Abattoir Blues / The Lyre of Orpheus
Abattoir Blues / The Lyre of Orpheus is the thirteenth studio album by the Australian alternative rock band Nick Cave and the Bad Seeds, released on 20 September 2004 on Mute Records. It is a double album with a total of seventeen songs—nine on Abattoir Blues and eight on The Lyre of Orpheus; the album was produced by Nick Launay at Studio Ferber in Paris in March–April 2004 and Nick Cave used The Bad Seeds line up of Mick Harvey, Thomas Wydler, Martyn Casey, Conway Savage, Jim Sclavunos, Warren Ellis, James Johnston. It was the first album by the group for which Blixa Bargeld did not perform – English guitarist and organist Johnston, of the group Gallon Drunk, replaced Bargeld. Cave decided to split drumming duties for the two parts, with Sclavunos on Abattoir Blues and Wydler on The Lyre of Orpheus. According to Launay, the whole album was completed in twelve days; the album's release was supported by the Abattoir Blues Tour, which travelled through Europe from 2 November to 5 December. In January 2007 a double live album and DVD was issued as The Abattoir Blues Tour.
Abattoir Blues / The Lyre of Orpheus's last track, "O Children", was featured in the 2010 film Harry Potter and the Deathly Hallows – Part 1, the song is referenced as an achievement in Lego Harry Potter: Years 5–7. In March 2005, to complement the success of the double album, Nick Cave and the Bad Seeds released B-Sides & Rarities, a three-disc, 56-track collection of B-sides and tracks that had appeared on film soundtracks. Abattoir Blues / The Lyre of Orpheus holds a score of 88 out of 100 from Metacritic, indicating "universal acclaim". Susan Carpenter of the Los Angeles Times described the album as "a bounty of gothic rock" and noted that "the more driving, menacing numbers have been separated from the slow and scurrilous in a double album, not two halves of a whole so much as two distinct records released and in one package." Thom Jurek of AllMusic described Abattoir Blues as "a rock & roll record... a pathos-drenched, volume-cranked rocker, full of crunch, punishment – and taste" and The Lyre of Orpheus as "a much quieter, more elegant affair... more consciously restrained, its attention to craft and theatrical flair more prevalent.".
Greg Simpson of Punknews.org said that Abattoir Blues "is bluesy indeed, a rock and roll album with many angry songs and booming bass lines," while The Lyre of Orpheus "insists on being a separate album, due to its different more gentle feel."In a rave review, Tiny Mix Tapes critic Grigsby wrote that while Abattoir Blues / The Lyre of Orpheus "may not be the best beginner's guide" to the band, for "anyone, a fan of the duration of his career, this album rewards the listener with a bit of the best of everything he has to offer." Paste said: "Aside from the power of the music and lyrics, the set draws on Cave’s compelling persona: part priest, part sideshow barker--crooning one moment and eviscerating the next. While this has always been the core of his talent, on Abattoir/Lyre it is rich and rewarding." In a more mixed assessment, Douglas Wolk, writing in Spin, was complimentary of Abattoir Blues but felt that The Lyre of Orpheus was "effectively Abattoir spillover: more mellow, less grand in conception, but—somehow—more pretentious in execution."
In his Consumer Guide for The Village Voice, Robert Christgau designated three songs from the album as "choice cuts", indicating good songs "on an album that isn't worth your time or money."The music online magazine Pitchfork Media placed Abattoir Blues / The Lyre of Orpheus at number 180 on their list of top 200 albums of the 2000s. The album was included in the book 1001 Albums You Must Hear Before You Die, it peaked at No. 5 on the ARIA Albums Chart, its chart success in Europe includes No. 1 in Norway, No. 2 in Austria and Denmark, top 10 in Belgium, Italy, Netherlands and Sweden. The album reached No. 1 on the Foreign Albums Chart in Greece where it received a gold certification. All tracks written by Nick Cave. All personnel credits adapted from Abattoir Blues / The Lyre of Orpheus's liner notes. Masters, Mark. "Nick Cave: Interview.". Pitchfork. 29 September 2008. Orloff, Brian. "Nick Cave Sings The Blues" Rolling Stone. 22 October 2004. Official Website Anti biography and album description.
