www.bauhausgigguide.info is back

UPDATE 2017-12-07:
After serious issues with OpenShift I had to move my website again. Now I have an own virtual server so hopefully it will work much more reliable than before…

Just a short note to let you know that my Bauhaus Gig Guide website is available again. Site has been moved from OpenShift V2 to OpenShift V3. Due technical problems with the new platform some features have been removed and you could also experience slower performance, please be patient. Thanks.

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David J – Tim Newman remixes 2011 – 2017 – 2 CDs

We hooked up with Tim when I had released my David J – Live rarities CDs and he sent me his Pulling Arrows remixes. I was blown away and we discussed about a possible release with David. That never happened (yet) but Tim did lots of David J remixes and collaborations over the years, some of them are already released at David’s Patreon site and his new versions for Feel Like Robert Johnson and Ascension are now available on David’s new Vagabond Songs album. He also contributed to (She’s Got) Chinatown In The Rain In Her Eyes from the LP.
This compilation contains Tim’s takes and remixes of David J songs (except the recent ones)

CD 1
01 – Within Arms Reach 4:11
02 – The Keys To Your Wheels 4:08
03 – The Walking Wounded 3:48
04 – Still Dead 4:41
05 – Told Him Everything 5:02
06 – New Tattoos 5:09
07 – Desoto Bridge 6:03
08 – Eulogy For Jeff Buckley – remix 1 9:41
09 – Eulogy For Jeff Buckley – remix 2 6:29
10 – Little Miss Impeccable – remix 1 5:03
11 – Little Miss Impeccable – remix 2 5:03
12 – Little Miss Impeccable – remix 3. 4:19
13 – Feel Like Robert Johnson At The Three Forks Saloon 5:11
14 – Ascension 5:04

Running time: 01:13:55

Track 01 – 03: 2010/2011. Remixes for Pulling Arrows From Our Heels from Estranged album. We had plans for releasing them on an EP along with David’s original and his KCRW session version and had another plan later for a joint release with Memphis Ghosts remixes as ‘Ghosts And Arrows’ EP. Then David suggested to put it aside for a possible release as a bonus disc with the limited edition 10th year anniversary vinyl re-issue of his Estranged album. Unfortunately it didn’t happen, maybe for the 15th or 20th anniversary…
Track 04 – 07: 2011. Remixes for Memphis Ghosts form Candy On The Cross CD single. Original Memphis Ghosts is a great forgotten gem (with Tony Fitzpatrick’s brilliant poem recited by David) and Tim’s remixes give it justice. Still Dead is my personal favourite of his remixes, bit slower and the most recognizably related to the original. Told Him Everything is a nice transition between Still Dead and New Tattoos which goes more farther from the original while Desoto Bridge is a great dub mix.
Track 08 – 09: 2014. Remixes for Eulogy For Jeff Buckley from Not Long For This World album, “one in a sort of Unkle style, a bit like the main Memphis Ghosts one and another in a neo classical style using lots of strings”.
Track 10 – 12: 2014-2015. Remixes for Little Miss Impeccable from An Eclipse of Ships album.
Track 13: 2015. This is the first mix that released on Patreon (24/07/2015), Vagabond Songs LP contains a slightly different mix. Back in 2014 I did a trade for a rare gem, a licensing sampler/promo CD called Demo selection 2003 that had the incomplete demo version of Robert Johnson. The same incomplete version was streamed on David’s website years ago as part of ‘Trans from the Attic’ series. I loved that track so I asked David about it. He was kind enough to unearth the full demo for me, and also sent it to Tim to work on it. Tim did wonderful work with it, this track is still my favourite on Vagabond Songs.
Track 14: 2015. Tim’s new version for David’s demo that also appeared on Demo selection 2003. Paired with David’s original this new version was released as a b-side of The Day That David Bowie Died 10″ in 2016 and also appeared on Vagabond Songs.

