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‘The Pharmacy’: A Nick Cave-themed show with Bad Seed Jim Sclavunos & ‘20,000 Days on Earth’


 
Gregg Foreman’s radio program The Pharmacy is a music / talk show playing heavy soul, raw funk, 60′s psych, girl groups, Krautrock. French yé-yé, Hammond organ rituals, post-punk transmissions and “ghost on the highway” testimonials and interviews with the most interesting artists and music makers of our times…

It’s a Nick Cave-themed episode this time with Bad Seeds drummer Jim Sclavunos and 20,000 Days on Earth directors Iain Forsyth and Jane Pollard.

Sclavunos has played with The Cramps, Sonic Youth, and Lydia Lunch and he learned studio production from Big Star’s Alex Chilton. He’s also got a great story about Lux Interior meeting Iggy Pop.

Iain Forsyth & Jane Pollard discuss the making of 20,000 days on Earth and working behind-the-scenes with Nick Cave, PJ Harvey, Blixa Bargeld, Ray Winstone and Kylie Minogue.


 
Mr. Pharmacy is a musician and DJ who has played for the likes of Pink Mountaintops, The Delta 72, The Black Ryder, The Meek and more. Since 2012 Gregg Foreman has been the musical director of Cat Power’s band. He started dj’ing 60s Soul and Mod 45’s in 1995 and has spun around the world. Gregg currently lives in Los Angeles, CA and divides his time between playing live music, producing records and dj’ing various clubs and parties from LA to Australia.

Setlist:

Intro
Depth Charge Ethel - Grinderman
Soupy - Maggie Thrett
Intro 1/ El-Die-Bie! - Rx / Dave Pike Set
Jim Sclavunos Part One
Loose - The Stooges
Taking Too Long - The Wipers
Shadazz - Suicide
Intro 2 / Cavern -  Rx / Liquid Liquid
Jim Sclavunos Part Two
Diddy Wah Diddy - 8-Eyed Spy
I Can’t Stand Myself - James Chance and the Contortions
Sunshine of Your Love - Spanky Wilson
Intro 3 / Jesus - Rx / The Gospel Surfers
20,000 Days on Earth - Iain and Jane Part One
A Dead Song - The Birthday Party
Neat Neat Neat - The Damned
My Tulpa (Rx Edit)  - Magazine
Intro 4 / The Noose - Rx / The Executioners
20,000 Days on Earth - Iain and Jane Part Two
The Witness Song (Excerpt) - Nick Cave and the Bad Seeds
Jim Sclavunos Conclusion
Miniskirt Blues - The Cramps feat . Iggy Pop
Black Train - The Gun Club
Nobody’s City - Jeffrey Lee Pierce Project / Iggy Pop with Nick Cave (feat. Thurston Moore)
Intro 5 / GreyHound - Rx / The Nightmares
Buddy - Snapper
Damaged - Primal Scream
Outro

 
You can download the show in its entirety here.
 
Below, behind-the-scenes of 20,000 Days on Earth:

Posted by Tara McGinley | Leave a comment
Nick Cave hates Twitter
09.10.2014
11:11 am

Topics:
Amusing
Music

Tags:
Nick Cave
Twitter


Photo by Derek Ridgers.
 
Last year on February 19, 2013, Nick Cave did a Q&A on Twitter for his 15th studio album Push the Sky Away. And as one would expect—c’mon it’s Nick Cave on Twitter of all things!!!—the Black Crow King hated every damned minute of it.

Some might find Cave’s answers appropriately cranky. I found them to be completely hilarious.

 

 

 

 

 
Aaannnd drumroll, please…


 
via Cherrybombed

Posted by Tara McGinley | Leave a comment
Trailer for Nick Cave in ‘20,000 Days on Earth’


 
20,000 Days on Earth is a semi-fictional “day in the life” documentary about Nick Cave directed by Iain Forsyth and Jane Pollard. The film combines mostly unscripted scenarios depicting Cave’s creative process, Cave interacting with songwriting partner Warren Ellis, Kylie Minogue and actor Ray Winstone, watching Scarface with his twin teenage sons and some in concert performance footage from a show at the Sydney Opera House. Cave’s voice-overs were scripted and each shot was planned out like it would be in a Hollywood film.

