Crackle - The Best Of Bauhaus - Bauhaus

Press The Eject And Give Me The Tape - Bauhaus

Originally tagged on to the third studio release The Sky s Gone Out, Bauhaus first live album was later sold as an independent entity in its own right, and fares less well in this stand-alone form. Recorded in pieces between 1981 and 82, the material played here stems from the first two studio albums and the singles released between, making for an interesting and not entirely predictable set that at least offers something new in the form of B-side material for those who are only familiar with the full-length releases. On the negative side, it doesn t really work as a live album, and although the extended instrumental jam of early hit Bela Lugosi is Dead might have ...

Press The Eject And Give Me The Tape - Bauhaus

Originally tagged on to the third studio release The Sky s Gone Out, Bauhaus first live album was later sold as an independent entity in its own right, and fares less well in this stand-alone form. Recorded in pieces between 1981 and 82, the material played here stems from the first two studio albums and the singles released between, making for an interesting and not entirely predictable set that at least offers something new in the form of B-side material for those who are only familiar with the full-length releases. On the negative side, it doesn t really work as a live album, and although the extended instrumental jam of early hit Bela Lugosi is Dead might have ...

Burning From The Inside - Bauhaus

as some songs are still pretty good, particularly the openers She s in Parties and Antonin Artuad which are the only ones to truly sound like Bauhaus songs, the latter even featuring a repeating backing woof reminiscent of later works by Type O Negative, but most are pretty rubbish, or merely fall victim to bad creative decisions. Despite the ballads and spoken word songs often proving to be the least successful on earlier releases, this album is rife with such mediocre material. Who Killed Mr. Moonlight? is a piano song that conveys none of the usual darkness but doesn t replace it with any other recognisable kind of emotion, Kingdom s Coming does a similar ...

Burning From The Inside - Bauhaus

as some songs are still pretty good, particularly the openers She s in Parties and Antonin Artuad which are the only ones to truly sound like Bauhaus songs, the latter even featuring a repeating backing woof reminiscent of later works by Type O Negative, but most are pretty rubbish, or merely fall victim to bad creative decisions. Despite the ballads and spoken word songs often proving to be the least successful on earlier releases, this album is rife with such mediocre material. Who Killed Mr. Moonlight? is a piano song that conveys none of the usual darkness but doesn t replace it with any other recognisable kind of emotion, Kingdom s Coming does a similar ...

The Sky's Gone Out - Bauhaus

With the release of the darker and multi-faceted The Sky s Gone Out, it was almost as if Bauhaus mediocre sophomore release never happened, as many songs and styles here sound like direct continuations and perfections of those attempted in the debut. Vocalist Peter Murphy is at his best here, starting off energetic and shouty in the opening song before returning to the Mark E. Smith style on In the Night before that song heads towards a more satisfying punk finale, and even attempting a near-ballad in Spirit that avoids the pitfalls of usual ballads which, as you no doubt know, are rubbish. He still sounds a lot like Bowie, but thankfully in a good way. The more ...

The Sky's Gone Out - Bauhaus

With the release of the darker and multi-faceted The Sky s Gone Out, it was almost as if Bauhaus mediocre sophomore release never happened, as many songs and styles here sound like direct continuations and perfections of those attempted in the debut. Vocalist Peter Murphy is at his best here, starting off energetic and shouty in the opening song before returning to the Mark E. Smith style on In the Night before that song heads towards a more satisfying punk finale, and even attempting a near-ballad in Spirit that avoids the pitfalls of usual ballads which, as you no doubt know, are rubbish. He still sounds a lot like Bowie, but thankfully in a good way. The more ...