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4.7 out of 5 stars14
4.7 out of 5 stars
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This debut solo album by Cave has grown in stature down the years. The mood is Goth, the songs are mostly folkie laments, both lyrically and melodically impressive, his voice is like dark red velvet and the whole is dark, brooding and atmospheric. With the superb backing of Bad Seeds Blixa Bargeld, Mick Harvey, Barry Adamson and Anita Lane, this album is just perfect in its blood-cuddling rawness. I love the eerie cover of Leonard Cohen's Avalanche, whilst the striking images in Cabin Fever elevates an ordinary tune into the unforgettable. Well Of Misery stands out for its interesting vocal arrangement. Cave's cover of Elvis' In The Ghetto is quite stunning. The title track is an anguished and harrowing love song with atmospheric vocal samples and industrial infusions. With these songs Cave established himself in the great tradition of artists like Cohen, Richard Thompson (in his dark moments), Tom Waits, Peter Murphy and Michael Gira, as a master of the deep, dark lament.
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on 8 November 2010
I have known and loved Nick Cave's work since the 80s. I have owned these recordings on the original 33 rpm, then CD and I was dubious to flog out even more of my hard earned dosh on yet another format change. But I'm glad I did. This music deserves to be heard at its very best potential. The clarity is bob on. And the bonus DVD interviews and original music videos are highly enjoyable and puts the body of work into context. And makes it just that bit more spine tingling...

So yes, go on buy it.

Viva Mr. Cave!
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Review of the vinyl, still pristine after 30 years and countless spins this is the drum and bass plus the vocals of added despair as they slide into a paired down and twanging longing for solace. The quietude occuring after the cacophony of the Birthday Party diminished into self destruction and mysanthropic loathing. Just as Bowie caught Berlin angst pre punk this trappped and then bottled it in the post.

Nick found the emotional wrath of the Delta Blues, not the twiddly dum bangaplunk finger fuddling of the late sixties, but the raw rasping hollow voiced black men singing from the end of time about fifty states of despair. Cotton fields of Dixie backstoopers dragged into northern rote machine factories from the shackled, beaten and splayed populations, finally armed with a guitar and electricity. Harmonics in hand they ground out a soul poetry of utter bleakness, all couched in oblique lyrics of having the "blues"- clinical depression to you and me. Except they transcended the diagnosis to deliver some of the most caustic acebral visceral music ever wrought from the human frame.

Nick post BP tapped into this vein and reshaped it into a white angst that swam in tandem with the orginators- Son House, Blind Lemon Jefferson, Robert Johnson, Bessie Smith, Johnny Lee Hooker, Leadbelly and Screaming Jay Hawkins plus countless others.

Nick ensnared the ghostlike essence, its utter barren shake of the fist at a silent ky, the timbres and resonances of the music arise, rather than plunking fingers on too many bar chords and note notations. The crucial differnce between this and the 60's plank spankers is technique versu soul, although Robert Johnson could do both. Exceptions to a rule always exist in the shapes of things to come; Pretty Things, Them, early Who, Yardbirds and Floyd.

So this offering is built on the backs of Black Paul,the death of the dream, Saint Huck lost somewhere on the Mississippi, she loves me she loves me not Wings of Flies, Cabin Fever and the hot and fevered From Her to Eternity, a tour de force, wrapped up in a fevered dream in Wings of Desire. Here on this record it is beaten out in a spleen. Nick was lost somewhere in his bile duct and splashes it all over the record in a splenetic delivery. These were the times of dug wrought emotion, the antithesis to the poptones of mainstream mainliners. They may have had tainted loves but this was sheer pain doused in buckets of blood.

