Australian Nick Cave has slowly gained iconic status over the years. From singing love songs dripping in darkness to gaining chart success by singing about bashing Kylie Minogue’s head in with a rock, Nick’s career has always worn it’s own path. Drawing from sources like caberet, punk, blues, jazz and the Bible, his work has gained acceptance for following his own muse. Providing the musical backbone to his work are the Bad Seeds, an ever evolving cast of musicians who help flesh his work.
My first introduction to Nick Cave was back in the early 90’s when MTV actually played music (a novel concept, I know). I was watching a show called 120 Minutes that focused on alternative music. At the time I loved rock and metal but felt like musical palate needed expanding. This particular week Henry Rollins was the guest host. I was a huge fan of Rollins and had started reading some of his books. He said he was going to introduce one of his favourite songs by one of his favourite artists. He then showed a video featuring a scrawny Australian goth singing a duet with a startled looking German whilst dressed as priests in a row boat. This was certainly different to what I was used to.
The song was The Weeping Song and it immediately triggered a musical love affair that would endure over the years.
The Good Son was the first Nick Cave album I heard. I found a copy in the local library. I don’t quite know what I was expecting from it. Opening song Foi Na Cruz was unlike anything I’d heard since studying Brecht at college. The title track was something my rock fan brain could kind of understand. The Weeping Song tells the story of a questioning son and his father. The song mines a deep river of grief that is quite haunting, something the the tongue in cheek video completely ignores. It’s remained one of my favourites since.
Then comes The Ship Song, a love song that hits you like a thunderbolt. It’s simple yet so effective. His words speak of a longing for someome that is both touching and heat warming. Cave has written at length about the power of the love song and this, to me, is about as perfect as it gets. The song has also been covered by Pearl Jam and Amanda Palmer. Hell, even I’ve managed to pay tribute to this song.
People seem to be put off by Nick Cave by the way he sings and how the Bad Seeds deconstruct how a song is done. They’re wrong in these regards. His voice comes across as a soothing croon, infused with Sinatra as much as Cohen. Cave is a unique entity. There is a deepness that runs deep through his songs as they work their way to your soul and your heart. The Bad Seeds are one of music’s greatest backing bands. Yes, their approach can be somewhat unorthodox at times but they play perfect musical accompaniment to the lyrics. The Bad Seeds are vital in this respect. These aren’t designed as cheap pop throwaway ballads, these are songs for life.
His new album, Skeleton Tree has just been released, as well as the accompanying documentary One More Time With Feeling. I thought this was an appropriate time to look back three of his albums as he came into the general public eye back in the nineties, a time where you could actually see him on Top Of The Pops.
Let Love In
Let Love In was a breakthrough album for Nick and his troop. It was a case of right place right time with this album. The album opens and closes with different versions of the song Do You Love Me? which sets the tone perfectly. Opening with a shuffling jazz croon, Nick dances his way through the ten tracks. Loverman cuts a brutal figure, the darker side of love, setting a tone that he would revisit with the next album’s Stagger Lee. The promotional video sees the band hypnotised and performing strange acts, quite possibly the perfect Nick Cave video.
Red Right Hand has appeared petty much everywhere. It’s a song most people will know even if they don’t think they’ve heard Nick Cave before, appearing in The X-Files and becoming the unofficial theme to the Scream series of films. Recently it’s become the theme to the BBC show Peaky Blinders, a marriage made in musical heaven. The Red Right Hand of the song’s title refers to a passage in Milton‘s Paradise Lost, describing God’s vengeful side (there is a lot of biblical imagery in Nick’s work).
I Let Love In is probably the album’s most upbeat song whilst hinting at the darker side of love. This is certainly one of his strong points. He takes the notion of something that should be relatively sweet (the love ballad) and infused it with sourness and dark imagery and themes worthy of Gothic writers like Shelley. In fact, you can listen to Nick lecture on the love song here.
