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Nick Cave & The Bad Seeds
Dig !!! Lazarus Dig !!!

Album : Dig !!! Lazarus Dig !!!
Artist : Nick Cave & The Bad Seeds
Release Date : 2008
Lable : Anti
Genre : Rock
Total time : 00:53:34
Total size : 75,7 MB

Tracks :
1. Dig, Lazarus, Dig!!!
2. Today's Lesson
3. Moonland
4. Night of the Lotus Eaters
5. Albert Goes West
6. We Call Upon the Author
7. Hold on to Yourself
8. Lie Down Here (& Be My Girl)
9. Jesus of the Moon
10. Midnight Man
11. More News From Nowhere

@192 VBR mp3

Last seen under the gleeful guise of 2007's Grinderman, a no-nonsense rock 'n' roll excuse to head down to the basement and shout, now Nick Cave returns to his full time Bad Seeds co-conspirators for this release. "Grinderman was deliberately spare and the concepts were pretty simple," explains Cave. "With 'Dig, Lazarus, Dig!!!' we allowed ourselves to get expansive." It picks up where Grinderman left off, filled with Stoogified electric guitar, driving beats, and Cave's literate, seductive, and firmly tongue-in-cheek lyrics.

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Nick Cave & The Bad Seeds
The Firstborn is Dead

Album : The Firsborn is Dead
Artist : Nick Cave & The Bad Seeds
Release Date : 1985
Lable : Mute
Genre : Rock
Total time : 00:50:27
Total size : 61 MB

Individual track details :
1 Tupelo.mp3
2 Say Goodbye To The Little Girl Tree.mp3
3 Train Long-Suffering.mp3
4 Black Crow King.mp3
5 Knockin' On Joe.mp3
6 Wanted Man.mp3
7 Blind Lemon Jefferson.mp3
8 The Six Strings That Drew Blood.mp3
9 Tupelo (Single Version).mp3

@ VBR mp3

The Firstborn Is Dead is the second album released by Nick Cave & The

Bad Seeds. It was first released in 1985. Nick Cave took his obsession

with the American South a bit further on this record, with its

references to Elvis Presley and bluesmen like Blind Lemon Jefferson.

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Nick Cave & The Bad Seeds
Boatman's Call

Album : The Boatman’s Call
Artist : Nick Cave & The Bad Seeds
Release Date : 1997
Lable : Mute
Genre : Rock
Total time : 00:52:07
Total size : 119 MB

Track listing:
1.Into My Arms
2.Lime-Tree Arbour
3.People Ain't No Good
4.Brompton Oratory
5.There Is A Kingdom
6.One That I've Been Waiting For?, (Are You) The
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

@320 Kbit/s

The Boatman's Call is the tenth studio album released by Nick Cave and the Bad Seeds. It was released in 1997 and remains one of the most critically acclaimed releases of Nick Cave's long career.

The album's tone is sombre and minimalist. Stylistically and lyrically it marks a major departure for Cave, away from full-band arrangements and character-based narratives towards the more intimate sound of Cave's solo voice accompanied by piano or a few other instruments. Many of the lyrics seem to reflect on Cave's personal relationships and spiritual yearnings. Some songs are thought to be directed at either the mother of Cave's son Luke, Viviane Carneiro ("Where Do We Go Now But Nowhere?") or PJ Harvey, with whom he had a brief relationship around that time ("West Country Girl", "Black Hair" and "Green Eyes").

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Nick Cave & The Bad Seeds
Henry's Dream

Album : Henry’s Dream
Artist : Nick Cave & The Bad Seeds
Release Date : 1992
Lable : Mute
Genre : Rock
Total time : 00:41:30
Total size : 95,1 MB

Individual track details :
1. Papa Won't Leave You, Henry 5:55
2. I Had a Dream, Joe 3:43
3. Straight to You 4:35
4. Brother, My Cup Is Empty 3:02
5. Christina the Astonishing 4:51
6. When I First Came to Town 5:22
7. John Finn's Wife 5:13
8. Loom of the Land 5:08
9. Jack the Ripper 3:45

@ 320 Kbit/s mp3

Amazon.co.uk Review
It has been reported that Cave himself hates Henry's Dream. While it is deeply flawed, especially by Cave's formidable standards, he's being unnecessarily hard on himself. Aside from any other considerations, it contains "Papa Won't Leave You, Henry", a rumbling gospel epic that remains a highlight of Bad Seeds live shows, and "Straight To You", an exquisite devotional ballad. It is an odd album, however. Just when its predecessor, The Good Son, seemed to hint that Cave had accepted his natural facility for the heroically overwrought ballad, Henry's Dream was a partial return to the gloomy, old testament portents of "Your Funeral My Trial" and "First Born Is Dead". There was no real problem with this--"Christina The Astonishing" and "Brother My Cup Is Empty" are especially fine--but it leaves Henry's Dream as a whole feeling rather like it is two halves of two separate, half-finished albums. --Andrew Mueller