So if you were hesitating; don't tip your toe, if you are expecting sacharine 80's Goth or a king of kitsch performance- this lies somewhere under the rainbow digging a shallow grave for its long lost love.
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on 10 May 2002
As a long time Seeds fan, this and "Let Love In" are the two best albums. Most of the band's LPs contain a couple of tracks you'd never want to be without (most of which are collected on the Best Of album), and a lot of fairly dull stuff, but with these two it's the other way round. "Saint Huck" is a classic ballad of death and paranoia in the southern swamps - like "Tupelo" off the next album (which is pretty much a reprise of this track), it transports you to that oppressive climate. "Cabin Fever" will strike a chord with anybody who's been to sea for long periods. The title track shows Cave's sensitivity to the lonely and misunderstood among us, in this case a murderous voyeur. And so on. Musically the album also works for me - an atmosphere of controlled menace and pent-up aggression, as opposed to the unleashed aggression of the best Birthday Party tunes ("Dead Joe", "Sonny's Burning"). I actually like the spare, lo-fi "under-produced" sound.
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on 7 February 2005
I got this album after it was recommended to me by a friend, and I'm very glad I forked out the cash for it. The songs have more of an aggression to them than Cave's other albums, and is a definite must-have for fans of his previous band, The Birthday Party. The music flows perfectly, and tracks like 'In The Ghetto' and title track 'From Her To Eternity' really bring the album to life. This is the debut album from Nick Cave and his backing group The Bad Seeds, and is a must in any serious record collection.
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on 17 September 2014
The item arrived exactly as described, and before I expected it. Buy with confidence.
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on 3 November 2009
I had this on LP, so only bought this version for the surround.
Not very adventurous on the rear channels, but unlike other 'surround' releases at least the sound here is clear and uncompressed.

Musically it is very powerful, I bet Leonard Cohen is jealous of this rendition of 'avalanche'
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on 24 September 2009
When this album was produced Nick Cave was something of a Pete Doherty style enigma, talented but beyond the boundaries and seemingly unlikely to last too much longer. Set against that it is perhaps possible to attempt a guess at where this album comes from, the band seem like they are trying to beat (or maybe bludgeon) the form into something that fitted with their particular, peculiar creativity - the result sounds like artists with writers block who are using semtex, LSD and jack hammers to address the problem - not, you are maybe thinking, the makings of a great work of art but then I'm not so sure.

The thing is, this album is like nothing you have ever heard before, so you can't just dismiss it. It is difficult to either criticise it or even to compare it to anything else, it is astonishing, uncompromising and shocking. Do I like it? Well yes, very much, but I don't really know exactly why, and when I first listened to it I hated it, without really knowing why that was either. I guess I like this in the same way that a rabbit likes headlights, it is menacing but mesmerising and deep.

In terms of the individual tracks it is possible to pick out highlights (Cabin Fever, St Huck, From her to Eternity) but really if the album works it is as a single, heavyweight statement of disenchantment with love, creativity, life and god knows what else - if I am honest I really don't understand what Cave and the Bad Seeds are trying to say or do here, maybe they didn't either.

Anyhow if you decide you like (or even adore) this album I wouldn't go on and recommend it to your friends, they will mostly think you have gone balmy if you do, and any that don't will probably have themselves sectioned fairly soon afterwards.

So why give it 5 stars? How about because its there?
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on 14 April 2001
After reading other reviews on more recent Cave's albums and see that most of them are rated 5 stars and this old stuff (my 1st from Cave) got only a 3 stars, I found it quite unfair. This album remains for me the best of this band (with "do you love me", I have to admit). It is both rough and sweet. Most of songs are surrealistic, especially when you pay a little attention to the lyrics while listening outloud with a good headset. Nicolas
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on 8 November 2003
This is definately one of Caves best albums. It is a tense, menacing listen and sets a very dark atmosophere. Cabin Fever is fantasticly haunting, as well as suprisingly catchy, while Well Of Misery is a precursor to some of Caves later work, such as The Hammer Song. This album is similar to the later Birthday Party songs, such as Mutiny In Heaven and Pleasure Avalanche, the heroin obviously effecting the music.
On top of this fantastic album you also get two of the B-sides from the Tupelo single on the CD version, In The Ghetto, a cover of the Elvis ballard (in my opinion superior to the orignal) and The Moon Is In The Gutter, an excellent song which deserved to be on an album proper, rather than relegated to a single.
So if you're a fan of The Birthday Party or pre 90's Bad Seeds you'll love this album!
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