Abattoir Blues / The Lyre of Orpheus at Metacritic
No More Shall We Part
No More Shall We Part is the eleventh studio album by Nick Cave and the Bad Seeds, released on 2 April 2001 in the UK. The album came after a 4-year gap from recording, following the much acclaimed album The Boatman's Call. Cave had to overcome heavy heroin and alcohol addictions in 1999-2000 before starting work on the album, it was met with positive reviews. At Metacritic, which assigns a normalised rating out of 100 based on reviews from mainstream critics, the album has received a favourable score of 79, based on 18 reviews; the album showcases the virtuoso talents of the Bad Seeds, with elaborate instrumental sections on nearly every track. Additionally, Cave's lyrics are less obscure than usual, he sings in a wider vocal range than he had reaching alto on several tracks. All tracks written by Nick Cave, except where noted."Darker with the Day" utilises the chordal structure and melody of the rearranged piano version of "Papa Won't Leave You, Henry" performed by Cave in 2000. A limited-edition version included a bonus disc with two extra tracks, plus multi-media CD-ROM files: The bonus disc includes an enhanced section featuring lyrics, photo gallery, album discography and internet links.
"As I Sat Sadly by Her Side" "As I Sat Sadly by Her Side" – 6:13 "Little Janey's Gone" – 3:00 "Good Good Day" – 4:05 "Fifteen Feet of Pure White Snow" "Fifteen Feet of Pure White Snow" – 4:07 "God Is in the House" – 5:52 "We Came Along This Road" – 5:38 "Love Letter" "Love Letter" – 4:05 "Fifteen Feet of Pure White Snow" – 5:43 "And No More Shall We Part" – 4:09 "God Is in the House" – 5:52 "We Came Along This Road" – 5:38 Nick Cave and the Bad SeedsNick Cave – vocals, piano Mick Harvey – guitar, string arrangement, drums on track 1 Blixa Bargeld – guitar Conway Savage – organ Warren Ellis – violin, string arrangement Martyn P. Casey – bass Thomas Wydler – drums All male backing vocals by Nick Cave & The Bad SeedsGuest musiciansJim Sclavunos – drums on track 4, percussion on track 5 Kate & Anna McGarrigle – vocals Gavyn Wright, Patrick Kiernan, Jackie Shave, Simon Fischer, Rebecca Hirsch – violins Bruce White, Gustav Clarkson – violas Frank Schaefer, Lionel Handy, Naomi Wright – cellos Paul Morgan, Leon Bosch – basses Produced by Nick Cave and the Bad Seeds and Tony Cohen Recorded at Abbey Road Studios and Westside Studios, London Engineered by Tony Cohen and Kevin Paul Assistant Engineers: Mirek Stiles and Mark Bishop Mixed by Tony Cohen, Nick Cave, Blixa Bargeld and Mick Harvey at Westside Studios Mastered by Ray Staff at Whitfield Street, London No More Shall We Part at Metacritic
Henry's Dream is the seventh album released by Nick Cave and the Bad Seeds, in April 1992. Nick Cave himself was unhappy with the production by David Briggs. Briggs preferred a "live-in-the-studio" method; this led to Cave and Mick Harvey re-mixing the album, to the Live Seeds recordings, as Cave wanted the songs "done justice". It was the first album to feature long-standing members Martyn P. Casey and Conway Savage, both Australian. Savage performs a duet with Cave in the chorus of'When I First Came to Town'; the lyrics of "Christina the Astonishing" are based on the life of Christina Mirabilis, a 12th-century woman regarded as a Christian saint. "When I First Came to Town" is based on Karen Dalton's recording of the traditional song "Katy Cruel". Dalton's version was issued on Original Seeds Vol. 1. Cave claimed the songs were influenced by street beggars he saw in Brazil. "They'd get their acoustic guitars with one or two strings and bang away and make a racket that had no sense whatsoever. It was violent and seemed to come straight out of the heart.