The album opens and closes with Do You Love Me? (parts one and two respectively). Both are totally different to each other whilst still keeping a distant genetic link to each other. It’s worth pointing out the opening song’s promo video which features the band cavorting around like they’re at some bizarre disco, a sign of Cave’s under appreciated and sometimes bizarre sense of humour.
Murder Ballads became a commercial and critical high point for Nick’s career, partially helped by his ‘hit single’ with Kylie Minogue that got a few people talking. But it’s also possibly the perfect starting point for new comers as it covers pretty much every facet of his work. It includes Cave takes on some traditional murder ballads (normally associated to folk music) and his own songs, some that had been sitting around for several years waiting for a suitable demented home before being released.
The album opens with Song Of Joy, a title dripping in blood and irony as Nick intoned the words “Have mercy on me sir…..” at it’s opening. The lyrics on the album are examples of his narrative skills, each song containing it’s own self contained story. Song Of Joy follows the story of a physician who, whilst visiting a sick friend, returns home one night to find his wife and two daughters brutally murdered. It’s not the cheeriest or uplifting album opening but it sets out the album’s intentions perfectly.
Stagger Lee, well, staggers up next, a take on a traditional song. It’s been one of my favourites since it’s release. It tells the tale of Stagger Lee who walks into the Bucket Of Blood, a bar, and engages the barman in conversation before murdering it’s occupants. The song is driven along by a muted staccato guitar part that perfectly sits alongside the spat out lyrics before it all descends into a cacophony of noise, all squealing guitar and screams. Again, the video has it’s tongue firmly planted in it’s cheek as Nick dances and jabs his finger at the screen whilst wearing a skin tight pink boy band tshirt.
After the song’s violence, the more gentler Henry Lee follows it up. In this traditional folk song, the title character is stabbed and killed by his lover, in this song played by PJ Harvey who became Nick’s lover and focus for his next album.
Lovely Creature appears next and, to be honest, is quickly forgotten especially as the string section heralding the next song start. Cave duetting with Kylie Minogue on Where The Wild Roses Grow caused a lot of press at the time as Miss Minogue was well known as the star of Australian soap opera ‘Neighbours‘ as well the singer of disposable pop songs. In the song Nick and Kylie trade verses with each each other. If it wasn’t for the fact that album is called Murder Ballads you wouldn’t be expecting the end as Nick’s character violently murders Elisa Day (Kylie’s character) after a short but intense love affair. Again, there’s no happy ending.
The Curse Of Millhaven is an almost comedic cabaret influenced ditty that takes the relatively sedate death count of the previous songs and creates a full blown massacre as fifteen year old Lottie goes on a major killing spree, knocking off victim after victim in the small town of Millhaven. In fact the teenage psychopath even owns up to more murders and a major act of arson after she’s caught. “All God’s children they all got to die” sings Nick/Lottie for the song’s chorus. And who can’t smile at the line “It’s Rorschach and Prozac and everything is groovy”?
The warning tale The Kindness Of Strangers comes and goes without leaving much impression. It’s a real shame that an album that has some fantastic songs on has some that really dip for me. Crow Jane swaggers in, all walking bass lines and sparse guitar and drums. At least it’s a bit more musically interesting than the previous song.
If it’s one thing I’ve learned from this album it’s beware of bars that Nick Cave sings about. O’Malley’s Bar features the song’s unnamed protagonist killing it’s occupants one by one and in great detail. It’s worth the price of the album alone and at almost fifteen minutes long it certainly provides the perfect canvas for his murderous narrative. Each vocal line is perfectly placed for maximum impact. The song is great fun, a real sense of gallow humour courses through the song. In fact you feel kind of sad when he’s caught and driven away at the end of the song. It’s a fantastic take but is possibly outshone by the version on his b-sides collection where it’s broken into three parts for a radio session.
The album closes with a take on Bob Dylan‘s Death Is Not The End (Live), an ensemble of vocalists taking turns with the song’s lines. It acts as the ideal way to close the album out, sedate and reverential with a feeling that the vocalists were all giggling as they finished singing their lines.