CD2
01 – Down In The Tenderloin – master version w/ voices 6:02
02 – Down In The Tenderloin – To The Panhandle 8:11
03 – Down In The Tenderloin – master version – no voices 6:02
04 – (She’s Got) Chinatown In The Rain In Her Eyes – 2015/09/20 mix 5:18
05 – (She’s Got) Chinatown In The Rain In Her Eyes – Rain In Her Eyes 3:45
06 – (She’s Got) Chinatown In The Rain In Her Eyes – Year Of The Monkey 3:36.
07 – Albino Dog – Jeffes At Budapest Airport 6:13
08 – Albino Dog – Main mix – long version 14:32
09 – Gimme Some Truth – TN mix 3:43
10 – A Day In The Life Of The One That Got Away – TN version 6:56
11 – His Majesty The Executioner 7:50

Running time : 01:12:13

Track 01, 03: 2015. Re-recorded versions for Down In The Tenderloin, yet another song from the great Demo selection 2003 CD. Because of tuning issues with David’s original, Tim decided to re-record it completely. Track 03 is an instrumental version while Track 01 has some YouTube samples of a woman being interviewed in the Tenderloin and placeholder vocals by Tim.
Track 02 : 2015. An alternate version / remix for Down In The Tenderloin.
Track 04 : 2015. First longer mix of Chinatown. Different shorter mix appeared later on both Patreon (02/08/2016) and Vagabond Songs.
Track 05 : 2015. Alternate version / remix for Chinatown.
Track 06 : 2015. “Lovely ambient remix by the brilliant Tim Newman.” as David said on Patreon (08/03/2016)
Track 07 : 2016. This track had been recorded as part of Albino Dog sessions with a little input from me. Later it was shortened to half and renamed to ‘Trek to Dransdanubia’ by David. Official release is imminent…
Track 08 : 2016. Full length version of Albino Dog main mix. Shorter version will appear on the upcoming record.
Track 09 : 2016. Tim’s unreleased mix for Gimme Some Truth.
Track 10 : 2017. Tim’s contribution to David’s 60th birthday present CD called Kanreki! Vocals by Sarah Newman. Demo version of this song was released as a bonus track on the 2006 Plain Records reissue of Crocodile Tears album.
Track 11 : 2017. This song just appeared on Patreon (21/08/2017) recently. Piano bits have been transferred from David’s home tapes by me. Additional music by Tim, vocals by David J. You can hear it live on his ongoing Vagabond tour.

Kevin Haskins compilation CD

Being inspired by the current Poptone (Kevin Haskins / Daniel Ash) tour I decided to finish my Kevin Haskins compilation CD I had been trying to put together for years. Track selection has been made out of 10+ hours of various songs, music library tracks and film / TV soundtracks made by Kevin Haskins (mostly with his partner-in-crime Doug DeAngelis under the name Messy). This compilation contains only my personal favourites.

01, The Entrance (01:02)
02, Ascension (03:37)
03, Long Cold Silencevocal version (03:04) (*)
04, In Cruel Mirrorslong version (04:26)
05, Party City (02:19)
06, Exile (03:27) (*)
07, I See Through Itshort version (02:16)
08, I Want That (06:32) (*)
09, Cliff Hanger (02:02)
10, Dub Dealer (02:12)
11, The Sun’s Gonna Shine (02:12) (*)
12, Waiting In Vain (02:08)
13, Make You Believe (04:26) (*)
14, One Hundred Reasons (02:38)
15, The Hunt (02:12)
16, Heavy Manners (02:08)
17, Highervocal version (05:45) (*)
18, Sonar (02:09)
19, A System For Shutting Everything Out (02:49) (*)
20, X Theme (02:07)
21, I’m Slipping Awayvocal version (03:10) (*)
22, Crystal Blue (03:30)
23, The Bridge (02:32)
24, Wishing Well (02:03)
25, Breathevocal version (03:18) (*)
26, Doing Time (02:03)
27, Leaving (02:19)

(*) – includes vocals

All tracks by Kevin Haskins / Doug DeAngelis except
Track 03, 25: Kevin Haskins / Doug DeAngelis / Richard Harris
TracK 05, 14: Kevin Haskins
Track 06: Kevin Haskins / Doug DeAngelis / Jack Wall, vocals by Cindy Wall
Track 08: Kevin Haskins / Doug DeAngelis / Flea
Track 13: Kevin Haskins / Doug DeAngelis / Jessicka
Track 19: Kevin Haskins / Doug DeAngelis / Flea / John Frusciante / Josh Klinghoffer

 

 

Roger Rideout – Dangerous Age

Roger Rideout began playing lead guitar and singing in a local Northampton band ‘Jam’ in 1973 (not to be confused by a Woking outfit fronted by Paul Weller some years later during the burgeoning punk rock movement).
His bandmates were school friends Chris Day (rhythm guitar) and siblings David (bass) and Kevin Haskins (drums). With Day shortly to be replaced by another local lad, guitarist David Stretton, ‘Jam’ began playing the local club and pub circuit and built up a sizeable following.