Unmusical."Of "Papa Won't Leave You, Henry," Cave said in 2005, "I like that song a lot. That was another one written in Brazil. It's this lyrical thing. We were playing that as a slow ballad on a different chordal structure altogether, which became'Darker with the Day', it had a different melody, but slow and it made for a haunting thing. That song was composed over a long period of time and something that I would sing to my little son, Luke, it was kind of a nasty fucked-up lullaby." Henry's Dream was released on 29 April 1992 in the United Kingdom and on 12 May in the United States. The album was released on cassette. Although released on Mute Records, international distribution was handled by a number of associated labels. Indisc issued the album in Belgium, Liberation Records in Australia, Alfa Records in Japan, Virgin Records in France and Greece, Elektra Records in the United States. Australian pressings were available in a box set including with a three-track promo cassette and initial French pressings came with a promo CD including "Papa Won't Leave You, Henry," "Straight to You," "Brother, My Cup is Empty" and "Loom of the Land."
Limited editions of other pressings came with T-shirt. A second pressing of the album was issued on 13 February 1996 throughout Europe and the United States. On 29 March 2010, Henry's Dream was reissued as a collector's edition CD/DVD set, including the remastered album, a 5.1 surround sound mix, bonus tracks, a short film about the album, the single's music videos, exclusive liner notes. The album's two singles—"Straight to You" and "I Had a Dream, Joe"—were released on 30 March and 31 August, respectively; the singles were a moderate commercial success. Both singles charted in Australia, at number 96 and 75 and "Straight to You" charted at number 68 in the UK Singles Chart and at number 7 in the Indie Chart in April 1992. "I Had a Dream, Joe" reached number 10 in the Indie Chart upon its release. Nick Cave and the Bad Seeds promoted the album with an initial tour across Europe, North America and Australia in 1992; the tour consisted of five legs and fifty-five concerts, began in Norwich, England on 26 April 1992 and concluded in Brisbane, Australia on 12 December.
In 1993, the band continued touring, adding a further two legs and twenty-three concerts in Australia and Israel, beginning on 24 January 1993 in Melbourne and concluding on 10 June in Düsseldorf, Germany. During the tour, the band performed at several music festivals, including Pukkelpop, the Reading Festival, Big Day Out and Via-Rock. Selected recordings from the tour were featured on Live Seeds. Video recordings from the band's two shows in the Paradiso in Amsterdam on 2 and 3 June 1992 are featured on the live DVD Live at The Paradiso, released alongside the band's tour documentary The Road to God Knows Where in 2006. Upon its release, Henry's Dream received positive critical acclaim. David Browne of Entertainment Weekly said that Henry's Dream "sets Cave's deep, dolorous voice and scab-picking lyrics to windswept, tote-that-barge arrangements" and "may demonstrate what the fuss is all about". Holly George-Warren of Rolling Stone praised the album as "provocative – albeit harrowing – music".
However, The Village Voice editor Robert Christgau, in a negative assessment, wrote that "if this is your idea of great writing, you may be ripe for his cult. Otherwise, forget it—the voice alone won't do the trick." In a retrospective review, AllMusic editor Ned Raggett noted that the album "showed the band in fierce and fine fettle once more" and described Cave's lyrics as "a series of striking, compelling lyrics again exploring love and death", adding that the songs "showcase the Seeds' peerless abilities at fusing older styles with noisy aggression and tension" and citing "Loom of the Land" as "one of Cave's best songs ever". The remastered edition of Henry's Dream was well received. BBC Music reviewer Mike Diver referred to the album, the remaster of Tender Prey, as "anything but poor albums" and said that without former member Roland Wolf "the instrumentation loses little of its potency, religious imagery remains prominent in Cave's wordplay." Alexander Tudor of Drowned in Sound called the album "a masterclass in narrative songwriting" and referred to its songs as "favela-punk", adding that "the album's atmospheric centrepiece conveys the mystery of faith, rather than just rattling out a pretty tune."
Martyn P. Casey
Martyn Paul Casey is an English-born Australian rock bass guitarist. He has been a member of Nick Cave and the Bad Seeds and Grinderman. Casey plays either his Fender Precision Fender Jazz Bass. Martyn Paul Casey was born in Chesterfield, England on 10 July 1960 and has a twin brother Mark. Casey's original band was called The Nobodies, formed in February 1980, with Matthew Stirling on guitar and Steve Eskine on drums. In early 1981 he left The Nobodies and played in a reggae band, A2Z; when not touring he lives in Fremantle with his wife and children where he plays with Kevin Smith and the Seven Storey Jumpers. Casey joined The Triffids in September 1982 replacing bassist Byron Sinclair. With the band, he recorded Bad Timing and Other Stories in October, it was issued by Mushroom Records in April 1983. Mushroom let; the group saved money from support slots with the Hoodoo Gurus, The Church and Hunters and Collectors, to record and release their debut 12-inch vinyl album, Treeless Plain, for Hot Records, a newly established Sydney-based independent label.