“Just remember that death is not the end“
The Boatman’s Call
For their tenth album, Nick and the Bad Seeds had a tough act to follow. Murder Ballads had seen his star rise to what many thought was a peak. Where could he take his audience now? The answer would give us a sparse and intimate collection of songs. Sometimes they’re so personal the listener feels like we’re intruding.
The album is often seen as Nick’s love letter to PJ Harvey, with whom he’d shared a brief relationship with, but it also seems directed to Viviane Carneiro who Nick was married to and with who they both share a son. It’s an album about love, being in love, and love lost. It’s almost spiritual in places with what he is trying to say as an artist.
If you were expecting Murder Ballads Part II you’d be completely off course. The previous album was a cacophony at times and The Boatman’s Call is the complete opposites. There’s space in the songs and a dynamic that let’s the song’s breathe. The piano weaves it way around lyrics that reach deep into your soul and ask you questions you may be afraid to answer.
It opens with the gentle, understated Into My Arms, a sparse piano led ballad. “I don’t believe in an interventionist God” intones Nick to his unnamed recipient, “But I know, darling, that you do.” The song (and it’s accompanying video) are simple, direct and very moving. It’s quite possibly the perfect love song as Nick describes what he would do for this person and what they meanto him. It could be about a lover, child, friend. It’s ambiguity means it’s incredibly relatable to and can be interpreted in various ways (he performed it at the funeral of his friend and INXS frontman Michael Hutchence).
The full band strike up on the next song, Lime Tree Arbour. Again, the pace is gentle and there’s something comforting about the song. The mix allows all the musicians space to play without clutter. Nothing feels out of place.
If you had to pick artists who would never appear on a kids film soundtrack, Nick Cave would appear on that list. However, People Ain’t No Good appears in the film Shrek 2. Again, the song is gentle and bare in it’s arrangement, brushed drums gently ushering the song along as Nick sings the song’s title as a chorus.
Brompton Oratory starts with what sounds like the sound of a muted drum machine but it’s no dance song. Again it’s sedate. Where before an album like this would bring a lustier Nick to the fore we find a more mature Nick singing and performing with the Bad Seeds following him.
There Is A Kingdom contains the only real carnal act in the album around a song that feels almost like a hymn, especially in the chorus (“There is a Kingdom and there is a king”).
Second single (Are You) The One I’ve Been Waiting For? carries on the sedate pace of the album and is the perfect delicate partner to Into My Arms. It’s not an album of big, sing along choruses. It’s the kind of album you listen and grow along with.
Where Do We Go Now But Nowhere? follows the same themes and pacing of previous tracks before we come to West Country Girl, a song so blatantly about PJ Harvey that she immediately comes to mind as soon as you hear it. Black Hair is the same. The lyrics are pure love songs to her, songs of longing and almost worship. Black Hair could even be described as sensual in the way Cave draws the imagery to your mind.
The closing trio of Idiot Prayer, Far From Me and Green Eyes finish off the album without deviating from the formula that Cave and the other Bad Seeds have laid down over the previous album tracks, their lyrics reading like romantic Gothic poetry (in the classical literature sense). There are no noisy tracks that you would expect from previous albums. This is the sound of Nick Cave starting to grow into a respected singer and songwriter. This is someone accepting getting older and accepting who they are.
In the years after that Nick would continue to release some amazing work. The Bad Seeds would remain in a slight state of flux with both guitarists Blixa Bargeld and Mick Harvey eventually leaving the band allowing Warren Ellis, the band’s violinist (and member of the Dirty Three) to step up to become Nick’s musical foil. Warren brings and new sense of chaos to the Bad Seeds music, creating a whole range of noise and melody with various stringed instruments.
Nick’s new album could be his most poignant and personal to date, with recording starting just before his young son’s accidental health. But he’s always dealt wth loss and heartbreak in his work. I just hope that people don’t view it with ghoulish relish. This is the continued work of a man who dares to bare his soul.
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