Nick Cave and the Bad Seeds

Picture of Nick Cave

From Her To Eternity

Nick Cave and the Bad Seeds - From Her To Eternity ©1984 Mute
1. Avalanche
2. Cabin Fever
3. Well Of Misery
4. From Her To Eternity
5. In The Ghetto
6. The Moon Is In The Gutter
7. Saint Huck
8. Wings Off Flies
9. A Box For Black Paul
10. From Her To Eternity

Nick Cave's earliest solo output with the Bad Seeds is something that should be approached with extreme caution. Before delving into the earliest incarnation of his deformed, dark musical child, the listener must realize that his old band The Birthday Party, the entropic kings of discordant, jangly, oddball art-punk, had only combusted a short year previously, so it is needless to say that a lot of the detritus that had broken off their unique sound had thrust its way into Nick's breakfast cereal. This can lead to one of two things: 1) an aggravating, grating listen, or 2) a compelling, albeit uneven musical experience. If the listener's state of mind happens to be correlating to the latter, then I can safely say that good ol' Nick and the boys engagedin a fairly lengthy period of fence-sitting whilst writing this album.

Opening with a drudging, almost terrifying cover of Leonard Cohen's "Avalanche", From Her to Eternity takes the listener on a perilous journey through a blackened southland. One can almost see the wind-swept fields, the unwelcoming placards, and the ruthless muggers and cutthroats lurking around every corner (and perhaps Robert Johnson playing his guitar somewhere in a desolate graveyard) in the land of the Delta Blues.

There are moments when Nick Cave hints at the dark, crooning persona he would take on in his later years, such as on the rather out of place cover of Elvis' "In the Ghetto", but for the most part, Nick Cave is a spitting, psychotic, drugged out demon with a penchant for resurrecting the ghost of his old band and combining its unique sound in an unlikely marriage with dark, bluesy, daunting atmospherics, and when the haunting spectre of the Birthday Party does rear its ugly head, the cacophonous art that comes out hardly resembles a song. Rather, they are pieces of jagged, noisy riffs (brought on by Einsturnzende Neubauten anti-guitarist Blixa Bargeld and Nick's old Birthday Party mate, renaissance man Mick Harvey, not to mention Barry Adamson's undulating, grinding bass lines), and slovenly polyrhythms under the semblance of a song. The title track, which can be seen in excerpted form (along with another one of Nick Cave's best songs, "The Carny) in Wim Wender's utterly, astonishingly brilliant film, Wings of Desire, is a towering, daunting, almost frantic track that is easily in the annals of Nick Cave's best work. "A Box for Paul," the closing highlight of the album, is the most terrifying of all by virtue of its surprising subtlety and build.

While certainly not the greatest album in Nick Cave's long and prolific career, From her to Eternity is an absolutely necessary stepping stone for one of music's best pioneers, and would serve as a worthy acquisition to any fan's album collection.

Review by Alec A. Head

Review date: 04/2002

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The Firstborn is Dead

Nick Cave and the Bad Seeds - The Firstborn is Dead ©1985 Mute
1. Tupelo
2. Say Goodbye To the Little Girl Tree
3. Train Long-Suffering
4. Black Crow King
5. Knockin' On Joe
6. Wanted Man
7. Blind Lemon Jefferson
8. The Six Strings That Drew Blood
9. Tupelo (Single Version)

There is a little acknowledged dirty secret regarding the first few years of Nick Cave and the Bad Seeds. They simply weren't all that good. The outfit's early efforts lacked the chaotic madness that characterized Nick Cave's time in the Birthday Party and any of the finesse that finally set in later on in the band's career. If you want proof of their mediocre output, one should look no further than The Firstborn Is Dead.

The Bad Seeds' second album finds the group focusing on the blues and music of the deep south, but generally missing the point entirely. As with most of the early albums, The Firstborn Is Dead features a pretty great single in "Tupelo", but the remainder of the album is an exercise in tedium and unrealized musical ambitions. Sure, the band tried to emulate various aspects of the blues, but generally it comes across as foreigners aping a sound they don't quite understand just yet. No offense to Mick Harvey and Blixa Bargeld, who are fantastic musicians, but I somehow doubt growing up in Australia and Germany is quite the same as growing up in the impoverish south of the United States. They say imitation is the sincerest form of flattery, but it doesn't mean the songwriting is good.

