Nick Cave & the Bad Seeds - The Boatman's Call
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Artist: Nick Cave & the Bad SeedsEdition: Music CD
CD Release Date: 1997-03-04
Music Label: Reprise / Wea
Soundtracks:
- Into My Arms
- Lime-Tree Arbour
- People Ain't No Good
- Brompton Oratory
- There Is A Kingdom
- (Are You) The One I've Been Waiting For?
- Where Do We Go Now But Nowherer?
- West Country Girl
- Black Hair
- Idiot Prayer
- Far From Me
- Green Eyes
Free Music Notes for The Boatman's Call
Free Music Review: The Boatman's Call
Hit: 4 Stars
Nick Cave & The Bad Seeds-The Boatman's Call ****
More stripped and raw than his previous work. Less accompaniment than ever before; which is both good and bad. Sometimes less is more, but there are places here which could benefit greatly from more of a backing.
Though it has something to say for it, The Boatman's Call. This is refreshing in all meaning of the term. When originally released in 1997 this was like a new start for Cave. Unlike anything else he had ever released and yet it sounded more like him than almost anything he had ever released previous. His influences are more prominent as well, hearing Tom Waits more than ever but with an injection of post VU Lou Reed.
'Into My Arms' ushers in the album very much like Patti Smith did Horses. "I don't believe in an interventionist God/ But I know, darling, that you do.." Dark, and warm, almost down playing Smiths take on 'Gloria.' 'Lime-Tree Arbour' feel anxious while 'Black Hair' as subdued as it is would have been right at home on Reed's own New York. 'Green Eyes' closes leaving more to be wanted as it should.
The Boatman's Call is a rare work in such an artists canon. Cave would try to recapture this again on following releases but to no avail. This, his most personal work lets us in to a doomed existence, or what he wants us to believe is a doomed existence, but one with quit and crawling grace. And for that, The Boatman's Call is vital.
The Boatman's Call Poster
After a career spent tearing down the world with horror and disgust, Nick Cave finally sounds ready to start rebuilding from scratch. He's begun to find a quiet grace, and perhaps even beauty, past all the darkness that's long consumed him. Amid the ashes of a world unable to exorcise its demons, Cave actually finds love; a strange, twisted, doomed love, perhaps--but love nevertheless.On The Boatman's Call, Cave's latest collection, the singer-songwriter finds room for the personal, the spiritual, and even the hopeful in his grey psyche. With only the sparest accompaniment--often just a piano or organ, light percussion, and violin (care of Dirty Three's Warren Ellis)--Cave employs traditional folk song structure and simplicity to weave tales saddened less through tragedy as through emptiness. Songs like "Into My Arms" and "(Are You) The One That I've Been Waiting For?" are among Cave's most self-assured and soulful to date. Stripped down and grown up--though still ghoulish and grave--Cave the storyteller has turned into something of a vampire Springsteen.
Ultimately, The Boatman's Call sounds like Cave's attempt to poison his cake and eat it too. For a record so resolute in its denial of divinity, The Boatman's Call's obsession with religious themes and imagery might seem contradictory if they hadn't come from someone like Cave, who fancies himself a fallen angel searching for a ladder back to heaven. Where Gothic meets cathedral, there resides, for better or worse, our dark saint Nick. --Roni Sarig
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