Bauhaus: 10 years after
Bauhaus, “SWING THE
HEARTACHE: THE BBC SES
SIONS.” (Beggars Banquet/RCA):
After hearing this live flashback to
the British goth-rock legends’ early
days, one realizes that it has been
almost a decade since the ‘‘new
wave” era. Former Bauhaus boys
like Daniel Ash arc now part of the
ultra-trendy Love and Rockets.
Ironically, Bauhaus has experi
enced a phenomenon that also hap
pened to Andy Warhol’s Velvet
Underground and Iggy Pop and the
Stooges: The band wasn’t truly ap
preciated until they were defunct.
Conceived in 1979, when disco
was queen and AOR ruled rock’s
hipper environs, Bauhaus took its
name from the renowned German art
school. With an eerie, surrealistic
blend of dirge rhythms and lyrics that
glorified the funereal, Bauhaus origi
nated “gothic” music. Part perform
ance art and horror film camp,
Bauhaus shocked the sensibilities of
the day and rode the “new wave”
into the early 1980s.
Since that time, they’ve been
embraced by David Bowie, imitated
by inferior bands and canonized by
trendy black-wearing teens every
where. Many, however, have failed
to sec the humor in their work, but
Peter Murphy’s and Daniel Ash’s
posing and ghoulish musical and
physical presences always reeked of
moribund parody. They made five
albums in four years, and many of
their greats are included in this
double LP: “She's in Parties,’’
“Telegram Sam’’ and others.
The live tracks, culled from BBC
sessions with the eminent John Peel,
create a trenchant retrospective. The
songs are, of course, rougher and
slower than studio recordings. But
the live “garage” sound strips away
many of Bauhaus’ inherent preten
sions and lets the listener see Ash,
Murphy and cohorts for what they
truly were — creators of some of this
decade’s most innovative, chilling
musical idiosyncrasies.
(Grade: B +).
Pop Will Eat Itself, “THIS IS
THE DAY, THIS IS THE HOUR,
THIS IS THIS.’’ (RCA): Cashing in
on the “acid house” craze that’s in
fected England, this clan of U.K.
spoof specialists has created a mar
velous parody of hip-hop, house, rap
and acid. The results are often crass
and unlistenable, but hilarious none
theless. Samples of old soul classics
are staples in house and rap, so the
Poppies decided to lift riffs from
songs ranging from Lipps, Inc.’s
- Swim.4
Without Getting Soaked.
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Courtesy of RCA Records
Bauhaus: raised from the dead by the BBC
“Funkytown” to Rod Serling. The
most fun track is “Not Now, James,
We’re Busy,” a send-up of the many
rap groups who incessantly sample in
lines from James Brown oldies.
(Grade: B).
Chaka Khan, “LIFE IS A
DANCE: THE REMIX PROJ
ECT.” (Warner Bros.): This col
lection of re-mixed Chaka Khan
oldies is nothing but a reprehensible
retread. Classics like “Ain’t No
body” and “I Feel For You” are
stripped of their original hooks and
layered with cheap electronic synth
beats - and priced from S12 to S14
for CD and cassette formats, no less.
A veritable Khan job. (Grade: D -).
Stevie Nicks, “THE OTHER
SIDE OF THE MIRROR.’’ (Mod
ern): Nicks, who usually seems more
interested in how elegantly she spins
in her gypsy gowns than in her music,
delivers some surprisingly pleasant
harmonies here. Her gravelly voice
has never sounded more melodic and
her lyrics arc less pretentious than
usual on tracks like the ballad “Two
Kinds of Love.” (Grade: B -).
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