With the exception of the aforementioned "Tupelo", The Firstborn Is Dead is generally a vacuous, greatly underachieving effort that rarely delivers. I understand that Nick Cave's followers tend to genuflect at nearly everything he's ever released, but this particular album is truly stillborn, as the title suggests.

Review by John Chedsey

Review date: 03/2010

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Let Love In

Nick Cave and the Bad Seeds -  Let Love In ©1994 Mute/Elektra
1. Do You Love Me?
2. Nobody's Baby Now
3. Loverman
4. Jangling Jack
5. Red Right Hand
6. I Let Love In
7. Thirsty Dog
8. Ain't Gonna Rain Anymore
9. Lay Me Now
10. Do You Love Me? (part 2)

Drunken and tortured dark poet, Nick Cave and his legion of Bad Seeds are the type of thing you put on for your more dismal, yet romantic, moods. While the themes of Let Love In are indeed based around the concept of love, there is a great deal of darkness throughout this record. In that regard, Nick Cave might perhaps be a lot more realistic than many of the sugar and saccharine pushing pop stars of contemporary adult radio. Love is neither pretty nor pure sweetness all the time and apparently Nick is here to remind us that on a constant basis.

The most notable thing about Let Love In is the grandness in the the scope of sound here. The production allows for the instruments to occupy a very large and echoing space, as though this was album was recorded on a lonesome desert prairie. While the instruments used don't vary too greatly from your standard rock band, the way the band goes about using them is slightly unusual, but it all adds to the expansiveness of this record. Cave offers, naturally, his abuse laden baritone voice to relate his dark vision of love. His voice is not perfect but it somehow captures the mood of the music perfectly. The band behind him does not seem like a collection of random musicians hired to play their parts; rather they seem like a cohesive unit. Whether working in lushness as with "Do You Love Me?", a more clattering, chaotic approach such as the nasty "Jangling Jack" or the dark waltz of "Red Right Hand", the Bad Seeds are a good complement to Cave's voice. This album flows solidly throughout from mood to mood, never once relinquishing its grip on the overall despair of the music. Let Love In can definitely be recommended for newcomers to Cave's brand of sultry rock and gets a thumbs up for being so perfectly bleak.

Review by John Chedsey

Review date: 07/2000

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Murder Ballads

Nick Cave and the Bad Seeds - Murder Ballads ©1996 Mute/Reprise
1. Song Of Joy
2. Stagger Lee
3. Henry Lee
4. Lovely Creature
5. Where The Wild Roses Go
6. The Curse Of Milhaven
7. The Kindness Of Strangers
8. Crow Jane
9. O'Malley's Bar
10. Death Is Not The End

Having spent a good portion of his musical career exploring the darker side of humanity, Nick Cave finally took the plunge by releasing an entire album dedicated to, as the title coyly suggests, homicide and death. The ten songs on Murder Ballads represent some of the more twisted and disturbing aspects of Cave's lyrical tendencies, but at the same time offer an entertaining glimpse into the minds of serial killers, sociopaths and murderers.

Musically, the Bad Seeds are in top form throughout Murder Ballads, coming up with precisely appropriate musical backdrops for the various narratives and tales Nick Cave conjures. But then again, nearly every Nick Cave CD has that distinction, so perhaps I'm just being redundant. In fact, for every Nick Cave review I write in the future, this paragraph will very likely be copied and pasted for expediency.

Songs of particular note on Murder Ballads are "Stagger Lee", "O'Malley's Bar", "The Curse of Milhaven" and "Where the Wild Roses Grow". "Stagger Lee" is a truly twisted diversion that simply must be heard to be comprehended. "O'Malley's Bar" is an epic narrative of one man going on a murderous rampage in a local bar, complete with a cast of many unusual characters. "The Curse of Milhaven" depicts the mind of a serial killer in a small village. Finally, "Where the Wild Roses Grow" is a duet with Kylie Minogue that comes across as beautiful and sweet...at least until Kylie buys it via a large rock to the noggin. But perhaps I've said too much.

Despite some of the morbid content, Murder Ballads ranks as one of Nick Cave's more enjoyable outings. Sure, some of the material is grisly, but you're more likely to see more chilling material on CSI.