In late 1984, The Triffids moved to London, recorded the EP Field of Glass. The band's line-up stabilised with the addition of'Evil' Graham Lee on pedal steel guitar. In August 1985, they recorded Born Sandy Devotional, with Gil Norton; the group were hailed by the British media, were featured on the John Peel show and supported Echo & the Bunnymen. In 1986, with delays in issuing Born Sandy Devotional, the Triffids returned to Western Australia where they built an eight-track machine inside a shearing shed on the McComb family's farming property and recorded their third album In the Pines. Born Sandy Devotional was released in March 1986, it reached #27 on the UK charts and #64 in Australia. On their return to the UK, they signed a three-record deal with Island Records. In 1987, armed with the considerable budget of £125,000, the production skills of Gil Norton, David McComb and a new recruit, Adam Peters, concocted the lush orchestrations of the poignant "Bury Me Deep in Love" and the melancholic wide-screen atmosphere of the subsequent Calenture album.
Despite the release of another two tracks from the album as singles, "Trick of the Light" and "Holy Water", Calenture did not have the commercial impact expected. In 1989, the "Goodbye Little Boy" single featured in the Australian TV soap opera Neighbours. 1989 saw The Triffids record their last studio album, The Black Swan in England, with producer Stephen Street. Despite being well received, the album wasn't an overwhelming success, which disappointed David and the rest of the band to the point where they decided to dissolve the band. In order to fulfill their contractual obligations with Island Records, a live album recorded in Stockholm, was released in 1990 the year after The Triffids had split up. Casey, a talented artist, provides a substantial amount of the art work for the 2009 rock biography on The Triffids, Vagabond Holes: David McComb and the Triffids, edited by Australian academics Niall Lucy and Chris Coughran, including the book's cover. In 1989 Casey joined Bottomless Schooners of Old, made up of McComb on guitar and vocals, Lee on pedal steel guitar, Robert Snarski on guitar and vocals, Ashley Davis on drums.
The Bottomless Schooners of Old were a precursor to The Blackeyed Susans He replaced Phil Kakulas who left the Blackeyed Susans for Sydney to play with Martha's Vineyard. Casey however did not appear on any of the band's recorded material and departed shortly after to join Nick Cave and the Bad Seeds. Casey joined Nick Cave and the Bad Seeds on bass in April 1990 while the band was touring to support their record The Good Son. Guitarist Kid Congo Powers quit the Bad Seeds; the line up of Nick Cave, Blixa Bargeld, Conway Savage and Thomas Wydler produced the 1992 album Henry's Dream. The next album was Live Seeds, released in September 1993, which reproduced many of the Henry's Dream songs in a more raw setting; the Bad Seeds' went on to release Let Love In which contained classic tracks such as "Do You Love Me?", "Red Right Hand", "Loverman". This was followed by band's biggest commercial success to date, Murder Ballads, a culmination of Cave's long-time fascination with "the language of violence" and allowed for further bold experimentation in musical style.
Collaborations with Kylie Minogue and PJ Harvey on the singles "Where The Wild Roses Grow" and "Henry Lee" led to mainstream chart success and The Bad Seeds widest exposure ever. This album saw the addition of two new Bad Seeds, Warren Ellis on violin, Jim Sclavunos on percussion. March 1997 saw the release of The Bad Seeds' tenth studio album, The Boatman's Call, one of the most critically acclaimed releases by the Bad Seeds; the following year saw the release of The Best of Nick Cave and the Bad Seeds, a collection that spanned the group's entire history. Over the next two years Nick Cave spent working on a variety of projects, with the Bad Seeds going into hiatus. In 2000 the band entered London's Abbey Road Studios, resulting in the April 2001 release of No More Shall We Part; the next album Nocturama was released in February 2003 to moderate critical success. The fourteenth studio album, Abattoir Blues/The Lyre of Orpheus was a double CD, it was the first album by the band in which Blixa Bargeld did not take part (Bargeld leaving the band to devote more ti
Blixa Bargeld is a German musician active in a wide range of artistic fields. He is best known for his studio work and live performances with the groups Einstürzende Neubauten, Nick Cave and the Bad Seeds and ANBB, his stage name comes from Blixa, a German brand of blue felt pen, Bargeld, German for "cash". Bargeld refers to German Dada artist Johannes Theodor Baargeld. Bargeld left school prior to completion, is self-taught, he revealed in 2010: " would never have guessed when I was 13 that I would have become a professional musician. It was so far away as to become a reality in my personal life." Bargeld experimented with audio equipment as a teenager, including the disassembling of tape recorders. The first album he owned was by Pink Floyd. Bargeld is from the Tempelhof area of West Berlin and he moved out of his parents' home in the late 1970s. A 2008 documentary featured him visiting his mother and talking to her about his childhood and the relationship he had with his parents. In 1980, he founded the music group Einstürzende Neubauten.
