The band has featured international personnel throughout its career and presently consists of Cave, violinist and multi-instrumentalist Warren Ellis, bassist Martyn P. Casey (all from Australia), guitarist George Vjestica (United Kingdom), keyboardist/percussionist Toby Dammit (United States) and drummers Thomas Wydler (Switzerland) and Jim Sclavunos (United States). The band has released sixteen studio albums and completed numerous international tours, and has been considered "one of the most original and celebrated bands of the post-punk and alternative rock eras in the '80s and onward".
The band was founded in 1983 following the demise of Cave and Harvey's former group the Birthday Party, the members of which met at a boarding school in Victoria. By the release of their fifth studio album Tender Prey in 1988, they shifted from post-punk towards an experimental alternative rock sound, later incorporating various influences throughout their career. For example, the 2008 album Dig, Lazarus, Dig!!! and the side-project Grinderman were strongly influenced by garage rock. Synthesizers and minimal guitar work feature prominently on Push the Sky Away (2013), recorded after Harvey's departure from the band in 2009.
The project that would later evolve into Nick Cave and the Bad Seeds began following the demise of The Birthday Party in August 1983. Both Cave and Harvey were members of the Birthday Party, along with guitarist Rowland S. Howard and bassist Tracy Pew. During the recording sessions of the Birthday Party's scheduled EPs Mutiny/The Bad Seed, internal disputes developed in the band. The difference in Cave and Howard's approach to songwriting was a major factor, as Cave explained in an interview with On The Street: "the main reason why The Birthday Party broke up was that the sort of songs that I was writing and the sort of songs that Rowland was writing were just totally at odds with each other." Following the departure of Harvey, they officially disbanded. Cave also said that "it probably would have gone on longer, but Mick has the ability to judge things much more clearly than the rest of us."[8]
Cave and guitarist Kid Congo Powers during the band's 1986 tour.
An embryonic version of what would later become Nick Cave and the Bad Seeds was formed in the Birthday Party's then-home of London in September 1983, with Cave, Harvey (acting primarily as drummer), Einstürzende Neubauten guitarist Bargeld, Magazine bassist Barry Adamson, and Jim G. Thirlwell. The band was initially formed as a backing band for Cave's intended solo project Man Or Myth?, which had been approved by the record label Mute Records. During September and October 1983, they recorded material with producer Flood,[9] although the sessions were cut short due to Cave's touring with the Immaculate Consumptive, another project formed with Thirlwell, Lydia Lunch and Marc Almond.[10] In December 1983 Cave returned to Melbourne, Australia, where he formed a temporary line-up of his backing band, due to Bargeld's absence, that included Pew and guitarist Hugo Race. The band performed their first live show at Seaview in St. Kilda on 31 December 1983.
Following a short Australian tour, and during a period when they were without management, Cave and his band returned to London. Cave, Harvey, Bargeld, Race and Adamson formed the project's first consistent line-up, while Cave's longtime girlfriend Anita Lane was credited as a lyricist on the band's debut album.[citation needed] The group, which up to this time had been nameless, adopted the moniker Nick Cave and the Cavemen, which they used for the first six months of their career. However, they were later renamed Nick Cave and the Bad Seeds in May 1984, in reference to the final Birthday Party EP The Bad Seed.[citation needed] They began recording sessions for their debut album in March 1984 at London's Trident Studios and these sessions, together with the abandoned Man Or Myth? sessions from September–October 1983 that were recorded at The Garden studios, formed the album From Her to Eternity, released on Mute Records in 1984.
Jubilee Street
Nick Cave & The Bad Seeds Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
She had a history, but she had no past
When they shut her down the Russians moved in
I am too scared, I'm too scared to even walk on past
She used to say
All those good people down on Jubilee Street
They ought to practice what they preach
Those good people on Jubilee Street
And here I come up the hill
I'm pushing my wheel of love
I got love in my tummy and a tiny little pain
And a ten ton catastrophe on a sixty pound chain
And I'm pushing my wheel of love on Jubilee Street
Ah look at me now
The problem was she had a little black book
And my name was written on every page
Well a girl's gotta make ends meet
Even down Jubilee Street
I was out of place and time, and over the hill, and out of my mind
On Jubilee Street
I ought to practice what I preach
These days I go downtown in my tie and tails
I got a fetus on a leash
I am alone now, I am beyond recriminations
Curtains are shut, the furniture is gone
I'm transforming, I'm vibrating, I'm glowing
I'm flying, look at me now
I'm flying, look at me now
The song "Jubilee Street" by Nick Cave & The Bad Seeds tells the story of a girl named Bee who lived her life on Jubilee Street. Throughout the song, we learn that Bee has a history and a past that she keeps hidden. When they shut her down, the Russians move in, and the singer is too scared to even walk past. The chorus speaks to the hypocrisy of the good people on Jubilee Street who ought to practice what they preach, and yet, they fall short of that.
