Won’t somebody touch me?

Grinderman’s May 11, 2007 appearance on Jools Holland, performing ‘No Pussy Blues’ and ‘Honey Bee’ (along with two Grinderman video interviews) are under the page cut. Be sure and check the comments for ‘FIX’ info & a Nick Cave/Jim Sclavunos podcast interview.

Grinderman – No Pussy Blues
Live On Later (May 11, 2007)
Tx to LeatherProwler

Grinderman ‘Honey Bee (Let’s Fly To Mars)’
Live on Later (May 11, 2007)
Tx to AgesoftheRod

Grinderman Interview (1)

Grinderman Interview (2)

Edited for content 2009-07-13 – mw

This entry was posted in Grinderman, TV Broadcasts by Morgan Wolfe. Bookmark the permalink.

About Morgan Wolfe

I write contemporary LGBTQ fiction that explores the dark & light of human love and desire. Interests: Progressive politics, visual arts, vintage illustration, mid-century design. French films, Queer cinema. Literary quotes. J'adore Paris. Ich liebe Berlin.

6 thoughts on “Won’t somebody touch me?

  1. One more Grinderman interview that I forgot to include (sorry, James!), originally featured at Nick Cave Fixes in March of 2008, is ‘Wild Colonial Boy’ by James McGallliard, a writer from Melbourne (and a friend of our Debra). In Dec 2006 he talked to Nick Cave about Grinderman. Here ya go!

    By James McGalliard

    “I just fucken want to shove their records down their throats!” Nick Cave talks straight to James McGalliard about home, loss, and Grinderman
    (Published March 7, 2007 from a December 2006 interview)

    “There was a time, fifteen or ten years ago, it took a year to make a record. Not a year to record it, but a year to get everyone together, and sort everyone out, and get the right drugs in. The whole kind of massive event to make a record and it’s not like that anymore, and consequently output is much more rapid, and I’ve got the whole writing thing organised, and that makes it much more rapid”

    It’s a blazing hot December afternoon, and Nick Cave is back in Melbourne for a family Christmas. “I love Melbourne. I having an absolute fucking ball here actually…I think that in England, even though I live in Brighton and it’s beautiful and all that sort of stuff, you kind of carry a weight with you that you are aware of and I find that that kind of dissipates while I am in Melbourne. I just sort of feel a lot more optimistic in general. (But) Brighton’s the first place that I’ve lived where I feel I could stick it out for the duration.”

    Despite the heat, Nick is wearing one of his trademark suits, as we meet to discuss his new project Grinderman. “There was a general feeling about the whole of the Grinderman thing is it’s anything goes…And I think what Grinderman is about is going to places you wouldn’t normally go or you can’t normally go, or you don’t have the confidence to go or whatever, and it’s just with a group of people where you are allowed to do whatever you like.”


  2. G-MAN BOOT/OUT-TAKE FIX: Sorry I forgot this.

    Grinderman – Roskilde Festival
    (04.07.2008) (LINK)

    01 Radio DJ Intro
    02 Electric Alice
    03 Grinderman Intro
    04 Grinderman
    05 When My Love Comes Down
    06 Honey Bee (Let’s Fly To Mars)
    07 Dream
    08 No Pussy Blues

    Grinderman – Slottsskogen – Göteborg (Sweden)
    (08.08.2008) (LINK) (PIC)

    01 Electric Alice (Cut)
    02 Grinderman
    03 (I Don’t Need You To) Set Me Free
    04 When My Love Comes Down
    05 Honey Bee (Let’s Fly To Mars)
    06 Dream
    07 Man In The Moon
    08 No Pussy Blues
    09 Love Bomb
    10 Tupelo

    Grinderman – Summercase Festival- Barcelona (España)
    (18.07.2008) (LINK)
    (PIC) (PIC) (PIC)


    01 depth charge ethel
    02 get in on
    03 electric alice
    04 grinderman
    05 (i don’t need you to) set me free
    06 when my loves come down
    07 honey bee (let’s fly to mars)
    08 dream
    09 man in the moon
    10 no pussy blues
    11 love bomb

    Most people have this one but just in case…

    The original Grinderman CD, including outtakes.

    1. Get It On
    2. No Pussy Blues
    3. Electric Alice
    4. Chain Of Flowers
    5. Don’t Set Me Free
    6. Decoration Day
    7. Love Bomb
    8. Honey Bee
    9. Man On The Moon
    10. Go Tell The Women
    11. Vortex
    12. Rise
    13. Get It On (new vocal)
    That’s all folks! 🙂

  3. When I first heard about the Grinderman project, I must confess that I had my doubts. Those doubts disappeared as soon as I heard the first tracks from the album. It is an album I play very regualarly and love a great deal. It has a raw energy to it that simply will not be ignored.

    Wonderful individual tracks and what is so important for a great album is that they fit together so well. The running order of tracks works very well.

    I particulalry love the way that Honey Bee Lets Fly to Mars ends leaving a resonating hum which becomes Man on the Moon.

    I have very high expectations for next years second Grinderman album and am hoping for quite a few tour dates. I am sure Nick will not disappint; he never does.

  4. My roomate hates Nick but she listened to G-man, at first anyway. She’s an 80s metal head who never moved past it. Hard core resistant to anything Nick and Blixa, especially Neubauten. Froths at the mouth.

    As for the Jools Holland Show, I vividly remember how I felt when I first saw the ‘No Pussy Blues’ performance. Stunned. I embedded the video at Morgan’s Musings, preceeded by an essay about phenomenon of aging (but still sexy) rock stars : ‘dark prince of crooners’ (2007-04-12).