The film is currently on a sort of road show put together by Alamo Drafthouse Films that seems to bump into the current Bad Seeds American tour at several select junctures. Remaining screening dates here. The UK premiere of 20,000 Days on Earth at London’s Barbican will take place on September 17th and be broadcast live to 150 participating movie theaters.
 

Posted by Tara McGinley | Leave a comment
Nick Cave talks songwriting, Hell-fire and redemption but tells no jokes


 
Nick Cave lost his innocence watching Johnny Cash sing. He was about nine or ten years of age, living with his librarian mother and teacher father in rural Wangaratta, in Victoria, Australia. Cave didn’t know much about rock ‘n’ roll, but watching Johnny Cash sing on TV, he suddenly realized:
 

...that music could be an evil thing, a beautiful, evil thing.

For me it was very much the way he began the show. He’d have his back to you in silhouette, dressed all in black, and he’d swing around and say “Hi, I’m Johnny Cash”. There was something that struck me about him, and about the way my parents shifted around uncomfortably.

 
After joining the school choir, Cave harbored his own ambitions for a career in music. His first major success came with The Birthday Party, five chaotic individuals in search of a tune, where Cave unleashed his own “evil thing,” a vision of hell, fueled by drink, drugs, and his constant reading of the Hell-fire and damnation of the Old Testament.
 

The brutality of the Old Testament inspired me, the stories and grand gestures. I wrote that stuff up and it influenced the way I saw the world. What I’m trying to say is I didn’t walk around in a rage thinking God is a hateful god. I was influenced by looking at the Bible, and it suited me in my life vision at the time to see things in that way. .... After a while I started to feel a little kinder and warmer to the world, and at the same time started to read the New Testament.

 
Cave was smart enough to know this “solipsism of youth” couldn’t last, and after the band split he returned to home. After a few months, fellow Birthday Party musician, Mick Harvey, suggested they form a band, and so was born Nick Cave and The Bad Seeds.

While we wait for the full release of the biographical drama-documentary on Nick Cave, 20,000 Days on Earth, this edition of Melvyn Bragg’s The South Bank from 2003, presents a revealing portrait of the singer, poet, author, actor, and screenwriter. Cave discusses his influences (from Cash and John Lee Hooker to Nina Simone), inspirations for songs, the key moments in his life, and the importance of being a writer.

The Nick Cave and The Bad Seeds tour of the US and Canada starts this month, details here.
 

 

Posted by Paul Gallagher | Leave a comment
Nick Cave area rugs because… why not?
05.28.2014
08:30 am

Topics:
Amusing
Music

Tags:
Nick Cave
Home decor
rugs


Find it here.
 
Paraphrasing Bongwater’s Ann Magnuson, “There are Nick Cave area rugs? I want one!” And it’s my solemn blogging duty to share them with you, too. The rugs range in size from 2’ x 3’ - 4’ x 6’ and are made with polyester fibers (too bad I was really hoping for wool!)

From her to domesticity! Liven up any room in your house or apartment with these Nick Cave area rugs, won’t you?


Find it here.
 

Find it here.
 

Posted by Tara McGinley | Leave a comment
Kid Congo Powers on life with The Cramps, The Gun Club and Nick Cave on ‘The Pharmacy’


 
Gregg Foreman’s radio program, The Pharmacy, is a music / talk show playing heavy soul, raw funk, 60′s psych, girl groups, Krautrock. French yé-yé, Hammond organ rituals, post-punk transmissions and “ghost on the highway” testimonials and interviews with the most interesting artists and music makers of our times…

Legendary guitarist Kid Congo Powers is this week’s special guest. Kid has played with The Gun Club, The Cramps, Nick Cave and The Bad Seeds and his own group, The Pink Monkey Birds (touring the US in February, don’t miss them!)