The singer admits that his name is written on every page of Bee's little black book. He acknowledges that even he was out of place and time, over the hill, and out of his mind on Jubilee Street. The tie and tails that he wears now are a far cry from his previous wildness.
The final verse speaks to transformation as the singer declares that he is beyond recriminations, and he is now vibrating, glowing, and flying. It's an acknowledgment that sometimes when we go through hardships and struggles, it can lead to growth and a new sense of self.
Line by Line Meaning
On Jubilee Street there was a girl named Bee
Jubilee Street was home to a young lady called Bee
She had a history, but she had no past
Bee's life had significant moments, but she did not dwell on her past
When they shut her down the Russians moved in
After her exit from Jubilee Street, Russians took ownership of the space.
I am too scared, I'm too scared to even walk on past
Even though the artist walks past the street, they are afraid to look into it
She used to say
Bee had a habit of saying
All those good people down on Jubilee Street
People living in Jubilee Street
They ought to practice what they preach
They should practice what they advocate
Here they are to practice just what they preach
They are in the right place to apply what they preach
Those good people on Jubilee Street
Good people that reside in Jubilee Street
And here I come up the hill
The artist walks up the hill leading to Jubilee Street
I'm pushing my wheel of love
The singer brings along their passion and desire
I got love in my tummy and a tiny little pain
The artist's excitement is mixed with a tiny bit of discomfort
And a ten ton catastrophe on a sixty pound chain
The singer has a significant setback that is weighing them down
And I'm pushing my wheel of love on Jubilee Street
The singer tries to share their passion in Jubilee Street
Ah look at me now
The singer reflects on themselves
The problem was she had a little black book
A dilemma arose where Bee had a collection of secrets about others
And my name was written on every page
The artist was found on every page of Bee's little black book
Well a girl's gotta make ends meet
Bee is just trying to make a living
Even down Jubilee Street
Even in Jubilee Street, where life is hard
I was out of place and time, and over the hill, and out of my mind
The artist was struggling with their place in the world
On Jubilee Street
In Jubilee Street, things are not always as they seem
I ought to practice what I preach
The artist recognizes they should follow their own advice
These days I go downtown in my tie and tails
The singer now dresses formally when going downtown
I got a fetus on a leash
The artist carries a fetus or a metaphor for something precious but difficult to hold
I am alone now, I am beyond recriminations
The singer is now alone and has forgiven themselves
Curtains are shut, the furniture is gone
The singer's environment has changed
I'm transforming, I'm vibrating, I'm glowing
The singer feels a sense of renewal, and transcendence
I'm flying, look at me now
The artist has achieved a sense of freedom and limitless potential
Lyrics © BMG Rights Management, Mute Song Limited
Written by: Nicholas Edward Cave, Warren Ellis
Lyrics Licensed & Provided by LyricFind
@InsanityPrawnBoy8
if you haven't seen this live, you just have to, it's mind-blowing.
@albertorosso81
Agree! I had the chance to experience that at Hanging Rock.. Magic!
@TommyTonsuls
Nick and kamasi Washington are the two best live experiences I've ever had period
@rafabass4216
No może kapsułki do prania kupię bo nie mam. Taki konfjust jestem.
@ManlyOBeeferton
Yeah the ending in the live version is a lot more frenetic. I wish they didn't hold back in the studio version.
@jerryskid1
This song takes on a whole other dimension when played live. The buildup towards the end just gets heavier and heavier. Amazing!
@KingKlear
Indeed. I felt ecstatic when I hear it, and I don't mean that as a hyperbole.
@jerryskid1
The new live version from Australia is sooo good.
@stupidhandles
agreed, saw Nick live for the first time last year (a long time coming) Jubilee street live was the best gig experience ever
@janterrirocks
saw them play this in Berkeley at the Greek Theater. One of the most amazing things I've ever witnessed. And that's not hyperbole.