He moved onto German rock Krautrock acts such as Kraftwerk, Neu! and Can, which he described as his biggest influences at the time. Bargeld spoke of the early days of Neubauten in 2010: The starting point for Neubauten was more that we didn't have anything, so I didn't have the choice to say'I am doing this, I am doing that, or maybe I should play organ'. I didn't have any of these things, I could not afford any of these things, neither could anybody else in the group, it was more of the logical consequence of what can we obtain, that's how it turned out. It didn't start out as an artistic concept to say "let's do something different", it started as an extension of the live situation as it was. From 1983 to 2003, Bargeld was a long-time guitarist and backing vocalist in Nick Cave and the Bad Seeds. Bargeld sang lead vocals alongside Cave on several songs, such as on "The Carny" and "The Weeping Song". Cave first saw Bargeld performing with Einstürzende Neubauten on TV while The Birthday Party, Cave's band at the time, were touring in Amsterdam.
He described the music as "mournful", Bargeld as looking "destroyed", his screams as: "a sound you would expect to hear from strangled cats or dying children". He is credited with playing guitar on the Gun Club song "Yellow Eyes", on their 1987 album Mother Juno, he played on the album Novice by Alain Bashung in 1989. Since the mid-1990s Bargeld has appeared live with his solo Rede/Speech Performances. During these performances supported by Neubauten's sound engineer Boris Wilsdorf, he works with microphones, sound effects, overdubbing with the help of sampler loops, speaks English or German; the performed pieces include a vocal creation of a parody of a techno song. In 2007 he started a collaborative project with Alva Noto aka Carsten Nicolai called ANBB, an abbreviation of Noto's and Bargeld's initials. An EP, Ret Marut Handshake, was released on 26 June 2010, followed that year by a full-length album, Mimikry. In June 2013, a collaboration with Italian composer Teho Teardo Still Smiling was released on the Specula record label.
A music video for the song "Mi Scusi" was published on the Teho Teardo YouTube channel and a corresponding Italian tour is scheduled. In early October, Neubauten announced 24 November 2014 as the release date for their next album, described as a "concept album based on a live performance and installation commissioned by the Flemish city of Diksmuide, Belgium to mark the centenary of the start of the First World War in 1914". Bargeld explained in the official press release: "The Second World War is nothing but the elongation of the first one … As a child of the post Second World War era, the resulting division of Germany and Berlin, I’m of course hugely influenced in my upbringing about the results of that". Bargeld explained in October 2014 that Neubauten is a materialistic band, leading them to employ two scientific researchers to seek out material to support the development of Lament after the album received financial backing in August 2013; the band opened their 2014 European tour, in support of Lament, with a performance in Diksmuide, Belgium.
Jennifer Shryane, in her book Blixa Bargeld and Einstürzende Neubauten: German Experimental Music. Evading do-re-mi, explores how the themes and threads of Bargeld’s work with Neubauten show greater variation and experimentation in his performance work outside of the band. For example, the range extends from his surreal, electronic Dadaist-cabaret Rede and collaborations with Alva Noto, to his expert direction of Coetzee’s Warten auf die Barbaren for the Salzburg Festival in 2005, where he employed multi-layered symbolism through an ice-white setting and an interplay of voices and noise. Shryane’s book examines his vocal strategies and his trademark scream and the labyrinthine concerns of his texts – all through Artaudian performance theory, she stresses Bargeld’s passionate stance on the socializing aspects of music, citing his comment on Grundstück that "it’s the social aspects which are important for me". Bargeld's guitars of choice are a Fender Jaguar and a Fender Mustang, as seen on the concert DVD God Is In The House and at various media appearances.