Listen in on the conversation as Kid discusses how Poison Ivy once asked him if he was willing to sacrifice a finger to be in The Cramps… How playing with Nick Cave and The Bad Seeds inspired him to quit drinking…. and how he learned to play the blues from Jeffery Lee Pierce.
 

 
Mr. Pharmacy is a musician and DJ who has played for the likes of Pink Mountaintops, The Delta 72, The Black Ryder, The Meek and more. Since 2012 Gregg Foreman has been the musical director of Cat Power’s band. He started dj’ing 60s Soul and Mod 45’s in 1995 and has spun around the world. Gregg currently lives in Los Angeles, CA and divides his time between playing live music, producing records and dj’ing various clubs and parties from LA to Australia.
 
Setlist:

Mr.Pharmacist - The Fall
Shot Down - The Sonics
Bert’s Apple Crumble - The Quik
Rx Intro Part One - Blind Man Can See It - James Brown
Kid Congo Interview Part One
New Kind of Kick - The Cramps
Jaguar Shake - Les Jaguars
Akula Owu Onyeara - The Funkees
I Heard it Through the Grapevine - The Slits
Rx Intro Part 2 - Sliced Tomatoes - Just Brothers
Kid Congo Part Two
Preaching the Blues - The Gun Club
The Brother’s Gonna Work it Out - Willie Hutch
Stand Up and Be Counted - The Equals
Caress - The Brian Jonestown Massacre
Kid Congo Interview Part Three
Deanna - Nick Cave and the Bad Seeds
Rx Intro Part - Jumping Jack Flash - Ananda Shankar
Kid Congo Interview Part Four
Bo Bo Boogaloo - Kid Congo + The Pink Monkey Birds
Liberation Conversation - Marlena Shaw
Justine - Don & Dewey
Oh Oh Mojo - Volcanoes
Rx Outro - Big City - Spacemen 3
Mr.Pharmacist - The Fall

 
You can download the entire the show here.
 

“Haunted Head” by Kid Congo and The Pink Monkey Birds. Directed by Rob Parrish.

Posted by Tara McGinley | Leave a comment
Scraping Foetus Off The Wheel: Nailing a whole lot of ‘Hole’ and ‘Nail,’ an exegesis


JG Thirlwell in 1987, portrait courtesy Richard Kern

This is a guest post written by Graham Rae.

“This isn’t the melody that lingers on/it’s the malady that malingers on.” – Foetus.

Flashbacktrack: for reasons that I am not going to discuss, I was in a great deal of mental and emotional pain in August of 2010. I often found myself listening constantly to the albums Hole (celebrating the 30th anniversary of its release this year) and Nail (30th anniversary next year) by Scraping Foetus Off The Wheel, which I have now been listening to for a quarter of a century. At that time, and others preceding it, these two therapeutic sonic works helped eat my pain and keep me sane. The reasons why they did, and why they will no doubt continue to do so in the skull-suture future, are what I intend to discuss here.

James George Thirlwell, the one-manic band behind Scraping Foetus, was born in Melbourne in Australia in 1960. He spent the first 18 years of his life being down in Down Under, saying that he hated every minute in the country. He attended an all-boy’s Baptist School for twelve years, singing in a choir and playing cello, the school experience a life-scarring one that resonates through a lot of his work to a greater or lesser degree. “I’ve put myself through a deprogramming process so I’ve blocked out most of my childhood, but I remember as I grew up I felt like I didn’t want to be where I was,”(1) he noted later. “I remember getting a bad report card that said my studies were okay but ‘James needs to have more faith’. I was pro-evolution and I’m an atheist to this day.”(2)

Thirlwell flirted with and dropped out of art school, but his disaffection for his art-content-informative (de)formative years soon led him across the ocean to London, where his Scottish mother had studied music. He told his parents he was going on there holiday and quite simply did not return to Australia, which had been his plan all along. He’s rarely been back to the land of his birth since; there are no Antipodean (or Scottish) melodies in his music that I have ever heard. Scorched earth policy from lifestart to teen angst finish.