Review by John Chedsey

Review date: 01/2006

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The Boatman's Call

Nick Cave and the Bad Seeds - The Boatman's Call ©1997 Mute/Reprise
1. Into My Arms
2. Lime-tree Arbour
3. People Ain't No Good
4. Brompton Oratory
5. There Is A Kingdom
6. (Are You) The One That I've Been Waiting For
7. Where Do We Go Now But Nowhere?
8. West Country Girl
9. Black Hair
10. Idiot Prayer
11. Far From Me
12. Green Eyes

Of all the Nick Cave albums I've heard, this could very possibly be the one where find the man at his most dejected, morose, deflated and quietly uplifting. This is the album you should play when you lose your job, find your plants dead, discover your dog ran away (because although he is man's best friend, he's not your best friend) and even your mom hangs up on you when you call for sympathy. It is the sort of album you play when your GPS toy says, "Rock bottom".

So once you've gotten to that point, there's nothing left to do but pull up a handy piano and start crooning your poor devastated heart out. Apparently that's Nick Cave's method and it shows on The Boatman's Call. As I said above, this is the album that sticks in my head as his most sorrowful and brooding. The vibe of the album is that quiet despondency, rather than clanging and crashing things about. And despite the mood, this also is one of his more romantic releases. Even though the properties all around are boarded up and decaying, the sentiments of "(Are You) The One I've Been Waiting For" and "Into My Arms" are incredibly touching and caring. Cave throws about concepts of religion and love and does it in a very tasteful, moving manner. All the while you can almost picture Cave playing his piano in a huge empty hall with one sole spotlight on him.

While an entire album of slow Nick Cave songs might seem like too much of a good thing, The Boatman's Call proves otherwise. This could very well be one of his best moments in his long solo career and for those looking for dark, romantic music, you can only better your miserable life with this CD.

Review by John Chedsey

Review date: 01/2003

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The Best Of Nick Cave & The Bad Seeds

The Best of Nick Cave and the Bad Seeds ©1998 Reprise/Mute
1. Deanna
2. Red Right Hand
3. Straight To You
4. Tupelo
5. Nobody's Baby Now
6. Stranger Than Kindness
7. Into My Arms
8. (Are You) The One I've Been Waiting For?
9. The Carny
10. Do You Love Me?
11. The Mercy Seat
12. Henry Lee
13. The Weeping Song
14. The Ship Song
15. Where The Wild Roses Grow
16. From Her To Eternity

I suspect the newcomer to Nick Cave and the Bad Seeds' massive musical catalogue would be quite intimidated. With so many releases and varying degrees of experimentalism, Nick Cave's eclectic output is a difficult thing to wade into if you don't have a obsessive fan as a girlfriend or boyfriend. Nick Cave's dark romanticism and range of emotional outpouring make him a very excellent inclusion on CD mix one may make for someone he or she is trying woo, but knowing what songs to pick and where to dive in is the most difficult task of all.

Good thing for "Best of" compilations.

The Best of Nick Cave & the Bad Seeds provides the listener with a great overview of just what it is this band is all about. You get Cave's romance, morosity, morbidness, and abrasive aspects. You get some of the premiere song selections from various albums. Plus you get to save a CDr if you were thinking of compiling your very own "Best of" collection. If you are trying to encourage a potential significant other to first hold your hand and then hopefully throw you on the ground and treat you right, so to speak, songs like "(Are You) The One I've Been Waiting For?" and "Into My Arms" are certain to get the object of your desire into, well, your arms. If you're looking for something a little more aggressive, "Tupelo" and "The Mercy Seat" are two more fine examples. Or, if you have the distinct desire to be sad or feel your life has been going too darned peachy lately, "Nobody's Baby Now" will surely bring you down.

Nick Cave is the type of artist who takes quite some time to thoroughly absorb. It is the type of artistry that requires the listener have something tangible to attach it to. His vision for music is considerably more broad than most and requires a little more active attention from the listener. It seems a lot of people have heard of Nick Cave, but haven't actually experienced. For those with their interest perked, this is by far the best introduction to the man's incredible music.

