3 days ago
Continuing with our series of Spotify playlists that celebrate our artists entire recorded output during their time with us, we are happy to post the next batch. Buffalo Tom, The Cult, Biffy Clyro and The Charlatans.
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4 days ago
The last in our series of reviews from the very talented Andy Brooksbank... a full set our reviews will be available on our website in the new year ...
The definitive collection, hand selected by the band themselves and originally rush released to coincide with the glorious Resurrection of July 1998, Crackle was re-sequenced for vinyl thirteen years later, Beggars could have saved a few quid here by utilising that vinyl cut but hats off to them for taking it to Abbey Road for another overhaul.
With half of these cuts discussed previously on the early reviews, it’s time to take a look at the best of the rest….first up is Sanity Assassin, once described as the best track any band left off an album, and who-ever it was that said that was not wrong, here this outtake from the Burning sessions takes on a battle for the crown jewel of this set, as Haskins kicks it into life what’s immediate is Ash’s trademark razor slashes, often referred to as been relegated to the confines of In The Flat Field but that actually couldn’t be further from the truth because there are here in abundance, ripping through J’s killer hook bass line like a hot knife through butter. Murphy’s random littering of lyrical phrases weaving in and out of the now resuscitated incredible Ash / J backing vocals as the track falls from its apex is one of the best moments of this album.
The remix of Kick In The Eye is up next, re-polished and re-varnished for the burgeoning dance / disco market back in 1982 this one is arguably the weak spot of this set, a brilliant single in its first incarnation but almost too glossy and possibly over-produced when re-released and this new re-mastering unfortunately accentuates that gloss even further which has resulted in this once powerful number diminishing from its formerly magnificent status.
Cover versions are always a hot topic of discussion and when, on occasion, Bauhaus stepped into this territory the results were always extraordinary, taking on Bowie’s seminal Ziggy Stardust was an incredibly brave move at the time for a band that were constantly dismissed by certain areas of the music press as simply been Bowie copyists. Whilst the Dame’s original fused acoustic with electric guitars, Bauhaus simply plugged in and whacked the volume up to eleven, this is an incredible take on a classic track, the multi tracked lead vocal here is absurdly good, the layers of guitars and David’s rolling bass notes knock the song into another dimension, but its Kevin’s note perfect drumming that now leads this one. Ziggy has never paled over the years but has now somehow being invigorated even more…. Glam Goth in fancy dress, tonight Peter Murphy is David Bowie, Daniel Ash is Mick Ronson, David J is Trevor Bolder and Kevin Haskins is Woody Woodmansey.
Sanity Assassin was never going to steal the show without a fight of course, but it did not bargain on its duel been with the once timid, nervous Dark Entries. As mentioned in the earlier reviews, a small number of Bauhaus material struggled to make that transition from live staple to studio gem successfully (Rosegarden Funeral Of Sores and Antonin Artaud during their initial vinyl outings to name but two - these new remasters have of course put an end to ALL of that) and Dark Entries was an initial casualty. The evolution from this early dour 1980 45 to perhaps the most powerful track on this record is staggering. From the initial feedback that cuts to Daniel’s descending power chords through Kevin’s pulsing drum patterns, David’s, at times, domineering bass all somehow find space for Peter’s incredible vocal, particularly resplendent during the spoken refrain that give way to a now remarkable Ash / J backing chant of the song’s title. The multi layered and textured guitars at the tracks close are all new to this writer’s ear. Ending of course as it began, in a hail a feedback.
On original CD release Crackle boasted the inclusion of the original studio version of arguably their finest moment, the ground-breaking Bela Lugosi’s Dead; this vinyl version substitutes that for a so-called Tomb Raider version. Utilising a then newly discovered unused Peter Murphy studio vocal, skilfully stitched to the backing track of the live version of Bela (see Press The Eject and Give Me The Tape) by Mark Wallis. A task originally slated for use in the band’s appearance in Tony Scott’s stylish vampire flick The Hunger but abandoned in favour of the already available live cut. In spite of everything this is an astonishing hybrid, Kevin Haskins maintains pace throughout the entire ten minute performance, never dropping a single beat, Daniel showers the track with splinters of guitar, more prominent here than ever before, Peter’s once discarded vocal is brought back to life with such panache and elegance, commanding a presence like only he can….
The hypnotic rumbling bass lines of Terror Couple Kill Colonel are now resplendently brought back to life, as is the extraordinary percussion, much of this lost during previous outings. Once it was the unassuming but highly infectious guitar notes that lead this early, intriguing Bauhaus single, not anymore. Additionally Peter’s range really shines on this number, and what’s particularly interesting is the clever infrequent use of multi tracking of his vocal, the unsystematic guitar that adorn the song’s closure are also of particular note.
Appearing here in its single form is Sprit. The rhythmic strumming of a twelve string guitar once concealed under the song’s piano hook is new here, Spirit is truly bursting with textures, many evident here for the very first time like the afore mentioned twelve string, the highly effective chorus backing vocals and Kevin’s complex drum pattern for example are much more audible now, furthermore, listen to the remarkable repeated piano notes during the songs refrain…
The truly fascinating Crowds quite rightly closes proceedings, initially a challenging audience damning ballad, but that oh-so-infectious naive piano now pales slightly to make way for occasional bass notes and trappings of bowed guitar that have now found new life here. But its Peter’s vocal that was, and still is, quite remarkable, Crowds was an oft-overlooked gem hiding away in a mighty arsenal, but not anymore.
It’s interesting to hear that on each of these newly re-minted albums a different instrument seems to have been brought back to life, usually dominating the record throughout but this one is the exception due of course to the fact that it’s a compilation so by default as the band grew, their ideas of how their own material should sound would change and given that this is a 79-83 retrospective it flows incredibly well. Retitled Crackle - The best of Bauhaus and never was a truer word spoken.
Bauhaus, the band Peter Murphy ... See MoreSee Less
The Arkive added 3 new photos.
6 days ago