Finding himself in the post-punk-blitzkrieg soundruins of England’s capital, the displaced Australian got himself a job at Virgin on Oxford Walk, which meant he could keep an ear and eye on the latest musical releases as they came out. After some sonic noodling in a couple of undergroundsound outfits (pragVEC, Nurse With Wound, Come), Thirlwell put out his first Foetus-themed release in January 1981, Foetus Under Glass doing OKFM/Spite Your Face.

Before we go any further, I have to explain something to the Foetus virgins in the audience. In order, apparently, to let the music speak in tongue twisters for itself, Thirlwell has recorded using more Foetus-themed pseudonyms and bandwagons than I would care to remember for three decades, but since 1995 has used Foetus as his main moniker. And what is the significance of that six-letter babybrand? Well, Thirlwell has been known to say with a shy sly wry grin it’s just an embryonic human, and that he likes the connotations of potential. But one thing’s for sure: with this mercurial never-miss-a-beat pimp of the perverse, you can never be quite be sure.

There have only ever been three Scraping Foetus Off The Wheel releases. Of the bizarre and slightly disturbing name, Thirlwell says: “My mental image of that is a foetus being tied to a railway track and being run over by a train and the engineer going, ‘Oh shit, not another!’. It’s a strong image and I like it. The word foetus is great, you know. I love f-o-e-t-u-s. I love the fact the oe is ee. I see it more in an abstract sense. It’s like a vague, abstract term.” (3)

Eventually-just-Foetus’s first few releases were cheaply recorded in London, with tiny numbers pressed for lack of cash, making small raindrop-in-puddle splashes in the British music press. Although he met his several-years-long girlfriend, firespitter No Wave punk provocateur Lydia ‘Lunch’ Koch during this time (more on which later), hanging out with her in a Brixton high rise flat, Thirlwell still wasn’t happy. He had no money, but fortuitously met Stevo of Some Bizzare, records through his Virgin job. This sonic-malefactor benefactor offered him unlimited 24-track studio time free, which Thirlwell jumped on, pulling mad 24-to-36-hour shifts to produce a full album and two 12” tracks.
 

 
The end result was the album Hole, recorded in May-October 1983 in London. The name shows its composer’s penchant for four-letter one-syllable titles. “You know, each (record title) has triple entendres. Like, say Hole, for example. It can mean hole in a sexual sense, hole as in a hole in the wall, or hole as in the hole that you descend into Hell with.”(4) The recording was originally conceived as a six-song album, with a three-minute rendition of “Clothes Hoist” for the whole of Hole’s first side. “The trouble is that as I worked on the song it started growing into a monster and the others just came from nowhere.”(5)
 
Read more after the jump…
 

Posted by Richard Metzger | Leave a comment
Nick Cave on physics and Miley Cyrus in new ‘Higgs Boson Blues’ video
12.09.2013
10:01 am

Topics:
Movies
Music

Tags:
Nick Cave
Iain Forsyth and Jane Pollard


 
A powerful live version of the epic “Higgs Boson Blues,” from Nick Cave and The Bad Seeds’ stellar Push the Sky Away album, is the group’s latest video. Shot at London’s 3 Mills Studios by Iain Forsyth and Jane Pollard, Cave is joined by a stripped down unit consisting of Warren Ellis, Jim Sclavunos, Barry Adamson and Martyn Casey.

This soars like a motherfucker. Might even be better than the album version.

Forsyth and Pollard’s semi-fictional documentary of 24 hours in the life of Nick Cave, 20,000 Days On Earth will be unveiled next month at the 2014 Sundance Film Festival.
 

Posted by Richard Metzger | Leave a comment
‘Dandy’: Nick Cave, Blixa Bargeld and Nina Hagen make an art house film


 
Loosely based on Voltaire’s satire Candide, Peter Semple’s film Dandy hangs together around a selection of seemingly unconnected scenes featuring Nick Cave, Blixa Bargeld, Nina Hagen, Lene Lovich and Yello’s Dieter Meier. There’s no real story to speak of, rather:

...a floating dreamlike journey that meanders from Hamburg to Berlin, Madrid, New York and Tokyo to the Ganges river, the Himalayan mountains and on to Marrakesch and Cairo. It is a collage reflecting sensations that deal with religion, blues, art, the state of being lost … more of a wondering, a stumbling…

You can tell it’s an art house film as Mr. Cave is credited as “Nicholas Cave” here, and later explained his appearance in the movie:

“It was an experimental film by an Australian/German director called Peter Semple who paid us large sums of money to sit in front of his camera and lay with a gun or a guitar. Me and Blixa were both involved in it. We were very poor at the time.”