He used a battered Höfner Model 173 and a red Höfner Colorama II until they "broke down". After his effect pedals were stolen in the early 1980s, he relied on the Fender floating/dynamic tremolo — which both raise and lo
The Boatman's Call
The Boatman's Call is the tenth studio album by Nick Cave and the Bad Seeds, released in 1997. The album is piano-based, alternately somber and romantic in mood, making it a marked departure from the bulk of the band's post-punk catalogue; the Boatman's Call remains one of the most critically acclaimed releases of Nick Cave's career. Recording for the album began at Sarm West Studios in London, United Kingdom in mid-1996, with "The Garden Duet", one of the album's outtakes, being the first song recorded. Though the bulk of The Boatman's Call was recorded at Sarm West, further recordings — including overdubs — were done at Abbey Road Studios. Musically, the album's tone is considered sombre and minimalist and marks a major departure for Cave and The Bad Seeds. Moving away from full-band arrangements and character-based narratives, the album's music and lyrics move towards the more intimate sound of Cave's solo voice accompanied by piano or a few other instruments; the tempo is generally slow, reflecting many of the moods of the songs.
Many of the lyrics seem to reflect on Cave's personal relationships and spiritual yearnings at the time of writing. Some songs are thought to be directed at either the mother of Cave's oldest son Luke, Viviane Carneiro or singer PJ Harvey, with whom he had a brief relationship around that time. Green Eyes includes a line from “Sonnet 18”, by Louise Labé. Cave performed "Into My Arms" at the 1997 funeral of INXS vocalist Michael Hutchence, an old friend from Cave's youth, requested that the TV cameras be shut off for his performance out of respect for Hutchence; the song "People Ain't No Good" was featured in the movie Shrek 2. In October 2010, the album was listed in the top 30 in the book, 100 Best Australian Albums; the Boatman's Call received unanimous critical acclaim upon release with many reviewers citing it as Cave's most poignant album. NME rated it as the 23rd best album of 1997; the album was included in the book 1001 Albums You Must Hear Before You Die. All tracks written by Nick Cave.
A number of other songs were recorded at The Boatman's Call sessions, some of which were released as b-sides to the album's two singles and on Nick Cave and the Bad Seeds 2005 compilation album, B-Sides and Rarities. "The Garden Duet" "I Do, Dear, I Do" "Opium Tea" "Sheep May Safely Graze" "Wake Up My Lover" "Farewell, Goodbye, So Long" "I Got Another Woman Now, Dear" "Little Empty Boat" "Right Now I'm A-Roaming" "Come Into My Sleep" "Babe, I Got You Bad" Nick Cave and the Bad SeedsNick Cave – vocals, organ, vibes, keyboard Mick Harvey – electric guitar, acoustic guitar, organ, bass organ, backing vocals, xylophone Blixa Bargeld – electric guitar, piano treatment, backing vocals Martyn P. Casey – bass, backing vocals Conway Savage – piano, backing vocals Warren Ellis – violin, piano, looped violin Jim Sclavunos – drums, bells, organ, tambourine Thomas Wydler – drums, backing vocals Technical personnelFlood - producer, mixing Chris Scard - co-producer, mixing Paul Corkett - engineer Paul Hicks - assistant engineer Paul Wright - assistant engineer Nick Cave and the Bad Seeds - additional production
Jim White (drummer)
Jim Ronald White is an Australian drummer and producer. In 1992 he formed Dirty Three, an instrumental rock band, with fellow mainstays Warren Ellis on violin. In Dirty Three, White shares songwriting duties with Turner. White has played with various other artists including PJ Harvey, Bonnie Prince Billy, Cat Power, Courtney Barnett & Kurt Vile, The Blackeyed Susans, Kim Salmon's STM, Venom P. Stinger, The Tren Brothers,and Nina Nastasia. White records and performs with Xylouris White, a duo formed with Cretan lute player Giorgos Xylouris. Jim Ronald White grew up in Clifton Hill, Victoria. In 1980, as a drummer, he formed Happy Orphans with Conway Savage on backing vocals. Late the following year he replaced Peter Rippon on drums in a noise rock group, The People with Chairs up Their Noses, alongside Mark Barry on bass guitar, David Palliser on saxophone and lead vocals, Jim Shugg on lead guitar. In 1982 they issued a split extended play on Au Go Go Records with their two tracks, "Road to Egg" and "The New Band", backed by a track from fellow Melbourne rockers Plays with Marionettes.