    It was inspired by a phrase I read in an Abattoir Blues DVD review and informed by the following ‘conversation’ between David Marchese at Salon.com with Nick Cave and Jim Sclavunos.
    HINT: This interview was a podcast, a raw feed that was later edited into the print version. Download it & Winamp or Quick Time will play it. (MP3 LINK).

    SALON Conversations: Nick Cave (2007.04.12)
    (with David Marchese)

    Long one of rock’s most darkly charismatic figures, Nick Cave has filled his career with songs that married an almost biblical sense of morality and justice to an evocative, highly literate lyrical style that marked him as sort of a louder, angrier Leonard Cohen. Cave’s new album, recorded under the name Grinderman (and without his longtime backing band the Bad Seeds), finds the Australian singer-songwriter, who turns 50 this year, making some of the noisiest, harshest music of his career. The reasons for the added aggression? He’s getting old and, if songs like “No Pussy Blues” are any indication, he’s not getting laid.

    Rail thin and dressed all in black, with a long handlebar mustache hugging the sides of his mouth, Cave — accompanied by Grinderman drummer Jim Sclavunos (hear them both in this podcast) — cut an imposing figure as he spoke with Salon about an album that he says came out of a “monumental midlife crisis.”

    There’s a sexual frustration that permeates the album — and this is the year you turn 50.

    Absolutely. I’m about to turn 50 and sex preoccupies you the older you get. You’re a young guy, you don’t know about that. I think you become invisible. I suspect the older you get the more invisible you become.

    Invisible in what sense?

    To the world. The less impact you really have. You’re not seen in the same way. This record’s actually about a person who’s physically disappearing. There’s a song, “Love Bomb,” where he keeps looking at himself in a mirror and he’s becoming thinner and a girl reaches out to touch him and her hand goes right through him. I think, as you get older, you become more and more invisible and then you die.

    So why get up in the morning?

    Because what we’re doing, as far as I’m concerned, is doing something. The least we can do is put out something that inspires people and can be genuinely uplifting in some way. Every day in the papers, without getting too drawn into specifics, there’s mounting evidence that the direction we’re going in is wrong and we’re heading for major catastrophes in a lot of different areas. If one thing doesn’t get us, something else is going to, and it doesn’t look like that’s too far away. You would think that the powers that be would shift their focus slightly and try to remedy this, but that hasn’t happened and I guess that makes you feel a little bit impotent.

    I think there’s also for me, as I get older, a feeling that as an individual whatever impact I’m going to have is done; I’ve had it. This actually is a cause of celebration for me, and liberating, because I can just go and do whatever the fuck I want.

    You’ve talked about listening to a John Lee Hooker song and hearing the lines “I went down to my baby’s house/ I sat down on the step,” and how they opened up the album for you.

    Yeah. You’re toying around with different ideas and you want something … I’m doing this at the moment with the Bad Seeds record and there are these half ideas floating around in fucking aspic or something, floating around in space, and suddenly you just get this thing and you know what it’s about and these things can collect around a basic idea. I had some ideas and those two lines came out when I was listening to this John Lee Hooker song trying to work out how he played guitar.

    Those seem like such innocuous lines.

    Not to me.

    Can you explain why?

    There was a sense of disengagement between the man and the woman. You don’t go around to your baby’s place and then sit down on the step. There was something so beautiful to me about that. With the Bad Seeds, when I write songs, they’re very often about a man and a woman sitting and looking at the world and the world’s going to shit in a handbasket and all that kind of stuff, but there’s this connection and love will save the day. I guess that this was something else, where the woman on the Grinderman record has been released and has flown off to do whatever she wants to do and the man is there imprisoned in some way — that’s what that meant to me.

    Look, when I’m alone and writing there are all sorts of influences — feminine and masculine influences, memories and ghosts of the past, all that stuff — having an impact on what I write. With Grinderman, most of it, I’m stuck in a room with four guys in the middle of a fucking monumental midlife crisis. It’s a male thing. It’s an old man kind of thing. I think there’s really something kind of hysterical in the music that’s a reflection of that.

    So now you’re going through a midlife crisis and —

    I was being slightly ironic.

    So you’re dealing with these issues, and the sound of the album is wilder and looser than it’s been in a while.

    [Cave snickers]

    No? Musicians just don’t like to be told what they sound like! But your early music was also maybe written at a time of sexual frustration …

    Well, actually, no. In the “Birthday Party” days it was pussy on tap. You had to beat it away with a stick. Are you saying that the music sounds like something we would have done when we were younger?


    I reckon the music sounds something like, you know when you go to a disco and you see some middle-aged guy getting down? It sounds like some dad guy having a few drinks and going nuts in a disco. The young kids are loving it, we’re getting all this response from the kids, but we certainly weren’t trying to recapture some lost youth.

    You were right, though. We just don’t like to be told where our music’s going. So get fucked. [Smiles]

    How important is the concept of morality to your music?

    I wish I could get away from that. Maybe not so much now, but I used to write in a narrative form of songwriting, which required a kind of conclusion at the end, or a summing up of what the story was about with a kind of moral perspective. It comes from there. I hope you don’t listen to my stuff and think I’m trying to persuade you. That’s never the intention. — David Marchese

  5. The Grinderman performances on Later with Jools Holland are outstanding. Nick is mesmerising; particulalry during No Pussy Blues.

    I had been trying to covert some friends of mine to the Bad Seeds for a couple of years to no avail, and then they saw these Grinderman performances in 2007 and were hooked.

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