautiful (Afraid) (3:17)
  5. The Falconer (5:46)
  6. On the Desert Shore
    (All that Is My Own)

Hidden Track

  1. Frozen Warnings (4:24)


2CD The Frozen Borderline 1968-1970 UK Rhino 8122-74885-2

« Details »

the marble index
Recorded at Elektra Sound Recorders, 962 North La Cienega Blvd, Los Angeles, 1968-09-00
Producer: Frazier Mohawk [Real name: Barry Friedman. aka: Barry Slotkin].
Production Supervisor: Jac Holzman
Engineer: John Haeny
Arrangements: John Cale
Photography: Guy Webster
Design: Robert L. Heimall
Art Direction: William S. Harvey
Friends: David Anderle, Danny Fields

Nico: vocals, harmonium
John Cale: electric viola, piano, bass, electric guitar, glockenspiel, bells, mouth organ, bosun's pipe

CD bonus tracks mixed by John Cale at Skyline Studios, 36 West 37th Street, New York City, NY
E: Roger Moutenot
Original CD mastering date: 1990-05-00
CD reissue supervised by Howard Thompson
Mastered by Barry Diament at Barry Diament Audio, 171 Rochelle St., 10464 City Island, New York, NY.

Desertshore demos, Los Angeles, 1969-08-20

Recorded at Sound Techniques Ltd., 46A Old Church Street, London, 1970-00-00
Producer: John Cale
Arrangements by John Cale
Co-Producer: Joe Boyd for Witchseason Productions
Engineer: John Wood

Nico: vocal, harmonium
John Cale: all other instruments except trumpet
John Cale, Adam Miller & Annagh Wood harmony voices

Except: Le Petit Chevalier
Recorded at Studios Davout, 73 Boulevard Davout, Paris, 1970-00-00
Producer: John Cale
Arrangements by John Cale

Ari: vocal
Nico: harpsichord, prompter

Compilation produced by Andy Sax
Project supervisation for Rhino UK: Stuart Batsford and Mick Houghton
Remastering: Dave Schultz at Digiprep Mastering, 3015 Glendale Blvd, Los Angeles, CA 90039-1832
Liner Notes: Simon Goddard and Mick Houghton
Reissue Art Direction and Design: Matt Dornan
Original Album Photography: Guy Webster and Philippe Garrel
Additional Photography: Leopold Pomés (front and back cover, page 14 of booklet)
Memorabilia kindly loaned by Jay Reeg and Ben & Kaomi Phillipson
Project Assistance: Brian Kehew, Rick Conrad, Bill Inglot and Lisa Jane Persky
Special thanks: David Anderle, Kenneth Ansell, Montse Balart at Studio Pomés, Julie Brunning, John cale, Andy Childs, Rick Conrad, Julian Cope, Danny Fields, Simon Goddard, Ben Graville, Will Hodgkinson, Jac Holzman, Ignacio Julia, Maria McKenna, Frazier Mohawk, Ben & Kaomi Phillipson, Jay Reeg, Jon Savage, The Seth Man, Paul Smith, Nick Stewart, Mason Williams, Richard Williams, Matt Wrbican & Greg Burchard at The Warhold Museum

Note by Andy Sax: Because Jac Holzman was always ahead of the technological curve, the marble index was one of the earliest albums recorded with Dolby. As fate would have it, Digiprep is the current owner of Elektra's old Dolby rig, so we were actually able to play the master tape of the marble index back through the exact same piece of equipment it was originally recorded with 39 years ago!

Note by John Cale: Every album there was one song that was really catchy, very pretty, and on Desertshore it's My Only Child. She was chasing something, she had an idea in mind. We recorded it with John Wood at Sound Techniques. One technique we used was, I would play loud piano chords, and John would fade them in: he'd lmok me down from the booth and watch me, and I'd give him the signal that I was about to play this crashing chord, and he'd slowly raise the fader. We did a lot of crazy stuff like that.

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Serge Mironneau