In a more considered response, reviewer Emanuel Levy wrote:

Dealing with self-estrangement and, yes, lack of communication and love, Dandy is pregnant with heavy symbolism and simplistic allegories. Its recurrent metaphors consist of close-ups of a dead fish and a butterfly captured in a wine goblet. Drawing all too obvious analogies between the animalistic and human worlds, the image of the real butterfly is crosscut with a human butterfly, veteran Japanese performer Kazuo Ohno, who dances a Pas de Deux with his son Yoshito to the exquisite rendition of “City Called Heaven” by opera singer Jessye Norman.

Unfortunately, the continuous flow of inventive images and sounds is too often interrupted by a superfluous and unnecessary narration about nuclear, violence and torture. And as could be expected of such a film, there are brief philosophical assertions about the meaning of life and death and the dialectical relationship between art and life.

It’s all strangely compelling, though (unfortunately) it never actually goes anywhere. You will find Nick Cave covering The Moody Blues (as well as playing Russian roulette and showing-off his gun-slinging skills),  Bargeld looking for directions and singing “Death is a Dandy on a Horse” (from which the film’s title comes), and an unaccompanied duet from Hagen and Lovitch.
 

 
A 1988 interview with Nick Cave, after the jump…

Posted by Paul Gallagher | Leave a comment
Soundtracks: Cinematic themes from Nick Cave, Sonic Youth, Tom Waits, John Cale and more


 
Yesterday I blogged about an amazing music mix from ‘70s Sexploitation films. This cinematic compilation is a lovingly curated mixtape of soundtrack and spoken word work which includes Tom Waits, Nick Cave & Warren Ellis, John Cale, Neil Young, Sonic Youth and many others. From Fluid Radio on SoundCloud.

Do enjoy!

Tracklist:

Nick Cave & Warren Ellis - The Assassination of Jesse James by the Coward Robert Ford (2007) by Andrew Dominik
Gilles Deleuze on cinema
Bernard Hermann - Taxi Driver (1976) by Martin Scorcese
Tom Waits & Crystal Gayle - One From The Heart (1982) by Francis Ford Coppola
Antoine Duhamel - Méditerranée (1963) by Jean-Daniel Pollet
Jonny Greenwood - Bodysong (2003) by Simon Pummell
Maya Deren on the creative process
John Zorn - In the Mirror of Maya Deren (2002) by Martina Kudlacek
Mihály Vig - Werckmeister Harmonies (2000) by Béla Tarr
Carmine Coppola - Apocalypse Now (1979) by Francis Ford Coppola
Mogwai - Zidane: A 21st Century Portrait (2004) by Douglas Gordon & Philippe Parreno
Tindersticks - Trouble Every Day (2000) by Claire Denis
Angelo Badalamenti - Twin Peaks (1990) by David Lynch
Arvo Pärt - Je Vous Salue Sarajevo (1995) by Jean-Luc Godard
Elysian Fields - Sombre (1998) by Philippe Grandrieux
Hilmar Hom Hilmarsson - In the Cut (2003) by Jane Campion
John Cale - Le Vent de la Nuit (1998) by Philippe Garrel
Neil Young - Dead Man (1995) by Jim Jarmusch
Ben Frost and Daniel Bjarnason - Solaris (1972-2012) by Andreï Tarkovski
Lech Jankowski - Institute Benjamenta (1995) by The Brothers Quay
Popol Vuh - Aguirre, der Zorn Gottes (1972) by Werner Herzog
Werner Herzog on the jungle
Sonic Youth - Pola X (1999) by Leos Carax
Danny Elfman & Elliot Smith - Good Will Hunting (1997) by Gus Van Sant
 

 
Via Boing Boing

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Nick Cave doesn’t want MTV Awards’ nomination for ‘Best Male Artist’ of 1996
09.17.2013
10:25 am

Topics:
Heroes
Music

Tags:
Nick Cave
MTV Music Awards


 
Nick Cave’s polite, yet firm 1996 letter to MTV event organizers following his nomination for “Best Male Artist” for that year’s MTV Music Awards.

