Lighter moments like ‘Breathless’ helped to round out the 17 tracks. The usual weighty kismet was still there, but this was a fancy, fine art kind of moodiness. The album also boasts the song Nick Cave often calls his favourite, the glistening, menacing ‘Jack The Ripper’, a melodic shot of fierce dustbowl country.Ĩ: Abattoir Blues/The Lyre Of Orpheus – 2004Ī grandiose double album that showed off the instrumental talents of the Bad Seeds, this was heavy duty and unapologetic, with gospel backing vocals, huge songs and lyrics about Frappuccinos. ‘Brother My Cup Is Empty’ could well be to blame for Gogol Bordello, but this record also sees the band experimenting with indie conventionality, like on the deft emo-rocker ‘Straight To You’.
Kicking off with a doomy, devilish cover of Leonard Cohen’s ‘Avalanche’ it made for brutal, uneasy listening and marked them out as a terrifying but wholly vital and utterly necessary. The following year The Bad Seeds released this, their first album. It boasts the tearjerking ‘The Ship Song’, one of the prettiest love songs of all time and the spaghetti western, Sergio Leone-riffing ‘The Hammer Song’ is another highlight, but overall it’s not quite the most fertile offering from the Seeds.Ĭave’s old band The Birthday Party split in 1983. On which a loved up, post-rehab Nick Cave ditches the devil and embraces a new, delicate approach.
Ranking all of their LPs is a tough task indeed and though it’s certainly fair to say that they’ve never released a duff record, some of their releases are a wee bit more majestic than others. With 15 albums since the release of their 1984 debut ‘From Her To Eternity’, the Seeds an amazingly productive bunch, which is even more impressive when you consider Nick’s bouts with heroin addiction, a drug which hardly makes you feel like getting up early in the morning and heading down to the recording studio.
It’s been 30 years since the release of Nick Cave And The Bad Seeds’ second album, ‘The Firstborn Is Dead’, a record notable not just for its stark, monochrome cover, but also for its brooding, menacing take on the American South.
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