NICK CAVE & the Bad Seeds Let Love In LP vinyl m- UK
$
113
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Description
Nick Cave And The Bad Seeds "Let Love In" UK issue on Mute. Excellent mint minus (m-) condition both the record and the sleeve. From my personal collection. I'm not a "dealer", just a music loving citizen who occasionally thins things out for a few dollars to spend on other items. Stored upright vertically with my other Nick Cave records, always handled properly. I bought it when it was released in the mid-90s, and played it only a few times. So, even though the vinyl looks perfect, there might be (some very, very occasional) clicks and pops, those were there when the record was new. Sorry for the poor photo -- taken on my Android phone, one can see the shadow of my hands lifting the camera's viewfinder to my head. Here is the blurb from Allmusic.com about the album, in case you didn't know:
Keeping the same line-up from Henry's Dream, Nick Cave and company turn in yet another winner with Let Love In. Compared to Henry's Dream, Let Love In is something of a more produced effort -- longtime Cave boardsman Tony Cohen oversees things, and from the first track, one can hear the subtle arrangements and carefully constructed performances. Love, unsurprisingly, takes center stage of the album. Besides concluding with a second part to "Do You Love Me?," two of its stronger cuts are the (almost) title track "I Let Love In," and "Loverman," an even creepier depiction of lust's throttling power so gripping that Metallica ended up covering it. On the full-on explosive front, "Jangling Jack" sounds like it wants to do nothing but destroy sound systems, strange noises and overmodulations ripping throughout the song. The Seeds can always turn in almost deceptively peaceful performances as well, of course -- standouts here are "Nobody's Baby Now," with a particularly lovely guitar/piano line, and the brooding drama of "Ain't Gonna Rain Anymore." The highlight of the album, though, has little to do with love and everything to do with the group's abilities at music noir. "Red Right Hand" depicts a nightmarish figure emerging on "the edge of town," maybe a criminal and maybe something more demonic. Cave's vicious lyric combines fear and black humor perfectly, while the Seeds' performance redefines "cinematic," a disturbing organ figure leading the subtle but crisp arrangement and Harvey's addition of a sharp bell ratcheting up the feeling of doom and judgment.
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