If you ever danced at an underground club or listened to an alternative radio station during the Eighties or early Nineties, then I’m sure you’re well acquainted with ToT’s two biggest hits: Go! and Christian Says. But the ones I’ve always been drawn to, and those that I’m focusing on in this post, involved Daniel Ash and one or more of his former band mates.Įven as Bauhaus was disintegrating, Ash had already begun Tones on Tail as a side project with Haskins and their former roadie, Glenn Campling. All of this you may already know, even if you weren’t a die hard fan, but it’s the bands that evolved from Bauhaus that especially interested me.Īfter the band split up in 1983, each member was involved in various performances, bands, and solo projects. Regardless of whatever style they’ve been labeled, they broke new ground with their compositions, inspiring generations of musicians and songwriters. Described as the first “ Gothic Rock” band, their sound, nonetheless, spanned genres as varied as Glam/Glitter, Post Punk, and some could argue, Ska. In addition to their primary instruments, the members also sang in varying capacities. Daniel Ashįormed in 1978, Bauhaus were Peter Murphy on vocals, Daniel Ash on guitar and saxaphone, David J on bass, and David’s brother Kevin Haskins on drums. Some of the tracks I’d heard before, some not, but all of it permanently etched on my favorites list thereafter. After a good laugh and a name correction, the guy played selections from not only Bauhaus, but its offshoots as well. She had just returned from a vacation spent with a cousin in Nebraska, and it was that relation that had misinformed her on Post Punk pronunciation.
And he played Bauhaus, which my female friend mistakenly called The Bajas. Just one of the many notables that night was a mix of West End Girls that I prefer to this day keep in mind that this was at least a year before most Americans would hear a watered down version on the radio. We killed time as best we could on that warm September night drinking, talking, and listening.Ī guy with a boombox sat next to us in the queue, playing one good song after the other all night long, resulting in a playlist that everyone around enjoyed. The girl I was dating at the time, along with every other fan of alternative music in Denver and I, waited in a line that snaked from the venue entrances all the way back to the parking lots. The main reason it was so good was that the band was perhaps the tightest I’ve ever heard.īut back to the previous night. A show that turned out to be one of the best I’d seen, which is something considering the myriad of performances I went to during the Eighties.
In the late Summer of ’85 we were biding our time for Tears For Fears.
Complete mayhem always ensued, resulting in the best seats going to those most athletic or lucky. It was a few years later that they implemented what I call the cattle run: spending all day sweltering in the parking lot before they herded the crowd en masse up to the gates a couple of hours before the show. And this was for a performance that wouldn’t start until the following evening. 1Īt that time, a combination of partying all night long, coupled with sleeping awkwardly in line was the price you paid to get a halfway decent seat. It wasn’t until 1985 while camping out on the steps of Red Rocks that I first heard Kick in the Eye, Lagartija Nick, and The Spy in the Cab. It almost pains me to admit that I came upon Bauhaus rather late.
0 kommentar(er)
