From a time when music was inventive...Bauhaus

Years ago, as a young lad hungry for music, I spent many a year just going to any gig going. When I wrote my Fanzine in 1991-92, I went around the local counties interviewing bands and seeing concerts. Then when I joined a band and did gigs around the country, I inevitably saw a lot of other bands also doing the same thing. Then on top of that, going out nearly every weekend and then several times a week, meant seeing a lots of bands that just happened to be on.

Unfortunately, I would say in my humble opinion, that the vast majority of bands I saw were somewhere between OK and terrible. On the rare occasion that there was something that had potential or promise, they were never seen again. For me the early nineties were a turning point in music, where popularity started to mean more than originality in music. Even in the marginalised gothic culture that I was heavily into, anyone who thought the big goth four were just ok (Mission, Sisters, Nephilim, Rosetta Stone) and preferred more of the diversity of the culture, were even marginalised within a marginalised culture. Where goth music had sprouted out from the roots of punk, by the early '90's it had drifted heavily into standard stadium rock and the diversity was drastically diminishing. Every band on the scene was trying to either emulate the big four or emulate each other emulating the big four. The only hope at the time was from outside the UK.

So in my older years, I got more picky about what music I went to see. In the yesteryear, before the internet and a million young bands, the only way of finding new music was either taking a chance and buying it or going to copious gigs in the hope of stumbling across something worthwhile. Of course today, anyone can spend an eternity looking for new music on the interweb. There was an interesting statement in this months record collector magazine about how the easy access to music has cheapened it for many of today's youth, to the point that the majority just don't see the worth in music and have very little attention span for it.

In the past fews years I have seen some of the best gigs of my life. I've already gone on before (at great length you may think...sorry) about how good Dead Can Dance are live, or even better a Lisa Gerrard gig. But this week I went to a gig that really blew me away. Peter Murphy is currently doing a world tour, playing only Bauhaus music. I saw the first leg of the UK part of the tour this weekend and I have to say it was one of the best gigs I have ever seen. I came out it thinking about how privileged I am to be able to listen and witness the kind of music I am exposed to at the moment. I was too young to have seen Bauhaus when they were a live act, so be able to just grab a snippet of that experience before either I or the creators of this music pass away has been a rare honour indeed and one that I would encourage anyone to see before the tour is over.



What also struck me about the gig and has also been the elements that I found the most fascinating about goth music when I first got into it, were the strong combinations of drums and bass. Bauhaus' music was built on this combination, with everything else being an additional flavouring on the top. Today the bass guitar seems a forgotten instrument, unfortunately. My love of Joy Division and The Cure also had this same element, where the bass accompanied by some skilful and diverse drumming patterns, makes the music so powerful and strong, that the additional of a guitar or keyboard becomes almost an afterthought. The rhythms punched out at the Peter Murphy gig from the songs Dark Entries, Stigmata Martyr, In the Flat Field and Kick In The Eye were so powerful and strong it kicked the audience into a frenzy. These songs are over 30 years old now and still there is nothing like it around. I couldn't help but think how the younger generation are missing out on such music as there was practically no-one under 35 years old at the gig.


So just in case you are under 35 years old and starting out in a band, for goodness sake, give this stuff a listen, the world needs more music like this.


Then send me a copy of it please.
If you have the chance, go and see Peter Murphy on his tour. http://www.petermurphy.info/pmlive.html


The one surprise song from the set was a cover of Dead Can Dance's Severance, which wasn't done that well, but then I would think that Dead Can Dance wouldn't do a Bauhaus song very well either.


Just a quick message to TinyPie that I have seen your comment. There seems to be yet another version of the Bauhaus single Dark Entries which TinyPie has found, so that would bring the tally up to eight versions, will this end I ask myself while pulling the remainder of my hair out! I will get this added soon. Thanks again to you all for reading, let me know if you have seen Peter Murphy on this tour and let me know your thoughts

Here We Go Then

First of all I must apologise for my terrible grammar and spelling. I'm not too hot on correct English.

I'll give you a bit of background info on myself first if I may. I got into music as an early teen. My first love was synth pop. Ultravox, Gary Numan, Thompson Twins. Then at about 14 I started listening to Jean-Michel Jarre, Tangerine Dream, Kraftwerk and Tomita. This got me onto Prog Rock on the one side and strangely Goth on another.

I was very attracted to the Goth culture, the weird and even frightening way folk dressed and the way many goths loved the music wholeheartedly. The first Goth band I got into was The Cure. It was a new slant on the electronic music I was already listening to. I made regular trips to the library and borrowed records what I thought were other Goth bands like Cult, Sisters of Mercy, Mission. Then I borrowed three albums which started my love of 4AD. Treasure by Cocteau Twins, Dead Can Dance's first album and Medusa by Clan of Xymox. Medusa was an incredible album. Similar to the Cure, and similar to the electronic music of Jarre and Tangerine Dream.

In 1987 I bought a 4AD sampler album called Lonely Is An Eyesore. The wealth of music on this one compilation was incredible. On the album's inner sleeve was a full run down of all releases from 4AD up until 1987. Many were already deleted, which seemed such a shame. But I wondered how cool it would be to have all of those releases.

So this is what I hope to do. I have chosen only the first ten years as this will be a big enough task of it's own. I have listed 720 possible releases already and I'm still adding to this list constently. But I hope to add more detail to this blog over time.

The purpose of this blog is to track my progress towards many goals. Build a website, build a database, reach other enthusiasts, share excitement, and share plans of the big vision to exhibit in years to come. What would be very cool, would be to find a fellow collector that would like to collect the second decade and exhibit their collection along with my own.