Description
HENRY'S DREAM is perhaps the most fully realised of all Cave's albums. On it, he achieves the perfect balance between his lush, poetic sensibilities and his feral, unfettered rock& roll id. Most of the guitar work is acoustic, but there'sno lack of momentum as the band drives harder than ever. Cave's grisly Cohenesque lyric talents are at their peak here.Each song is like a short horror story, or a rock equivalent of Rod Serling's NIGHT GALLERY.
The unrelentingly gruesome imagery of tunes like "Papa Won't Leave You Henry" is hammered home even further by the pounding arrangements. Even when things settle down, as on the folkie ballad "Loom of the Land", there's a barely veiled undercurrent of danger in the air. HENRY'S DREAM is full of some of Cave's finest songcraft, making a case for him as the gloomy bard of '90s alt-rock.

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Nick Cave & The Bad Seeds – Good Son

Album : Good Son
Artist : Nick Cave & The Bad Seeds
Release Date : 1990
Genre : Rock
Total time : 00:45:26
Total size : 82,2 MB

Tracks :
1. Foi Na Cruz
2. Good Son, The
3. Sorrow's Child
4. Weeping Song, The
5. Ship Song, The
6. Hammer Song, The
7. Lament
8. Witness Song, The
9. Lucy

@ 320 Kbit/s mp3

THE GOOD SON reflected a change in both Cave's art and his life. At the end of the '80s, he moved to Brazil, to distance himself from the drug-addled frenzy of his youth. His search for peace is plainly audible in these songs, which pick up where the most melodic tunes on TENDER PREY left off. Laced with piano, vibraphone and choral backing vocals, songs such as "Foi Na Cruz" and "Lucy" unveil Cave the unabashed romantic, willing to go as far over the top as necessary to prove his emotional commitment to the material. It is this quality that finally puts him on an even keel with the balladeers whose influence he bears so strongly (Scott Walker, Leonard Cohen, etc.).

Recorded at Cardan Studios, Sao Paulo, Brazil in October 1989.

Despite the lush arrangements, it's not all sweetness and light. Pretty melodies mask untold grief on "The Weeping Song" and "Sorrow's Child." A near-religious transcendence is approached on "The Witness Song." THE GOOD SON is a strange, lovely diversion in the varied career of this complex artist.

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Nick Cave & The Bad Seeds
Murder Ballads

Album : Murder Ballads
Artist : Nick Cave & The Bad Seeds
Release Date : 1996
Lable : Mute
Genre : Rock
Total time : 00:58:53
Total size : 103 MB

Tracks :
1. Song of Joy
2. Stagger Lee
3. Henry Lee - (with PJ Harvey)
4. Lovely Creature
5. Where the Wild Roses Grow - (with Kylie Minogue)
6. Curse of the Millhaven, The
7. Kindness of Strangers, The
8. Crow Jane
9. O'Malley's Bar
10. Death Is Not the End - (with PJ Harvey/Kylie Minogue/Anita Lane/Shane MacGowan)

@320 Kbit/s mp3

Amazon.com
Nick Cave's been writing songs about killing and other evil things since he first surfaced in 1980 as the Birthday Party's pale, skinny, goth-punk Jim Morrison. But the murder ballads that provide this set's title are different, tantalizingly deliberate. Sure, there's plenty of trademark Cave here, but Murder Ballads is a fascinating concept album that uses the narrative ballad form of the English folk tradition to tell of murder: random deaths, passion crimes, and killing sprees, all in one package. Cave clearly thrives in this genre, and he produces some of his sharpest and most facile writing to date. "Song of Joy," a genuinely scary campfire mystery of a murdered family and an unnamed killer, chillingly weaves clues into the lyrics, while "Where the Wild Roses Grow" is a narrative duet in which killer (Cave) and victim (pop star Kylie Minogue) reveal parallel tales. Cave even shows his knack for adaptation on Bob Dylan's "Death Is Not the End": he recontextualizes a song of heavenly comfort into a sort of zombie "We Are the World" (featuring Minogue, PJ Harvey, Shane MacGowan, and others) in which "death is not the end" of pain and suffering. Above all, Murder Ballads should be heard as a work of pulp fiction--as sensationally funny as it is harrowing. The already violent traditional song "Stagger Lee" becomes gangsta folk, so ridiculously packed with obscenity and brutality it would make the Geto Boys cringe. And Cave's (unintentional?) point to would-be censors--that bad-ass songs existed long before rappers polluted the airways--should not be missed.
--Roni Sarig

