Nick Cave And The Bad Seeds

Also known as
Nick Cave and The Bad Seeds
Field of activity
Performer
NLA Persistent Identifier
https://nla.gov.au/nla.party-687056

Biographies

Born from the ashes of The Birthday Party, as an expressive force The Bad Seeds are entirely in a class of their own, and Nick Cave is one of the few truly great, genuinely maverick songwriters and performers ...

View the full record at Australian Music Online (via the Internet Archive)

Spanning the full twenty-one years of Nick Cave And The Bad Seeds illustrious career, this comprehensive three CD set, entitled B-Sides & Rarities, presents a thrilling and eclectic retrospective collection of material by the band, some of which has been deleted, featured on a disparate number of soundtrack albums or has never been officially released before. From the menacing The Six Strings That Drew Blood, through the distraught The Girl At The Bottom Of My Glass, the fragile beauty of Little Empty Boat, the outlaw romance of (Ill Love You) Till The End Of The World, the plaintive Bluebird through to the murderous attack of The Ballad Of Robert Moore & Betty Coltrane, long term Bad Seeds aficionados, recent converts or the merely curious will find much to appreciate and enjoy in this landmark 56 track compilation.From the very beginning of the bands career in 1984 (in that year The Moon Is In The Gutter appeared on the flipside of Nick Cave And The Bad Seeds first 7 inch vinyl release, a cover of Elvis Presleys In The Ghetto) through to the 2004 track Under This Moon (a track that was previously only available on the B-Side of Breathless / There She Goes My Beautiful World from the recent critically acclaimed album Abattoir Blues / The Lyre Of Orpheus), B-Sides & Rarities offers an alternative engrossing account of the bands continuing artistic development and influences through its impressive collection of extra studio recorded tracks that that were not included on completed Nick Cave And The Bad Seed albums, songs that were recorded on commission for motion picture soundtracks or cover version tribute albums and two radio sessions.Basically, this is material that was B-sides, outtakes or extra recordings, states Mick Harvey, a founding member of The Bad Seeds, the groups multi-instrumentalist and this projects co-ordinator. We tried to include everything that came under that criteria. The other criteria was that it was a Bad Seeds recording not a Nick Cave recording. There isnt anything by Nick working with other people or by himself, its just Nick with members of The Bad Seeds Apart from one track, recorded by Nick Cave and The Dirty Three: Time Jesum Transeuntum Et Non Riverentum. The only real diversion from the theme is Gods Hotel and OMalleys Bar, which are radio sessions, because we liked them and thought that they deserved some further airing. We left off B-side from the Loverman CD single because thats not a song, its an editing exercise, and Where The Action Is because it was too long and sprawling. Well try and keep those singles available.This project has been gestating for some years. I originally put the idea of doing this B-Sides & Rarities collection in 1996/97, compiling two discs, as it would have been then, recollects Harvey. The general response was, Yes, great idea. We just have to look for the right moment to do it. There hasnt been enough space where there wasnt something else imminent. Its release now is a fairly arbitrary moment in time. Now it has expanded to three discs, which is fine. The running order was generally put together in some chronological order, although it was mixed up a little here and there, if songs didnt go together very well. The quality jumps around enormously. Gods Hotel is very rough and ready, all DI lines, radio studio and then it cuts to (Ill Love You) Till The End Of The World, this track we recorded specially, high production quality song for a film, a Wim Wenders film, strings... it jumps from one thing to the next. The same thing happens with Cassiels Song (another Wenders soundtrack commission) that runs into Tower Of Song (an irreverent and highly humorous Leonard Cohen cover), which was us just hammering it straight out to DAT in the studio.Following on from the hard-graft, no-shirking, pull-your-socks-up, one album a year work-regime ushered in by Nick Cave And The Bad Seeds with the release of 2003s Nocturama we have something that few could have expected - two albums that can both be regarded as self-contained masterpieces two storming, driving, relentless, devotional, slinky, subtle, heartbreakingly-beautiful records that, lyrically, switch from the cynical to the sanguine, the defeated to the defiant, dealing in love, war, beauty, children, romance, rejection, Pethedine, poetry, panties, God, Auden, Johnny