Review by John Chedsey

Review date: 10/2002

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No More Shall We Part

Nick Cave and the Bad Seeds - No More Shall We Part ©2001 WEA/Warner Bros.
1. As I Sat Sadly By Her Side
2. No More Shall We Part
3. Hallelujah
4. Love Letter
5. Fifteen Feet Of Pure White Snow
6. God Is In The House
7. Oh My Lord
8. Sweetheart Come
9. The Sorrowful Wife
10. We Came Along This Road
11. Gates To The Garden
12. Darker With The Day

Admittedly, my first introduction to Nick Cave and his merry band of men, the Bad Seeds, was that embarrassing cover Metallica did of "Loverman" on their Garage Inc. cover compilation album (which, despite its inconsistency, stands as one of the better albums in Metallica's long and overall pointless discography. It's amazing how some bands play other bands' material better than their own, but I digress). The most notable thing that caught my eye of the song in question was the dark subject matter set to a rather lush, albeit bleak and depressive, backdrop of music that can be likened to a cross between dark, almost gothic blues/rock and Americanized, Western "Balladry". After hearing the original version of "Loverman" based on an in-store listen, I was then compelled to obtain Nick Cave's entire discography. It wasn't until three long years later that I obtained Nick Cave's most successful album in his nearly twenty-year career, Murder Ballads, a fascinating concept album fashioned around the old English folk tradition of the same name. Nick Cave's narratives fashioned around traditional folk tales (often based on true stories) dealing with murder and the disturbing side of the imagination were delivered with such heartfelt honesty that they were often chilling to behold. Ironically, Murder Ballads went multi-platinum all over the world and hit number one on almost all of the European charts.

Two albums after the stunning Murder Ballads, we see Nick Cave in the most somber and romantic stage in his progression. His newest release, No More Shall We Part, keeps the body count to a bare minimum. In fact, after incessant reading of the liner notes, it can be said that not a poor soul meets his or her maker (unlike the alleged sixty-one people in Murder Ballads). Unlike the previous album, The Boatman's Call (a sparse, bleak, and minimal affair fashioned around Cave's beautiful piano playing and romantic lyrics), No More Shall We Part is an entirely orchestrated, pensive masterpiece where the sound can be likened more to folk pioneer Leonard Cohen (in his most full and lush moments) than, say, any of Nick Cave's previous albums. If you would like an analogy, Murder Ballads was the deadly stroll down a midwestern, crime-infested area, whereas No More Shall We Part is a comfortable, comfy seat by the fireplace, complete with a good book to keep you company. The eerie atmospherics found on Murder Ballads and its predecessor, Let Love In, have been entirely shed in favor of beautiful string arrangements, gorgeous piano playing, and the prerequisite Nick Cave trademark, the mindset of the lonely, romantic, and drunken poet. In other words, we see Nick Cave starting entirely anew.

Of course, a review of Nick Cave cannot go without a reference to his voice and lyrics. Like Michael Gira of the Swans and the Angels of Light, we see Cave actually attempting heartfelt crooning and going for the occasional melody as opposed to his trademark, despondent baritone. Surprisingly, Nick Cave is actually an amazing singer. Never does he waver in conviction or ability. His voice is an amazing complement to his piano playing, which is equally as beautiful. Once again, one of the most original voices in music prevails over almost all of the competition. As for the lyrics, Nick Cave either hits stark brilliance with his powerful narratives, moves the listener with his romantic poetry, or gives the listener a chuckle with some social commentary. Cave even pokes fun at the Catholic Church in "God is in the House". Of the narratives, "As I Sat Sadly By Her Side", "Hallelujah" and "Oh My Lord" are the most beautiful. The former paints a vivid picture of a conversation between a man and a woman as they look out of a window, watching humanity as it passes by. "Hallelujah" (could this be an allusion to Leonard Cohen's song of the same name?) tells the story of a man (a presumably sick man) taking a walk through a rainy and stormy night. The music complements the story nicely, adding a rather bleak backdrop to the equally despondent story. "Oh My Lord" seems to tell the tale of one man's fall into insanity. Needless to say, Nick Cave's lyrics seem to require the listener to truly "think" about what is being said.

The acquisition of Warren Ellis on violin and renowned folk duo Kate and Anna McGarrigle on backing vocals may be one of the many reasons why No More… is so refreshing and relaxed. Fortunately enough, the Bad Seeds play a much more important role in the songs than on The Boatman's Call. The guitars of Blixa Bargeld and Mick Harvey (two individuals who have been with Nick Cave since the very beginning, the latter of which was with Cave way back in the days of the Birthday Party) are quite underused, though occasionally, on such songs as the aforementioned "Oh My Lord" and "The Sorrowful Wife", there is an explosion of their trademark, harsh, tonal distortion.

