I’ve seen Love and Rockets (in ’89), Peter Murphy (solo in 2016) and Pop Tone (Daniel Ash and Kevin Haskins, along with Haskins’ daughter Diva Dompé in 2018) perform but thought Bauhaus was something that would always remain out of reach. BUT! The original lineup has gotten back together to tour this fall and we have tickets to see them in Detroit.

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Side A is simply amazing, five of my favorite Bauhaus songs back-to-back: “Double Dare,” “In the Flat Field,” (both on their debut In the Flat Field), “Dark Entries” (released as a single in ‘80),” “Stigmata Martyr” (also on In the Flat Field) and “Bela Lugosi’s Dead” (the live version from Press the Eject and Give Me the Tape, released in ‘82), which was the band’s first-ever released single in 1979 and widely considered to be the first goth rock record. Side B is just as strong, starting off with the great cover of T. Rex’s “Telegram Sam” (Bauhaus’ from ‘80, T. Rex’s from ‘72; I love them both). A couple of other favorites are the single “Terror Couple Kill Colonel” from ‘80 and “The Passion of Lovers,” which Bauhaus released as a single in ‘81, hitting #56 on the UK chart. Also on Side B are tracks from In the Flat Field “St. Vitus Dance” and “A Spy in the Cab” as well as the title track “Mask” from their second album released in 198. Side C kicks off with more from Mask: “Kick in the Eye” (which they released as the second single from the LP), “Hollow Hills” and “In Fear of Fear.” Next up is a fantastic cover of David Bowie’s “Ziggy Stardust” and a single from ‘83 “Lagartija Nick” which went to #44 in the UK. Side D leads with a Brian Eno-penned song, “Third Uncle,” and then moves into two singles, “Spirit” from ‘82 (#42 on the UK chart) and “She’s in Parties” from ‘83 which also appears on Burning From the Inside. “She’s in Parties” was the band’s last single release; it went to #26 in the UK. Also on Side D is “All We Ever Wanted Was Everything” from The Sky’s Gone Out (1982) as well as “The Sanity Assassin” (a non-album fan club only single) and “Crowds.”

I feel so, so much better now.

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In concert and on Poptone, Ash and Haskins focus on revamps of previous material – most even darker and heavier than their unique industrial goth, which was pretty heavy and dark to start with – with lots of Tones on Tail and Love and Rockets tracks. I was in heaven! Tones on Tail songs they played that appear on Poptone included “Movement of Fear,” “Lions”  “Performance” and “Go!”  The Love & Rockets selections were “Mirror People,” “No Big Deal,” “Ball of Confusion,” “Love Me” and “American Dream.” Not on Poptone, their First Avenue set had a ton of other Love & Rockets’ selections:  “Motorcycle,” “Haunted (When the Minutes Drag),” “All In My Mind,” and “Yin and Yang The Flowerpot Man.” The last time I saw Love and Rockets was in 1989 when they were on tour for their 1989 album Love and Rockets. That fall, either right before or after that concert, a friend of mine and I took the Greyhound bus to Minneapolis from Madison, WI to visit her sister and see a guy I was dating who went to the University. Her sister’s boyfriend drove us around town at full speed while blasting Love and Rockets, so it just felt right to be hearing those songs again at First Avenue.

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The songs on the 12″ single are, not surprisingly given Ash’s style, sinister waves riding on dark romanticism. “This Love” has an industrial flavor that is punctuated with a locomotive rhythm and Ash’s “dry Bolanesque purr.” “Heaven is Waiting,” the second song on Side A, is a shoe-gazing swaying instrumental. Side B has just one track, “Coming Down (slow version)” which differs from the album version, “Coming Down Fast.” It is beautiful, sultry yet vampire-cold, using guitar effects that evoke flickering candles in a dark gothic cathedral.

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In The Flat Field is a masterpiece of an album. Allmusic says “Few debut albums ever arrived so nearly perfectly formed; that In the Flat Field practically single-handedly invented what remains for many as the stereotype of goth music – wracked, at times spindly vocals about despair and desolation of many kinds, sung over mysterious and moody music…” The title track “In the Flat Field” is one of my all-time favorite songs and this video of its live performance in ‘82 is worth watching over and over again.

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This unauthorized release is from a friend’s vault; he wanted to find out more about the album. Sadly I cannot find much more than I’ve already written above, though Album 2 mirrors closely the 1982 unofficial release Live in Milano At the “Odissea 2001″ on the German Geebo Geebo Records, so these songs are likely from the same live show.

Here is the tracklist as it appears on the back of the album rather than what is listed on the few websites I could find:

Muscle In Plastic
Passion Of Lovers
Hollow Hills
Dancing
Harry
Hair Of The Dog
Of Lilies And Remains
Unreleased
In Fear Of Dub
Mask

Double Dare
Flat Field
Silent Hedges
In Fear Of Fear
Lilies And Remains
Rose Garden Funeral
Three Shadows
Terror Couple
Stigmata Martyr

Dark Entries

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“Bela Lugosi’s Dead” is the epitome of goth rock and many consider it the first true goth release. It’s 9+ minutes of pulse-like rhythm punctuated with haunting bass strums and eery guitar squeals, the words “dead” and “undead” appearing 48 times painted with visions of bats, dead flowers and red-velvet lined coffins.

The b-side track “Boys” is another one of my favorites by Bauhaus. Peter Murphy’s voice is gloriously pained and the music sparsely and desperately sad. The teaser “Dark Entries (demo)” hints at the glorious full recording to come in its 1980 release.

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“Dark Entries” has a faster rocking tempo than most Bauhaus songs (so much so that it took me a few seconds to realize that I failed to switch the record player setting from 33-1/3 rpm to 45 rpm – it was only when the vocals started that I realized that Peter Murphy can sing low, but not that low), and has a very similar flavor to Bauhaus’ most excellent “In the Flat Field.” “Telegram Sam” is a cover by glam rockers T. Rex., lending Bauhaus a decidedly upbeat groove and garagey sound with sneer and swagger rather than the goth fathers’ usual gloomy distant minimalism.

4AD released the EP just months after Bauhaus disbanded in July 1983.

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