Nick Cave and the Bad Seeds

The Good Son(Mute 1990)

http://www.mediafire.com/?lz5jkfvjo6e

I may be in the minority, but I never really bought Nick Cave as a primal, misanthropic entity attuned to the darkest impulses of mankind. Outside of the “Mercy Seat” which still gives me fucking chills, his solo work seemed most poetic when he spun heartfelt yarns about love and its inevitable absence. Sure. the Birthday Party were a singleminded bunch whose music was honestly unsettling and full of the kind of aggression that made you question whether it was mere persona or psychopath. However, he wisely chose a gentler vocabulary and pursued a subtler, but no less effective form of drama. Yeah, he occasionally fostered the occasional shitstorm worthy of the Birthday Party, but he really found his voice interpreting the songs of his heroes on Kicking at the Pricks. Now, that album really grabbed me because I never really saw him as much more than an artist that one listened to when in a pissed, morbid or oddball mood but there are moments of pristine beauty on it as he does what few pull off, which is to make a well-known standard entirely your own. I dunno…there was something tender, yet antagonistic about his take on the familiar that made it seem new. Its followup. Tender Prey, was pretty impressive, but I wanted him to slow things down and take his time with a song, so his subsequent release, The Good Son, was music to these biased ears.

By no means do I recommend The Good Son as a classic or even an entirely successful album since a few songs delve into superficial schtick instead of bloody-hearted pleading and frayed nerves. It’s sometimes hard to embrace a Nick Cave album in its entirety because his embrace of gospel and R&B is kind of ham-fisted as most European efforts tend to play out in their lovable, but shallow manner. Man, that sounds a bit harsh, but if I want clapping and gospel sing-a-longs, there are so many better outlets than Nick Cave and the Bad Seeds in this wonderful world.

However, my passion for The Good Son possibly revolves around one single song. I think “Ship Song” is so fucking eloquent and symbolic of the tricky nature of loving someone who may ultimately burn you to the ground. In some ways, it may be one of my favorite metaphors in some ways. He portrays himself as an island while his lover is a ship who burns all bridges down in order to get sole access to her muse. The whole song is about how a love seems perfect in theory, but is destined to fail by their own hands. It is an ode to passion and the infantile decisions it sometimes inspires, but is also a paean to how alive these impulses make us feel. It is self-destructive, utterly romantic and a reflection of past mistakes that could possibly be made right in future relationships. For these reasons, this song is pure perfection as parable and song because it is universal just like the beloved standards he took the time to cover. He finally nailed the perfect blend of schmaltz, empathy, pain and composition required of a song that will stand the test of time.

The rest of The Good Son is no slouch either. Most of it is kind of boozy and drunken in a peculiarly restrain manner. He pursues a lovelorn and regretful mood throughout the album and the result is a pervasive theme of poor decision making and its consequences. It doesn’t hurt that the instrumentation allows the Bad Seeds to explore a more lush side of their musicianship. It’s a gorgeous album with just the right amount of occasional ugliness to make you wince as you slug it all down your gullet.

Tindersticks-BBC Sessions

August 5, 2008

Tindersticks

BBC Sessions

http://www.divshare.com/download/5112364-fcf

Just look at the kisser on this fella. You know he’s got some naughty sentiments to whisper into your ear at 3am. His classy sleazeball looks match the deep, sultry growl of his baritone crooning. Yes, there is an air of a bonafide “man crush” going on here. From the first time I heard Stuart Staples celebrate his hairy chest in song and weave a seedy tapestry of drunken sex in restrooms and wanton women, it was destined to be a music love affair for the ages.

I always was a sucker for the schmaltzy side of Nick Cave and the Bad Seeds. The Birthday Party were too histrionic for my questionable taste and his screeching preacher tunes never excited me. However, I do love me some of his sappy ballads. “The Ship Song” and The Good Son album in particular still gets me terribly misty and sentimental. Since much of the Tindersticks work reminds me of a moody, orchestrated take on Cave’s most tender moments crossed with Lee Hazlewood, I tend to be a sucker for all of their work. Plus, the man sang a duet with Isabella Rosselini for gods sake.

This is a collection of their BBC Sessions and they don’t stray too far from the source material. The edges are a bit rougher, but Stuart Staples sounds even more desperate and pained on these live versions. Plus, it includes their cover of Pavement’s “Here” which eliminates the snarky irony and casts it as a baroque tale of a man at the end of his rope. I like the original fine, but this one possesses an epic sweep that Pavement couldn’t muster. Overall, this is a great introduction to the band since it includes mush of their best material while neglecting lesser tunes on later albums.