A change in musical climate however, promoted a change in direction for ‘Jam’ which ultimately led to its demise. The Haskins brothers would initially continue to work together as ‘Grab A Shadow’(with Stretton) before joining forces with guitarist Daniel Ash and vocalist Peter Murphy to create Northampton’s most famous export the glam / goth pioneers BAUHAUS.

Roger’s musical journey took a back seat to some degree whilst he created a very successful furniture business, but he continued when he could so much so that he became sound engineer for Northampton band August Bank Holiday. He also had stints in Ignition and Memory Lane until 1983 when he was approached by midlands band and highly acclaimed Beatles Tribute act Accrington Stanley, whom he is still playing with today.

We (Accrington Stanley) are best known as a Beatles tribute act and me being left handed was perfect as a bass player in a Beatles band!

Roger Rideout

The band have appeared on BBC and ITV television as well as radio playing both their own material and Beatles covers, Roger was invited by an American band and assorted session musicians to play bass and keys on a series of Beatles covers in Abbey Road studios, London, in studio two in fact where The Beatles recorded most of their Abbey Road output. In the late ‘80’s Roger set up his own recording studio, initially a very basic affair but this is now a fully equipped hi-tech studio that he uses to write and record, amongst other projects he has recorded and engineered tracks for Hank Marvin for his Songs From Evita set.

Of late Roger, David Stretton and their original bass player David J (Haskins) were re-united (the first time they had played together in 40 years!) briefly when they played a faithful rendition of The Kinks Lola together at The Clissold Arms (birthplace of The Kinks) in London and most recently Roger and David Stretton have collaborated to record covers of their former bandmate’s (David J) I’ll Be Your Chauffeur and Fingers In The Grease both tracks appear on the just released Kanreki a 60th birthday celebratory album for their original composer.

A lifelong Beatles aficionado, (It was Roger who brought This Boy to ’Jam’ resplendently (with David Stretton) recreating Lennon and McCartney’s trademark harmonies) he recently fulfilled his dream by playing in Liverpool’s prestigious Cavern Club.

With Dangerous Age, Roger has produced the ultimate driving record, an obvious tip of the hat to the 1960’s but with a 21 century twist.

Dangerous Age fuses lush harmonies with rock guitars, swathing keys, subtle Hammond motifs and classy lead hooks. This eleven track album contains all original material, as well as self-producing the record, Roger plays every instrument, sings every lead and every harmony. So open up your heart and as he says on Always On My Mind…let him in.

Dangerous Age is available now from rideout-music.com

 

© Andrew J Brooksbank May 2017

Dangerous Age

Dangerous Age

To get your copy please send your inquiries to Andrew Brooksbank.

 

David J – Radio Sessions CD 3

This is a follow-up to my David J radio sessions compilation CDs including several recent sessions to promote his great upcoming double album Vagabond Songs and few leftovers from An Eclipse of Ships era and a real rarity from 1990.

01, Little Star 2:04
02, National Anthem Of Nowhere
4:07
03, Hot Sheet Hotel
3:49
04, The You Of Yesteryear
5:00
05, Hot Sheet Hotel
2:57
06, Almost a Menage a Trois
2:38
07, The Dog-End Of A Day Gone By
4:17
08, Almost a Menage a Trois – conclusion
0:52
09, Goth Girls In Southern California
4:47
10, In The Wake Of Lady Blue
2:58
11, The Day That David Bowie Died
5:05
12, The Dog-End Of A Day Gone By
w/ Johnette Napolitano 5:37
13, Tower Of Song
w/ Johnette Napolitano 4:45
14, The Day That David Bowie Died
4:59
15, In The Wake Of Lady Blue
2:58
16, Vezuvio’s Window
3:48
17, The Dog-End Of A Day Gone By
5:13
18, In The Wake Of Lady Blue
3:05
19, The Dog-End Of A Day Gone By
5:06
20, The Day That David Bowie Died
– incomplete 2:22