When performing White provided percussion by using an "ironing board covered with letter boxes and other domestic detritus". In 1982 White, with Shugg on lead guitar and lead vocals, rejoined Savage in a country rock group, Feral Dinosaurs, he sometimes played in both The People with Chairs up Their Noses and Feral Dinosours on the same night. Other founding members of Feral Dinosaurs were Nick Danyi on saxophone and David Last on double bass and vocals. By late 1983 The People with Chairs up Their Noses had disbanded and White continued with Feral Dinosaurs. In 1984 they provided a cover version of Don Gibson's 1958 hit, "Blue Day", on the various artist's compilation album, Asleep at the Wheel, for Au Go Go Records. Feral Dinosaurs released two singles, "Ramblin' Man" and "50 Miles from Home", followed by an EP in December 1985, You've All Got a Home to Go To, on the Major Records label before disbanding in 1986. In 1985 White formed another band, Venom P. Stinger, as an avant-rock ensemble with Dugald MacKenzie on lead vocals.
They issued their debut album, Meet My Friend Venom, but disbanded in 1989 when Turner returned to Fungus Brains. White had drummed for Hessian Sax during 1988 to 1989 and for Conway Savage & the Deep South in 1989. Venom P. Stinger's second album, What's Yours Is Mine, was released in October 1990; the group reformed in 1991 with MacKenzie and White joined by Nick Palmer on lead vocals. In November they issued Waiting Room; the group toured the United States and released a live album, Live, in 1992. By the end of the year White and Turner had left Venom P. Stinger. In 1992 White and Turner formed an instrumental rock group, Dirty Three, with Warren Ellis on violin; the trio recorded Dirty Three, as a give-away at early gigs. In the same year White and Ellis were working in the rock bands, The Blackeyed Susans, Kim Salmon's STM and Charles Marshall and the Body Electric; the following year White and Turner reformed Venom P. Stinger, recorded another album, Tear Bucket, which appeared in 1996. In 1994 White and Ellis backed Tex and Charlie on a national tour.
In June that year Dirty Three issued their self-titled album on Torn & Frayed Records for which Australian musicologist, Ian McFarlane, praised White's "sympathetic drumming". In November 1994 they released an album in the US, Sad & Dangerous, which included tracks from their 1992 give-away cassette. From March 1995 the trio completed 200 gigs by year's end. In July Sad & Dangerous was issued in Australia; the group followed with further studio albums: Horse Stories, Ocean Songs, Whatever You Love, You Are, She Has No Strings Apollo and Toward the Low Sun. All of Dirty Three's material is co-written by White with Ellis and Turner. In mid-1998 White and Turner formed an instrumental duo, The Tren Brothers, issued a five-track self-titled EP. Most of The Tren Brothers material is written with White. In January 2000 White and Ellis backed Nick Cave on his tour of Australia. In 2003 White backed Nina Nastasia and subsequently was recorded on her albums Run to Ruin and On Leaving. On 28 May 2007 the pair released a collaborative album.
It was co-produced by White and Kennan Gudjonsson. Allmusic's Thom Jurek noted that White "is not an accompanist here, he is a collaborator though he didn't write the songs", with the production emphasising his "full of bassy tom toms and wispy brushwork" where White "floats, sputters and pushes through the music, just as playing guitar and singing does". In 2013 he started playing with Anderson Henderson White. White formed Xylouris White in 2013, a collaboration with Greek singer and laouto player George Xylouris; the duo's music has been described as combining "free-jazz, avant-rock and ages-old Greek folk traditions." To date they have released three albums, produced by Guy Picciotto, undertaken numerous world tours. When not performing or recording, White lives in New York City. Jim White has played with a number of other artists, including: Boxhead Ensemble – musical collective including Scott Tuma, Jim O'Rourke, Will Oldham Will Oldham aka Bonnie'Prince' Billy – on several albums Scott Tuma - On the album Hard Again Jim plays drums on a track titled'J