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The Boys Next Door – Door, Door

Album : Door, Door
Artist : The Boys Next Door
Release Date : 1978
Genre : Punk-Rock
Total time : 00:31:57
Total size : 44 MB

Tracks :
1. The Nightwatchman (2:07)
2. Brave Exhibitions (2:27)
3. Friends Of My World (2:46)
4. The Voice (3:55)
5. Roman Roman (1:35)
6. Somebody's Watching (2:39)
7. After A Fashion (4:36)
8. Dive Position (2:47)
9. I Mistake Myself (4:31)
10. Shivers (4:34)

@ 192 Kbit/s mp3

If one compares "Door, Door" to later albums made by these soon-to-be-infamous Aussies — albums released under the Birthday Party moniker — it sounds fairly tame and relatively straightforward. But that's not to say there's anything wrong with it. In fact, it's a frantic, edgy, and SPAMisingly catchy piece of post-punk mayhem; just don't expect anything as original or downright disturbing as "Big-Jesus-Trash-Can" or "Zoo-Music Girl." The album starts out in high gear with "The Nightwatchman," replete with ringing guitar figures, a boppy punk-pop chorus (yes, those are "ooh-ooh-ooh-oohs" you're hearing), and dirty sax lines. Sax pops up on "Brave Exhibitions" as well, providing a meaty partner to the lead guitar on circular, descending scales that bring some weirdness to a straight-up rocker. Things begin to get slightly more strange and troubled as the record plays on: "The Voice" and "Somebody's Watching" are filled with a paranoid mania and creepy, memorable musical phrases that make them two of "Door, Door"'s highlights. (The lead guitar parts in the latter song make it seem as if Rowland Howard spent time listening to Television at the wrong speed). And "Roman Roman" is a frenzied schoolyard chant that hints at some of the anarchic pandemonium the group could create on-stage. It's impressive how, even at this early stage, Nick Cave was a confident and unique singer, perfectly aware of the strengths and limitations of his voice; although he's not much for range, he knows how to come across in a scary and theatrical manner that perfectly complements the music. Nowhere is this more apparent than on the band's closing, mournful ballad, "Shivers," an unashamedly melodramatic example of post-adolescent anguish. [Source: AMG]

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The Birthday Party – Prayers On Fire

Album : Prayers On Fire
Artist : The Birthday Party
Release Date : 1981
Genre : Punk-Rock
Total time : 00:41:39
Total size : 57,3 MB

Tracks :
1. Zoo-Music Girl
2. Cry
3. Capers
4. Nick the Stripper
5. Ho-Ho
6. Figure of Fun
7. King Ink
8. Dead Song, A
9. Yard
10. Dull Day
11. Just You and Me
12. Blundertown
13. Kathy's Kisses

@192 Kbit/s mp3

Nick Cave is widely acknowledged as one of our most mature songwriting talents these days, but there was a time when he seemed to be the most unhinged soul in Christendom. The Birthday Party's performances, whether in the studio or on stage, were always compelling, and they left behind no more powerful document than this shattering record. PRAYERS ON FIRE, an intense, disquieting effort, was their first international release after relocating to London from Australia. While the violence of the group's urban rockabilly rumbles underneath, often to no obvious linear ...

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The Birthday Party – Hee Haw

Album : Hee Haw
Artist : The Birthday Party
Release Date : 1988
Original Release Date : 1979
Genre : Punk-Rock
Total time : 00:40:24
Total size : 55,6 MB

Tracks :
1. Mr. Clarinet
2. Happy Birthday
3. Hats on Wrong
4. Guilt Parade
5. Friend Catcher
6. Waving My Arms
7. Catman
8. Riddle House
9. Catholic Skin
10. Red Clock
11. Faint Heart
12. Death by Drowning
13. Hair Shirt

@192 Kbit/s mp3

Hee Haw is the second release and first EP by Post Punk band The Birthday Party, released under the name "The Boys Next Door" in 1979. The album was later re-released with the same title in 1988 as part of a full-length compilation of The Birthday Party's earlier work.

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The Birthday Party
Live in Amsterdam

Album : Live in Amsterdam
Artist : The Birthday Party
Recording Date : 1981
Genre : Punk-Rock
Total time : 00:29:53
Total size : 54,8 MB

Tracks :
1.Nick The Stripper.
2.A Dead Song.
3.She's Hit.
4.Bully Bones.
5.Big Jesus Trash Can.
6.Junkyard.
7.(Sometimes) Pleasure Heads Must Burn.
8.Release The Bats.