Total running time : 01:16:51

Track 01-02 : 1990 KCRW Snap
Track 03-04 : 2014-05-01 Sirius Xm
Track 05-08 : 2014-05-24 Afternoon Delight, 90.9 FM KRCL
Track 09-13 : 2017-04-17 The Mint, Hunnypot Radio
Track 14-17 : 2017-04-27 Where the music matters, KEXP-ORG 90-3FM
Track 18-20 : 2017-05-03 Music Middays w/ Doug Jayne, Studio A, KRCB Radio

The Happening – 1984

The Happening zine

September: (1st) David displays self-made collages as his contribution to ‘The Happening’ a multi-media event created by Barry Hale and Mitch Jenkins held once again at The Derngate in Northampton as well as playing a set with The Jazz Butcher Group. Kevin Haskins and Daniel Ash contribute proto-Bubblemen wall paintings. David additionally contributes (along with Alan Moore) three pages to the events associated fanzine. Also included with the pages of the zine is a feature written by The Wigmore Society…aka The Jazz Butcher.
David J Timeline (c) Andrew J Brooksbank

‘The Happening’ art magazine was limited to 100 copies, each copy had been numbered individually and came in a large A4 sized envelope. Contributors to the magazine were Alex Novak, Terence Walpole, Barry Hale, Pat Fish, Tim Perkins, Mitch Jenkins, David J and Alan Moore.

  • Alex Novak had 3 promo pages about his band Religious Overdose and Attrition (including a detailed Attrition discography).
  • Terence Walpole had 2 pages with drawings and a poem called ‘In Time All Must Return To The One’
  • Barry Hale had 3 pages including one with title ‘The Doris Day Story’ and another with stills from ‘Jesus Sutcliffe’ – one of a series of 5 second films from CSAWZA
  • Mitch Jenkins had a pages with a photo entitled ‘Homme Fatale’ and series of photos entitled ‘For The Love of Tea’.
  • David J had 3 pages of ‘Sabotaged Sheets’ cuttings / collages.  Some of his ‘Sabotaged Sheets’ were shown recently at Steven Wolf Fine Arts, San Francisco as part of Wall of Sound exhibition.
  • Alan Moore contributed with 2 pages of an otherwise unavailable piece called ‘An Excerpt From Alan Moore’s America – An Impossibly Rich Celebrity’s Guide’. This piece describes his way back to Kennedy airport on the last day of his American visit.  There was an article published with same title, ‘An Impossibly Rich Celebrity’s Guide’ in Escape Magazine #6 the same year which had just a few lines about the events described here in detail.
  • Tim Perkins contributed one (or two) page(s) to the zine. He also did music score for a thematic Audio6-Visual6 series, one 2 min. video piece entitled “Facade part 7” that had been screened at the event. Score comprised songs like “Sticky Buns from Hell“, “Perverse Chick”, “Death of a Nation” and “Drug store sex”.
  • The Jazz Butcher (Pat Fish) also contributed a 2 pages piece called ‘Soviet Intelligence And The Secrets Of Invisibility – from the current concerns desk of the Wigmore Organisation’. (Thanks to Andrew J Brooksbank for information)
  • The Happening envelope also contains a copy of Time Devours / Stranded In The City 7″ by Trance

It’s pretty interesting to see how  contributors crossed paths after ‘The Happening’ event, see later Emperors of Ice Cream (Alan Moore and Tim Perkins), The Moon and Serpent Grand Egyptian Theatre of Marvels (Alan Moore, David J, Tim Perkins), Show Pieces (Alan Moore / Mitch Jenkins), recordings of London/Trampling Tokyo (Alan Moore / Pat Fish), various photo sessions for David J / Love And Rockets / The Jazz Butcher  albums by Mitch Jenkins, production of Love and Rockets video ‘ The Haunted Fish Tank’ by Barry Hale etc.

