Nick Cave & The Bad Seeds - The Road To God Knows Where/Live At The Paradiso (2006) MP3/Flac

Nick Cave & The Bad Seeds - The Road To God Knows Where/Live At The Paradiso (2006)
DVD9+DVD5 | Runtime: 188 min. | 6,91 + 3,54 Gb | Copy: Untouched
Video: PAL, MPEG Video at 8 170 Kbps, 720 x 576 (1.333) at 25.000 fps | Audio: AC-3 2channels

at 192 Kbps, 48.0 KHz
Genre: Rock, Alternative/Indie Rock, Songwriter | Subtitles: German, English, French, Spanish,
Nick Cave & The Bad Seeds - The Road To God Knows Where/Live At The Paradiso (2006)
Italian | Label: EMI

Nick Cave & The Bad Seeds - The Road To God Knows Where/Live At The Paradiso (2006)
Nick Cave has always seemed misplaced, of another era. An Australian whose ‘60s-retro

skinny suits and 19th century face have lived all over Europe, Cave looks and sings like an old soul.

His macabre rock ballads of murder and sorrow might be sung by an Edgar Allen Poe narrator stuck

in a Flannery O’Connor story. Where his contemporaries have plowed the ruts left by the Beatles

and the Stones, Cave has always been more interested in the American blues and country/folk

traditions of John Lee Hooker and Johnny Cash: religion, sorrow, murder, insanity, alcohol, lust, and

depression. I’ve often wondered what kind of personality the author of such lyrics as “this is a

weeping song/ a song in which to weep” (“The Weeping Song”) exudes in day-to-day life. Writing

stirring ditties about children getting buried alive by snow (“Fifteen Feet of Pure White Snow”), a

woman who kills a man with a pen-knife and throws him in a well (“Henry Lee”)—can such a person

have a sense of humor? Could it be one big joke from start to finish? How seriously does Nick Cave

take himself when he’s growling out “Mama, rock your baby” with as much fire and brimstone as

Jonathan Edwards? These questions, and many more, have been plaguing my mind since first hearing

“Henry Lee” oh, nine or 10 years ago.

Seeing Cave at ease with his bandmates in Uli M. Shueppel’s documentary film, The Road to God

Knows Where, confirms that yes, Nick Cave is far more than a humorless caricature. For all his

brooding, he’s just as comfortable dancing to Madonna’s “Papa Don’t Preach” before soundcheck

as he is belting out rockabilly noir. More important, we see him talking on a giant (it was 1989)

cellular phone, which confirms that yes, Nick Cave is of this time period, despite seeming more at

home in Yoknapatawpha County circa 1929.

Originally out on VHS in 1991, Schueppel’s film has been re-released on DVD accompanied by two

short films and a second DVD of concert footage. Schueppel filmed the documentary in February

and March of 1989, during the Bad Seeds’ North American tour in support of Tender Prey, and it

stands now as Cave’s Meeting People Is Easy, dramatizing his clashes with the culture industry.

Cave is seen visibly suffering as he speaks with and is photographed by journalists.

Today, 13 years and at least as many album and film projects later, the film holds up, if not as a

classic music documentary—the sounds is too garbled, the cinematography unstriking—then as a

retrospective look at a still-relevant artist first coming to terms with his fame. I’ve always thought of

Nick Cave and the Bad Seeds as a cult band and, in watching the film, found the degree of his

popularity in the late ‘80s surprising. He sold out most venues and underwent an impressive round of

interviews. But then, goth was going over big at the time, and Cave is about as goth as it gets.

The film starts in Philadelphia, with Cave introducing himself to the audience: “I’m Nick Cave, I love

you, and I want to tell you about a girl.” From there we get mostly the mundanity of the tour—on the

bus, off the bus, in the hotel, backstage, arguing with club managers over money, and occasionally

some concert footage. The real gem of the film is its recording of an acoustic version of “The Mercy

Seat” at KCRW in Los Angeles—the only time Cave is at ease being interviewed, and the only full

song in the film. The surprise appearance of Lydia Lunch backstage is also quite neat.

The two extras on Disc One are worth seeing, the first more than the second. “The Song” is a short

film covering the making of “(I’ll Love You) Til the End of the World”, which the band was

recording for a Wim Wenders film. The short is beautifully shot, incorporating lyrical images of

Berlin into coverage of the Bad Seeds composing one of their most moving songs. Somehow Mick

Harvey gets more face time here than in the feature film—but that’s neither here nor there. The other

extra is a video for “You Better Run”, which basically reuses scenes from the documentary.

Live at the Paradiso, a concert film shot over two days in Amsterdam in 1992, shows Cave to be an

active and incredibly intense performer, pumping and flailing constantly with cigarettes fuming

between his fingers. Cave at times affects the pose of a maniacal preacher, even reading from a book

at one point, at times that of a ne’er-do-well hanging on his last thread, at times that of a romantic

troubadour who has just killed or been killed by his lover. From “Jack the Ripper” to “The Ship

Song”, Cave’s work should be on the listening menu for all those emo bands out there switching off

between mythologizing and demonizing women. Maybe it’s his eyebrows, maybe it’s the depths of

his voice, maybe it’s the unapologetic oldness of his sound, but Cave can pull it off in a way most

singer/songwriters can’t.

The concert film doesn’t always flatter Cave’s voice or the band’s sound, but it’s full of fantastic

moments. Cave starts “Deanna” with vocals so garbled he can barely pronounce the words, then

jumps into the crowd spontaneously and stops the song short as the Seeds stand baffled on stage.

Later, he introduces “The Weeping Song” with “this song discusses the very nature of weeping,

sadness, sorrow, sexual incontinence, and…madness.” All in one go.

But the best, very best part is near the end, when Cave points to a dude in the front and says, “Are

you a boy? Are you a boy? I’m sorry. I thought you were a very attractive girl. Can I get a cigarette?”

and everyone in the audience starts throwing their cigs forward. The band starts in on “New

Morning,” an uplifting hymnal that, for Cave, is entirely uncharacteristc in its positivity, as cigarettes

pour onstage like manna.

Artists: Nick Cave & The Bad Seeds
- Nick Cave
- Mick Harvey
- Blixa Bargeld
- Conway Savage
- Martyn P. Casey
- Thomas Wydler
- Anita Lane
- Kid Congo Powers
- Roland Wolf
- Lydia Lunch (guest)
- Lung Leg (guest)

DVD1 - The Road To God Knows Where
01. The Road to God Knows Where - A Film By Uli M Schueppel
02. The Song - A Short Film By Uli M Schueppel
03. City of Refuge

DVD2 - Live At The Paradiso
01. Intro
02. The Mercy Seat
03. Jack The Ripper
04. The Ship Song
05. Tupelo - Deanna
06. The Good Son
07. The Carny
08. Papa Won’t Leave You, Henry
09. The Weeping Song
10. In The Ghetto
11. From Her To Eternity
12. New Morning

- Direct Scene Access
- Interactive Menu

- Short Film By Uli M. Schueppel