21 Oct 96

To all those at MTV,

I would like to start by thanking you all for the support you have given me over recent years and I am both grateful and flattered by the nominations that I have received for Best Male Artist. The air play given to both the Kylie Minogue and P. J. Harvey duets from my latest album Murder Ballads has not gone unnoticed and has been greatly appreciated. So again my sincere thanks.

Having said that, I feel that it’s necessary for me to request that my nomination for best male artist be withdrawn and furthermore any awards or nominations for such awards that may arise in later years be presented to those who feel more comfortable with the competitive nature of these award ceremonies. I myself, do not. I have always been of the opinion that my music is unique and individual and exists beyond the realms inhabited by those who would reduce things to mere measuring. I am in competition with no-one.

My relationship with my muse is a delicate one at the best of times and I feel that it is my duty to protect her from influences that may offend her fragile nature.

She comes to me with the gift of song and in return I treat her with the respect I feel she deserves — in this case this means not subjecting her to the indignities of judgement and competition. My muse is not a horse and I am in no horse race and if indeed she was, still I would not harness her to this tumbrel — this bloody cart of severed heads and glittering prizes. My muse may spook! May bolt! May abandon me completely!

So once again, to the people at MTV, I appreciate the zeal and energy that was put behind my last record, I truly do and say thank you and again I say thank you but no…no thank you.

Yours sincerely,

Nick Cave

Via Letters of Note and Nick Cave Online

Posted by Tara McGinley | Leave a comment
Read the ‘Gladiator 2’ script that Nick Cave wrote for Russell Crowe
09.08.2013
09:17 am

Topics:
Movies
Music

Tags:
Nick Cave
Russell Crowe

Nick Cave and Russell Crowe
 
Marc Maron celebrated July 4 this year by releasing a lengthy podcast interview with Nick Cave, in which Cave informed Maron that Russell Crowe asked him to write the sequel to Crowe’s Oscar-winning 2000 movie Gladiator. Cave complied, delivering what sounds like a phantasmagorical and cosmological battle spanning all of human history since the days of Christ.

Cave’s intended title for the project was Christ Killer. Sadly, Crowe didn’t go for it.

Here’s a transcript of the section where they talk about the Gladiator 2 project. If you want to listen to it, you can find it here; the Crowe bits start exactly at the one-hour mark.

Maron: Do you know Russell Crowe?

Cave: I do know Russell, yeah. I know Russell really well.

Maron: You do? How’d that come about?

Cave: He read the script of The Proposition, which is a film I wrote with John Hillcoat which is an Australian western which he championed and was almost in but that didn’t work out. That didn’t work out, but eventually he rang me up and asked if I wanted to write Gladiator 2….

Maron: Of course! If you want that movie, who are you going to go to? Nick Cave is the guy!

Cave: Which, for someone who had only written one film script, it was quite an ask.

Maron: Did you do it?

Cave: I did, yeah.

Maron: And what happened with that script?

Cave: It didn’t make it.

-snip-

Maron: What was the story for the second Gladiator?

Cave: Well, that’s where it all went wrong. Very briefly, it was, I’m like, “Hey, Russell, didn’t you die in Gladiator 1?” He’s going, “Yeah, you sort that out.” So, he [Maximus] goes down to purgatory and is sent down by the gods, who are dying in heaven because there’s this one god, there’s this Christ character, down on Earth who is gaining popularity and so the many gods are dying so they send Gladiator back to kill Christ and all his followers. This was already getting… I wanted to call it Christ Killer, and in the end you find out that the main guy was his son, so he has to kill his son and he’s tricked by the gods and all of this sort of stuff. So it ends with, he becomes this eternal warrior and it ends with this 20-minute war scene which follows all the wars in history, right up to Vietnam and all that sort of stuff and it was wild.