@192 Kbit/s mp3

Posthoornkerk, Amsterdam 8th November 1981
VPRO Radio Broadcast

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The Birthday Party – Junkyard

Album : Junkyard
Artist : The Birthday Party
Release Date : 1982
Genre : Punk-Rock
Total time : 00:47:00
Total size : 64,7 MB

Tracks :
1. Blast Off
2. She's Hit
3. Dead Joe
4. Dim Locator, The
5. Hamlet (Pow, Pow, Pow)
6. Several Sins
7. Big-Jesus-Trash-Can
8. Kiss Me Black
9. 6" Gold Blade
10. Kewpie Doll
11. Junkyard
12. Dead Joe - (2nd version)
13. Release the Bats

@192 Kbit/s mp3

This is the Birthday Party's second official album (their first, Australian-only, release was put out under both the Birthday Party moniker and their old name Boys Next Door). The unbridled fury of JUNKYARD's predecessor PRAYERS ON FIRE is subdued here, but the guitars' sinister scrape and whine and Nick Cave's demon-possessed, beat-poet vocals create a deliciously unnerving din nevertheless.

"Big Jesus Trash-Can" comes off like an amphetamine-crazed, post-punk version of the Doors' "W.A.S.P. (Texas Radio & the Big Beat)," while Cave's ranting on the almost jazzy "Release the Bats" suggests an unholy confluence of Count Dracula, Elvis Presley, and Johnny Rotten. Throughout the album, the Birthday Party grinds no-wave guitar, free-jazz craziness, and punk-processed Captain Beefheart angularity in their own twisted blender. Evolution is hinted at by the presence of several less chaotic tracks that exploit the kind of horror-movie swamp-blues that would typify the group's final recordings, and Cave's early solo effort.

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The Birthday Party & Lydia Lunch
Drunk On The Pope’s Blood

Album : Drunk On The Pope’ Blood
Artist : The Birthday Party & Lydia Lunch
Release Date : 1982
Genre : Punk-Rock
Total time : 00:24:03
Total size : 33,1 MB

Tracks :
The Birthday Party - Drunk On The Pope's Blood
1. Birthday Party Pleasure Heads (3:40)
2. Birthday Party King Ink (6:02)
3. Birthday Party Zoo-Music Girl (3:00)
4. Birthday Party Loose (5:33)

Lydia Lunch - The Agony Is The Ecstacy
5. Lydia Lunch The Agony Is The Ecstacy (16:31)

@192 Kbit/s mp3

So much mumbo-jumbo's been made of adolescent art, of pop or rock voicing the vainglorious views of each new generation, washing the sins of the fathers (and mothers) from the hands of the kids, that it's long been forgotten that the real truth lies in tantrum.
Most lucrative noise is - and always has been - made by (non) musicians old enough to know better, but never prepared to admit or accept it. It's not a well-aimed kick against growing up and its values, but a blind sulk and shout about already being there. Pop is a toddler's plea for selfish attention, a "me, me, me, me" not an "I told you so". It's mean and it's meaningless. And that's its great beauty.
The Birthday Party, more than most, appreciate the perverse practicality of making a row. They're obnoxious, so much so that they piss people off. Not only the cliched old fuddy-duddies and traditional church wardens, but also the hipsters and boffins who fawn and dote over pop flash and fact.
The Birthday Party are awful. Subversively awful. Awfully great. Awesomely brilliant. "Drunk On The Pope's Blood" is their second really BAD long-playing record. Recorded live at the Venue, it struggles - in vain - to capture and/or castrate the ranting confrontation of their stage act. "Get involved ... say something!" Nick Cave screams while Beefheart is brutally butchered behind.
Back beyond basics, this is what punk ought to be like - angry and futile with nothing to say and barely the words to express it. The critics turn pop into protest because that gives it a comforting logic, an aim and direction that renders it open to sane comprehension. Sheer bloody-minded pointlessness is too mad and too menacing.
The Birthday Party are violently pointless. That's why they're important. Their "16 minutes of sheer hell" is all ugly feedback. Unlistenably listenable. Love it to death.
Lydia Lunch's unpleasant squawking on the other side is even more potent. I hate it. It neither exasperates nor elevates. It irritates. And that, or course, is exactly the point.
Ah art! Don't you just love it?
- Steve Sutherland - Melody Maker, February 27, 1982
(Source: Burning Heart - Rowland S. Howard Page)

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