Appropriately closing with "Darker With the Day", No More Shall We Part marks new ground for both Nick Cave and his adoring fans. No More… is easily one of the best albums I have heard in a long time, solidifying Nick Cave and The Bad Seeds as one of my favorite bands of all time. Very rarely do you find a sound so expressive, so dark, and yet so honest. Add this to your want list.

Review by Alec A. Head

Review date: 04/2001

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Nocturama

Nick Cave and the Bad Seeds - Nocturama ©2003 Mute
1. Wonderful Life
2. He Wants You
3. Right Out Of Your Hand
4. Bring It On
5. Dead Man In My Bed
6. Still In Love
7. There Is A Town
8. Rock Of Gibraltar
9. She Passed By My Window
10. Babe, I'm On Fire

It must be a curse to release a truly brilliant album. Nick Cave did just that with his last effort, 2001's magnificent No More Shall We Part. Eventually he was going to have to release a follow up and this here effort, Nocturama, seems to have created quite the backlash from fans wishing for more brilliance. In a nutshell, Nocturama will never stand as one of Nick Cave's most profoundly powerful efforts. However, when using the world of music as a measuring stick, Nocturama is still quite a fine album from an artist whose own work makes his standards almost impossibly high.

Much of Nocturama sounds as though Nick Cave decided to simply relax and write an easy record. It doesn't attempt to redefine musical boundaries nor resculpt Cave's career into any new twists or dimensions. The gospel tinge that has marked many of his records still floats about and there are a couple romps that may stir up memories of a Birthday Party Nick Cave ("Dead Man in my Bed", for instance, proves these guys can still rev things up when necessary). The songs are simply good and enjoyable. The end of the CD is marked with a fourteen minute, repetitive jam called "Babe, I'm on Fire". This track is, to me, the only drawback to the CD, as it repeats the same lines and riffs far too often for own good. On the flipside, some copies of this CD have been coupled with a DVD disc containing a truly hilarious and goofy video to accompany the song.

Nocturama is nothing more than Nick Cave being good. Perhaps those who haven't cared for this release expect an awful lot from his hero and truthfully, he has always delivered something exceptional on practically every release. This CD is a breather and hopefully the next time out there will be more blinding brilliance. In the meantime, I'll still happily play this enjoyable CD when I'm in the mood to hear Cave crooning over a piano and simply being good.

Review by John Chedsey

Review date: 04/2003


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Abattoir Blues / The Lyre Of Orpheus

Nick Cave and the Bad Seeds - Abattoir Blues / The Lyre Of Orpheus ©2004 Anti
CD one:
1. Get Ready For Love
2. Cannibals Hymn
3. Hiding All Away
4. Messiah Ward
5. There She Goes, My Beautiful World
6. Nature Boy
7. Abattoir Blues
8. Let The Bells Ring
9. The Fable Of The Brown Ape
CD two:
10. The Lyre Of Orpheus
11. Breathless
12. Babe You Turn Me On
13. Easy Money
14. Supernaturally
15. Spell
16. Carry Me
17. O Children

Over the past couple of years I've come to the realization that technically speaking, Nick Cave doesn't really have that great of a singing voice. Yet his ability to translate mere lyrics into emotionally driven artwork is astounding. Beginning with 2001's No More Shall We Part, Cave began to better hone his vocal style and now with 2004's double album, Abbatoir Blues / The Lyre of Orpheus, Nick Cave and his Bad Seeds have created one of the most magnificent releases in their illustrious career.

Ironically, this two CD set comes after the departure of longtime guitarist Blixa Bargeld. Many predicted nothing but doom and gloom (the bad kind, not the kind that Cave makes sexy) after this development but Mick Harvey has craftfully taken over the guitar role with nary a note missed. From the onslaught of the raucous "Get Ready for Love" to the calmer, more brooding songs on the CDs, Harvey's contributions are tasteful and always work well within the context of the music.