-snip-

Maron: That sounds amazing!

Cave: It was a stone-cold masterpiece.

Maron: How did Russell Crowe react to that?

Cave: I said, “What did you think?” “Don’t like it, mate.” “What about the end?” “Don’t like it, mate.”

Maron: That’s great! Do you like that script?

Cave: I enjoyed writing it very much. I enjoyed writing it because I knew on every level that it was never going to get made.

Maron: Christ Killer: The Second Gladiator!

Cave: Let’s call it a popcorn dropper.

If you’d like to read the script, here it is. Below, Nick Cave gets his gladiator on, in John Hillcoat’s outrageous video for Grinderman’s “Heathen Child.”
 

Posted by Martin Schneider | Leave a comment
Nick Cave, coolest man alive, falls right on his ass during concert in Iceland
07.08.2013
09:11 am

Topics:
Heroes
Music

Tags:
Nick Cave
All Tomorrow's Parties


 
One of the highlights of Nick Cave and the Bad Seeds’ current set list as they tour in support of their fine Push the Sky Away album, is the astonishing “Jubilee Street,” one of the best songs Cave and crew have ever done. It brought the fucking house down when I saw them in Los Angeles earlier this year.

But at the All Tomorrow’s Party show in Iceland recently, after some particularly frenzied dancing that would put men half his age to shame, the Black Crow King made a wrong step and fell off the stage. Hard. (This happens around the 8:40 mark. You’ll note what he’s singing as he drops: “I’m flying. Look at me now. I’m flying. Look at me now.” Whoops!)

But have no fear, no mere mortal he, Cave returns to the stage almost immediately and finishes the song with all the aplomb of a demonically possessed Jerry Lee Lewis. Christ, talk about a recovery! Even falling on his ass in public garners Nick Cave more cool points!
 

Posted by Richard Metzger | Leave a comment
Nick Cave’s amazing lecture on songwriting: ‘The Secret Life of the Love Song’
06.02.2013
07:14 am

Topics:
Literature
Music

Tags:
Nick Cave


 
Nick Cave once suggested that, with The Boatman’s Call, he “was making a big heroic melodrama out of a bog-standard rejection”—the rejection, famously, being at the pink-and-chipped fingernails of PJ Harvey. Regardless, he succeeded in squeezing some fairly special songs out of that heartbreak, and some of them—“West Country Girl,” “Far From Me” and “People Ain’t No Good”—receive especially beautiful and intimate recitations in the course this 1999 lecture on songwriting, “The Secret Life of the Love Song,” written for the Vienna Poetry Festival and delivered on September 24th of that year:

To be invited to come here and teach, to lecture, to impart what knowledge I have collected about poetry, about song writing has left me with a whole host of conflicting feelings. The strongest, most insistent of these concerns my late father who was an English Literature teacher at the high school I attended back in Australia. I have very clear memories of being about twelve years old and sitting, as you are now, in a classroom or school hall, watching my father, who would be standing, up here, where I am standing, and thinking to myself, gloomily and miserably, for, in the main, I was a gloomy and miserable child, “It doesn´t really matter what I do with my life as long as I don´t end up like my father”. At forty years old it would appear that there is virtually no action I can take that does not draw me closer to him, that does not make me more like him. At forty years old I have become my father, and here I am, teaching.

The lecture itself, which provides no less than a truncated artistic autobiography along with Cave’s creative philosophy at the time, is very much a product of that occasionally rather humorless period of his work, but it’s still compelling stuff, and wonderfully read in Cave’s deeply sonorous, almost didgeridoo-esque speaking voice.
 

Posted by Thomas McGrath | Leave a comment
‘Dead Joe’: Poetry slam with Nick Cave, 1992
05.16.2013
02:46 pm

Topics:
Amusing
Music

Tags:
Nick Cave
poetry


 
Nick Cave reads the lyrics to “Dead Joe” and manages to keep a straight face.
 

Posted by Richard Metzger | Leave a comment
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