The Sinister Ducks (1979-1983)

Edited 05/27/2017

1979

„We’d been doing things, working together, when Bauhaus was going. There used to be an event called the Deadly Fun Hippodrome that he was partly behind. It was a little like a mad anarchic surrealist cabaret. There’s another guy called Pickle who was heavily involved in that, who later formed a band called the Mystery Guests. All the eccentric artists in Northampton would crawl out of the woodwork and turn up for this event. It’d be great. A lot of cross-fertilization going on. It was held in an old Edwardian pavilion in the middle of the Northampton race course, the old racetrack. It was an ideal old haunted ballroom.”
David J, LA Weekly interview w/ Jay Babcock

The DFH was held on Saturday lunchtimes at the Racecourse Pavilion in Northampton. There were Super 8 cartoons every week and a couple of bands. I think Bauhaus did the first one and then got too big to play for the zero pounds guaranteed fee i was able to offer. As Alan says, most of my promotions at this time were financial suicide. But then so was Woodstock! The whole series ended suddenly when a water pipe burst during one of the gigs and caused flooding damage in the tens of thousands.
Pickle (Mr. Licquorice)

1979 summer

Critters article – page 1

„The Sinister Ducks first waddled into the limelight early one Saturday afternoon in the Summer of 1979. Local new wave compoposer, entrepreneur, and Adolf Hitler lookalike Mr. Liquorice had arranged a number of lunchtime cabaret sessions which were held in a crumbling Edwardian pavilion when the sun was at its highest and the audience figures at their lowest. Combining local New Wave or Hardcore bands with vintage Augie Dawgie cartoons, this venture operated under the alluring title of „The Deadly Fun Hippodrome”, and over the single summer of its brief duration it built up a loyal audience of, literally, dozens. One one particular occasion, when the support for the band The Shapes had failed to turn up, Mr. Liquorice asked me if I could possibly form a super-group and be on stage int en minutes time. Being pretty drunk, this seemed to me a viable proposition. If I took four minutes carefully hand-picking the correct musical personnel and two minutes writing a modest twenty-minute set, this would allow almost a full one hundred and twenty seconds for rehersal. I agreed, and ten minutes later the Sinister Ducks took the stage. Other than myself, these included Bauhaus bassist David J., saxophonist Max Akropolis from the ska band ARMY, and singer-guitarist Grant Series of Birmingham’s D-Go-Tees. The audience, muddled by glue fumes though they were, were roused to a slouching ovation by a tight and professional set that included David J. reading extracts from that morning’s paper and a heart-breaking rendition of the incomprehensible ’Debbie’s Gloss’ by Grant Series on a bass guitar and half an amplifier. Reeling from this fabulous reception and concerned lest we should peak too soon we did nothing for the next two years.”
Critter #23, Animals Rock n Roll – Alan Moore, Northampton 1987

After reading the account of the Sinister Ducks outing, I can safely say that whenever they played, it wasn’t with us. Im pretty sure we would have remembered that !
Garet Holder (The Shapes)

I was at the Deadly Fun Hippodrome but don’t remember whether they played or not. I was playing with my band the De-Go-Tees and may well have been backstage at the time. Debbie’s Gloss was one of my songs for the De-GoTees (Grant Series being my alter-ego at the time). I may have a demo of it somewhere, but the main lyric was: ’I’m mad about the motion of Debbie’s Gloss.’ I certainly don’t recall the Ducks ever playing it … the line up was: Grant Series (Gtr, vocs), Alex Green (sax) David Hunt (BS) Geoff Webb (drs). We were supporting Bauhaus 1919.
Glyn Bush

„Around 1979 Mr. Liquorice started an afternoon venue for live music and old Augie Dawgie cartoons, known picturesquely as the Deadly Fun Hippodrome. Financially it was utter suicide, but we had a lot of fun. It lasted until one of the visiting punk bands ripped out all the water pipes in the ladies’ toilets, presumably as some sort of protest against the dehumanising futility of contemporary society. Anyway, during the Hippodrome’s existence the level of organization had a kind of freewheeling Marx Brothers tendency. I suppose this was our ‘Cavern’ period. That first line-up included myself, saxophonist Max Akropolis, Dave J. from Bauhaus and Glynn Bush from Birmingham’s D-Go-Tees, who happened to be passing through town that particular lunch hour. After this first half-hour performance, we decided to follow the proven example of David Bowie and maintain an aloof, inaccessible silence. This period of withdrawal from the public eye lasted for about two years, during which we didn’t rehearse or even speak to each other. „
Alan Moore, Zig Zag article (Jun 84)