Although many might try to separate the two CDs into stylistic foxholes, the two albums together flow as a single entity with constant journey through blues, gospel, rock and Nick Cave's career long sound. In fact, a gospel choir offers contribution throughout, giving the vocals a deeper feel than on some of the previous albums. But individual contributions aside, the most impressive aspect to this release is the wealth of great songs. We're talking songs that make the hairs on your arm stand up, causing great fields of goosebumps and the need to listen to the music over and over. You'll want to hear the sentiments and moods over and over. In a day and age of prefabricated mediocrity, Abbatoir Blues / The Lyre of Orpheus is a remarkable achievement. The 21st century has so far been very kind to Nick Cave fans as none of his albums have been a misstep of any sort. And fortunately, this latest one is very possibly one of the best he's ever released.

Review by John Chedsey

Review date: 02/2005

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B-Sides & Rarities

Nick Cave and the Bad Seeds - B-Sides & Rarities ©2005 Mute
CD one:
1. Deanna (Acoustic Version)
2. The Mercy Seat (Acoustic Version)
3. City Of Refuge (Acoustic Version)
4. The Moon Is In The Gutter
5. The Six Strings That Drew Blood
6. Rye Whiskey
7. Running Scared
8. Black Betty
9. Scum
10. The Girl At The Bottom Of My Glass
11. The Train Song
12. Cocks 'n' Asses
13. Blue Bird
14. Helpless
15. God's Hotel
16. (I'll Love You) Till The End Of The World
17. Cassiel's Song
18. Tower Of Song
19. What Can I Give You?
CD two:
20. What A Wonderful World
21. Rainy Night In Soho
22. Lucy (version #2)
23. Jack The Ripper (acoustic Version)
24. Sail Away
25. There's No Night Out In The Jail
26. That's What Jazz Is To Me
27. The Willow Garden
28. The Ballad Of Robert Moore And Betty Coltrane
29. King Kong Kitchee Kitchee Ki-mi-o
30. Knoxville Girl
31. Where The Wild Roses Grow
32. O'Malley's Bar Pt. 1
33. O'Malley's Bar Pt. 2
34. O'Malley's Bar Pt. 3
35. Time Jesum Transeuntum Et Non Riverentum
36. O'Malley's Bar Reprise
37. Red Right Hand (Scream 3 Version)
CD three:
38. Little Empty Boat
39. Right Now I'm A-roaming
40. Come Into My Sleep
41. Black Hair (band Version)
42. Babe, I Got You Bad
43. Sheep May Safely Graze
44. Opium Tea
45. Grief Came Riding
46. Bless His Ever Loving Heart
47. Good Good Day
48. Little Janey's Gone
49. I Feel So Good
50. Shoot Me Down
51. Swing Low
52. Little Ghost Song
53. Everything Must Converge
54. Nocturama
55. She's Leaving You
56. Under This Moon

If there are Nick Cave fans out there do not feel the artist is prolific enough, the past two years should silence their concerns. 2004 brought us the excellent double album Abattoir Blues / The Lyre of Orpheus. Right on its heels comes a three CD collection, B-Sides and Rarities, which may be the motherlode for Nick Cave collectors. This fifty-six song collection culls material clear back to 1984 from sources such as b-sides of singles (hence the collection's title) to radio show outtakes, tribute album cuts and more. While this may put a damper on eBay sellers who have a bunch of random Nick Cave singles in their bedroom closet, this collection is a magnificent treasure trove for the dedicated Nick Cave fan who wants more than just the albums, but doesn't have the time to scour used CD stores worldwide to find all these tunes or feels like paying out the nose for some of the bootlegs out there.

It should be noted here that in many cases, these songs demonstrate why they didn't necessarily make the final cut for albums. While few of these tracks are mediocre, not too many are as excellent as the material making up the various studio releases. However, there are also many cases of very good Cave music throughout these CDs. For instance, the "O'Malley's Bar" trilogy is some of the most violent musical narratives Cave has written, having a noir atmosphere. There are also acoustic versions of many Cave standards, soundtrack submissions, duets (such as the one with Shane MacGowan on "It's a Wonderful World"), and tribute album inclusions.

While this collection is not all inclusive of rare Bad Seeds music, it is an absolutely stellar collection for the Nick Cave fanatic. It is precisely the kind of box set that a fan would want. Now hopefully down the line there will be a second box set for the rest of the hard to find material that's floating around out there.

Review by John Chedsey

Review date: 07/2005

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