Cash, cold potatoes, too-much-money, not enough money, writers block, flowers, animals and more flowers. But maybe were projecting here.But first, back to 2003s Nocturama. It would, said the Bad Seeds, be a return to the prowling, feral, many-headed collaborative spirit of the band, a spirit that rose from the ashes of Australian legends The Birthday Party in 1983, reborn in the bands visceral tempestuous debut From Her To Eternity and ever-present, spitting and snarling, in a series of startling landmark albums throughout the 80s and 90s. And whilst 1997s The Boatmans Call and 2001s No More Shall We Part were regarded by many as a creative peak for Cave as both a songwriter and an arranger there was still that need for the band to, well, get their groove back.Nocturama had groove in spades. Learned and recorded in a week, produced with former Birthday Party producer Nick Launay, this was an album freed of inhibitions, a glorious blast of untamed, feral collaborative power, the sound of eight crack musicians Cave, Blixa Bargeld, Mick Harvey, Thomas Wydler, Martyn P Casey, Conway Savage, Jim Sclavunos and Warren Ellis let off the leash and enjoying it thoroughly.And so, with a new power and energy harnessed within the band, at the start of 2004 Nick Cave took a small team of Bad Seeds violinist Warren Ellis, drummer Jim Sclavunos and bassist Martyn P Casey off to the tiny Misere studio in Paris as a songwriting event.Nick arrived in Paris with a pile of words and a bunch of chords, explains Warren Ellis. Id recently bought a mandolin and a bazouki that Id been driving my wife nuts with and we played non-stop for four or five days. With Nocturama wed cleaned out our system a bit and got back to what it was like earlier in the Bad Seeds career. Nick had a momentum and force he couldnt achieve in his office. It was great to see him picking words out of nowhere and creating these songs.In four days Cave, Ellis, Casey and Sclavunos had recorded ten CDs worth of original material. It gave the group a chance to be involved in the fundamental part of the writing process and that served this record well. says Cave.However, The Bad Seeds 2004 are a rather different set up from the band who recorded Nocturama with Blixa Bargeld leaving and former Gallon Drunk frontman James Johnston joining. That had a great influence, says Cave. Blixa, whom I love dearly, was absolutely essential within The Bad Seeds. It became a sink-or-swim decision whether we would create something positive from his departure or walk around in widows weeds for the next ten years. The line-up change gave Mick Harvey greater room to play guitar and Warren Ellis the opportunity to play more rhythm. He plays an amplified Irish bazouki, which adds a unique sound. James joined hungry for work and there is some scorching organ on there.Whereas Nocturama was deliberately written fast and furious, Cave spent a long time locked away writing the songs that would eventually become Abattoir Blues/The Lyre Of Orpheus. The band also worked closer together in rehearsal, crafting the definitive Bad Seeds sound. Helping out on this front was producer Launay, who suggested the Bad Seeds record in the spring in Paris, on the gloriously run-down analogue equipment of Ferber Studios. I suggested we go to Paris because it makes a lot of sense romantically, explains Launay, and then I found this studio they used for jazz albums, and stuff by Serge Gainsbourg and Johnny Halliday. It had these very old strong mikes that can handle a lot of level, simple equipment from the 60s and 70s where not a lot can go wrong. Nick saw the studio and said This is great. Its old and worn out, like us. We created this driving sound, says Cave, but with enough space in there so that nothing felt fixed or held down. The rhythm track is understood but everything else feels improvised.The result is a raw, organic, pulsing sound that may well be the best the Bad Seeds have ever sounded, with the added oomph of a troupe of young gospel singers from The London Community Gospel Choir. Crafting the songs around the gospel singers required rehearsals, an alien concept for such an adept group of improvisational musicians as The Bad Seeds.Getting the Bad Seeds to rehearsal is very difficult, says Cave, but we had our days of rehearsal with the gospel singers which allowed us to incorporate them into the development of the songs. A lot of the music was worked around that gospel element which took the songs to very different places. We wanted to create a music that was raw and driving and supercharged using the gospel singers to add a lightness and levity to the whole thing.Nicks vocals were all live while he was playing piano and all the other Bad Seeds were playing off him, explains Launay. People dont do it that way