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Product details
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See all 17 customer reviews...
Track Listings
| 1. Into My Arms |
| 2. Time Tree Arbour |
| 3. People Ain't No Good |
| 4. Brompton Oratory |
| 5. There Is A Kingdom |
| 6. Are You The One 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 |
Product Description
Amazon.co.uk Review
After a career spent tearing down the world with horror and disgust, Nick Cave finally sounds ready to start rebuilding from scratch. He has 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, Nick actually finds love; a strange, twisted, doomed love, perhaps--but love nevertheless. On The Boatman's Call, 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 (courtesy of Dirty Three's Warren Ellis)- -Cave employs traditional folk song structure and simplicity to weave tales saddened less through tragedy than 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 Bruce 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, its 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
Description
Following up the almost pornographically violent MURDER BALLADS, Nick Cave and the Bad Seeds switch gears and come up with an album of...you guessed it, love songs. Though known to many as the Stephen King of rock and roll, Cave has a way with lush, heartfelt ballads, and on THE BOATMAN'S CALL he gets to flex his romantic muscles. Still, with Australia's maven of morbidity at the reigns, you can bet you're not exactly venturing into Elton John territory here.
Cave's romanticism tends more toward Jacques Brel than Air Supply. THE BOATMAN'S CALL is full of sparsely-arranged, piano-based ruminations on love gone up in flames. In "Brompton Oratory" Cave observes that "No God up in the sky/No devil beneath the sea/Could do the job that you did/Of bringing me to my knees". Even in the midst of an idyllic situation, as in "People Ain't No Good", Cave can't help but bring his misanthropic tendencies to the fore. The Bad Seeds take a more subdued rolethis time around, providing subtle accompaniment to Cave's Dating Game From Hell.
After a career spent tearing down the world with horror and disgust, Nick Cave finally sounds ready to start rebuilding from scratch. He has 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, Nick actually finds love; a strange, twisted, doomed love, perhaps--but love nevertheless. On The Boatman's Call, 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 (courtesy of Dirty Three's Warren Ellis)- -Cave employs traditional folk song structure and simplicity to weave tales saddened less through tragedy than 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 Bruce 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, its 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
Description
Following up the almost pornographically violent MURDER BALLADS, Nick Cave and the Bad Seeds switch gears and come up with an album of...you guessed it, love songs. Though known to many as the Stephen King of rock and roll, Cave has a way with lush, heartfelt ballads, and on THE BOATMAN'S CALL he gets to flex his romantic muscles. Still, with Australia's maven of morbidity at the reigns, you can bet you're not exactly venturing into Elton John territory here.
Cave's romanticism tends more toward Jacques Brel than Air Supply. THE BOATMAN'S CALL is full of sparsely-arranged, piano-based ruminations on love gone up in flames. In "Brompton Oratory" Cave observes that "No God up in the sky/No devil beneath the sea/Could do the job that you did/Of bringing me to my knees". Even in the midst of an idyllic situation, as in "People Ain't No Good", Cave can't help but bring his misanthropic tendencies to the fore. The Bad Seeds take a more subdued rolethis time around, providing subtle accompaniment to Cave's Dating Game From Hell.
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