Although Kylie Minogue supporters might not agree, Cave is
undoubtedly the most significant musical force to have emerged from my home
town. Formed in the wake of the
dissolution of Cave’s previous band, The Birthday Party, the band initially served
up a post punk/goth mixture which could really have emerged from anywhere. As time went by, the sound has matured like a
fine red wine or Melbourne itself; the music is now a refined blend of alternative rock crossed
with a distinct blues influence, touches of European sophistication and just a
touch of country/Americana (the latter especially revealing itself lyrically). As a result, like its influences, the band is
capable of making lush sounding epics, minimalist gems or gritty rockers
(although the dirtiest of these works were ultimately reserved for Grinderman). It’s little surprise that no less an icon
than Johnny Cash would embrace this music and its lyrical themes when led to it
in his final years.
There are several albums that could have made the cut. I would have liked to replayed Tender Prey
and The Good Son but neither is on my iPod as I do not own either in CD form. Abattoir Blues would have got a mention had I
not run out of time and I think Dig!!!Lazarus Dig!!! is due a relisten. The Complete B-Sides triple set also contains
a mass of great material, certainly one of the best examples of this type of
release. But in the end, I found it hard
to go past:
(# 651) Nick Cave
& The Bad Seeds – Kicking Against The Pricks (1986)
This is the best of the early releases and a covers album to
boot. Crucially there are two songs
associated with Johnny Cash, The Singer and Muddy Water. The piano based latter makes a great intro to
a savage version of John Lee Hooker’s I’m Gonna Kill That Woman that wouldn’t
have sounded out of place on a Birthday Party album. Relatively respectful versions of Black
Betty, Long Black Veil and Jesus Met The Woman At The Well mesh well against
some of the more audacious versions. The pick of these are a wonderful slowed down
organ dominated version of By The Time I Get To Phoenix, a truly disturbing
take on Hey Joe that’s full of simmering menace and a superb cover of The
Velvet Underground’s All Tomorrow’s Parties, played as though it was a track on
the VU’s White Light/White Heat.
Somehow, The Carnival Is Over seems an appropriate track to wind up
proceedings.
(# 652) Nick Cave
& The Bad Seeds –Henry’s Dream (1992)
The album frequently cited by Cave fans as their favourite,
this is lead off by three absolute bulls eyes; the great singalong Papa Won’t
Leave You Henry, the dramatic I Had A Dream Joe and the romantic Straight To
You. Three dramatic set pieces, Brother
My Cup Is Empty, the incendiary John Finns Wife and the closing track Jack The
Ripper are thereafter placed at regular
intervals, providing balance, light and shade to slower, but no less dramatic
tracks Christina The Astonishing and Loom Of The Land.
(# 653) Nick Cave
& The Bad Seeds –Let Love In (1994)
The band’s sound expanded to new dimensions with the addition
of violist (and Dirty Three member) Warren Ellis. This is made immediately apparent by two
versions of Do You Love Me? which bookend the album, the former a raucous take
in the manner of Henry’s Dream and the latter, a slower more contemplative
version in which Ellis eventually plays a major role. Otherwise there is a greater degree of
variety found here than on a typical Bad Seeds record. Loverman
and Red Right Hand incorporated some
highly effective time changes, Thirsty Dog sounds much like a Beasts Of Bourbon
number, Jangling Jack anticipates Grinderman and Nobody’s Baby Now sounds like
a band prototype for Into My Arms.
(# 654) Nick Cave
& The Bad Seeds – No More Shall Me Pass (2001)
The next two Bad Seeds albums, Murder Ballads and The
Boatman’s Call were both almost universally praised. Although undoubtedly fine albums, the next
Cave album that really grabbed me was No More Shall We Pass. An album with marked religious overtones, it
is distinguished by some of Cave’s very best singing and a succession of lush
arrangements that brilliantly suited the material. As I Sat Sadly By Her Side set the tone for
the rest of the album and heartfelt material such as Love Letter, God Is In The
House and Gates To The Garden shine brightly.
Oh My Lord unfolds in a majestic epic style as does We Came Along This Road which
uses strings to great effect. 
No comments:
Post a Comment