any more. Everybody adds their own unique element. They play like jazz musicians Its a very beautiful relationship.As the band began mixing at Astoria Studios, it soon became apparent that this was more than just one album. We had slight misgivings with the idea of a double album, explains Cave. Often the double album is just too overwhelming, there is too much information. But there seemed to be too many good songs and I didnt have the heart to discard them, so we split them into separate albums each with its own distinct personality, each with its own title. Jim Sclavunos, whos a very heavy drummer, drums through Abattoir Blues, and The Lyre Of Orpheus has Thomas Wydler drumming, its lighter and quieter. In the songwriting sessions in Paris we came up with such a broad spectrum of material, progressive rock, heavy metal, blues, country - all sorts of stuff. It was done with playfulness and humour and a deliberate disregard for the sort of music that sat comfortably within the known sound of the Bad Seeds. This opened everything up and anything seemed possible.A good example of this new playfulness is the first single, Nature Boy, a joyous, rolling pop song about how beauty will save the world. It reminded us of Come Up And See Me by Cockney Rebel, says Cave, which were all fans of, of course. It is a contagious and sexy piece of straight pop and it felt good to do something like that And its there that we must leave Nick Cave track-by-track extemporisations, as these are albums you must discover on your own. There will be some who favour the heavy, rolling, plenteous Abattoir Blues. After the scorching, jarring hosanna of opening track, Get Ready For Love youll find an album brimming with such rich wonders as Cannibals Hymns bewitching lonesome funk, the strident shaggy-dog grind-gospel of Hiding All Away (listen out for the point where Caves lyrics cause the gospel singers to crack up with laughter) and the songs astonishing, breathtaking coda. Then theres the ghostly ballad Let the Bells Ring, which just might be a lament for the passing of Johnny Cash, the greasy nightmare bestiary that is Fable of The Brown Ape, the ghostly end-of-days drift of Messiah Ward and There She Goes, My Beautiful World, perhaps the most beautiful song ever written about writers block and self doubt. And lets not forget a title track that paints a sweetly-sinister portrait of self-doubt and self-mockery in a world of crumbling values, a song that might well contain the most sinister Woke up this morning couplet of recent years Then therell be those wholl wish to lose themselves in the brushed, soft folds of The Lyre Of Orpheus, pulled into depths by the bare-boards blackly-comic mythic lament of the opening, title track, still deeper by Warren Elliss Roland Kirk-esque flute trills on Breathless before being submerged in the albums joyously simple, piano-led love song (Babe You Turn Me On), a mordant, twistedly-beautiful lament bemoaning the authors vast wealth (Easy Money), the chanting, flamenco reworking of Audens Funeral Blues (Supernaturally), a hypnotic folk-hex of weakened, devotional love (Spell) before the final, choral end-of-days People Get Ready masterpiece, O Children. Nick Cave has kept smart company over the years, clustered in maleficent, smart-dressed covens, penning dark tales for outsider souls, ever since his days in that gloriously apocalyptic early-80s Australian desperados, The Bad Seeds. But whether were talking about the early swamp blues and tenement howls of 1984s Bad Seeds debut, From Her To Eternity and 1985s The Firstborn Is Dead, the carny grotesques and nightmare alleys of 1986s Your Funeral My Trial, the yearning, dope-sick heartbreak of 1988s Tender Prey, the sinistral pop melodrama of 1990s The Good Son or the visceral walking blues of 1992s Henrys Dream and 1994s Let Love In, the labyrinthine blood narratives of 1996s Murder Ballads or the stripped down heartbreak of 1997s The Boatmans Call, the chilling, majestic epic that was 2002s No More Shall We Part or the lets-go-to-work brutality of last years Nocturama, whether we call upon any point in Nick Cave And The Bad Seeds theres nothing that betters this. And dont just believe the press notes guy. There are no voices in the back of my mind saying You really could have done this better, says Cave. Ive listened to this album a lot and I dont have those voices at all.Over the years my gut feeling about our albums has proved to be true, concludes Mick Harvey, and I think this is our best album.

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  5. No more shall we part
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Resources about Nick Cave And The Bad Seeds (1)

  1. Sounds of then: This is Australia
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