„Even though Bauhaus took up most of his time, J still found time for external collaborations. He worked with one of the original Bauhaus artists, Rene Halkett and an accident led to forming a ramshackle outfit with Moore called the Sinister Ducks. “We put them together on the spot,” recalls Moore. “There was a string of gigs at a local Victorian Pavilion that a very eccentric and brilliant musician Dr Liquorice had decided to put on at Saturday lunchtime. There would be punk bands, local bands and vintage cartoons that he would show. It had a playschool air about it that was quite interesting. Anyway, one of these particular days the main band had not shown up so he asked me and David and a couple of other musicians if we could put something together in ten minutes and do a set. We quite liked the challenge, so I did a piece of reading with music in the background.”
Ian Shirley: Can Rock & Roll Save the World?: An Illustrated History of Music and Comics, 2005

„Surprisingly enough, things were to improve. In the summer of 79, Licquorice became an Impressario and undertook the production of several curious entertainments staged in a run-down Edwardian pavillion known as the Deadly Fun Hippodrome. During the venue’s tragically stunted lifespan it was to play host to such notables as the Shapes, Bauhaus, The D-Go-Tees and the seminal new-wave skiffle combo known as the Sinister Ducks. The cream of local Bohemia would gather on those distant, golden afternoons and gaze in childish rapture at the vintage Augie Dawgie and Daffy Duck cartoons projected during the intermissions. Sadly, this idyll was shattered by a ruptured waterpipe. Those of you who have experienced the surreal enormity of a flash flood on the upper floor of a two-storey Edwardian building will appreciate the trauma entailed in such an event. The bubble had burst. There were slugs in the lettuce of our salad days. Looking back, it seems somehow inevitable.”
Alan Moore, Sounds article, Mystery and Abomination”, 1981-08-08

1981-04-18 – Roadmender Club, Northampton

„April 18th 1981 and David has booked himself into Beck studios in Wellingborough to set two of the poems; Nothing and Armour to music he had recently composed… With the session completed he literally walked out of Beck and into Northampton’s Roadmender Club on Lady’s Lane to perform at a multi media event promoted by the enigmatic Mr Liquorice ‘The Summer Shock Special’. With Bauhaus currently on a brief hiatus having recently returned from a lengthy tour of the United States David played at this event as a member of another band. The Sinister Ducks was a part time project featuring David, comic writer Alan Moore and saxophonist Alex Green with ‘floating’ members like Glyn Bush and Bridget Enever.”
Sleeve notes for David J: Etiquette of Violance reissue CD by Andrew J. Brooksbank

„Sinister Ducks consisted of Alan, myself and Alex Green, a saxophonist. Also there was a floating member,(no pun intended!) Glynn Bush, who now is with Rockers Hi-Fi. We did two performances. Alan’s role was chief provocatueur. He came on dressed like a head waiter — penguin suit — and heavy leather motorcycle gloves. We performed the two pieces that’d we recorded, March of the Sinister Ducks and Old Gangsters Never Die. Old Gangsters Never Die being a precis of a play Alan had written right around the time of the Hippodrome. They put on plays as well. … I played guitar in a quite unconventional manner, Alex honked away upon the sax, one song the entire vocal was, we used those dolls where you pull out the string and get them to talk. We put the doll to the mike and put it through effects. That would be the vocal. Alan would stare at it with malicious intent. Experimental!”
David J, LA Weekly interview w/ Jay Babcock

Critters article – page 2

„The Sinister Ducks’ first reunion performance happened at another financially doomed venture carried out under the auspices of the enterprising Liquorice, this being a one-day event known as ’Summer Shock Day’. The Duck’s lineup, expanded to include D-Go-Tee saxophonist Bridget (who used to go out with Hunt Emerson), also included a plastic Minnie Mouse doll that provided the vocal upon at least one number, the immortal ’Plastic Man Goes Nuts’. The doll’s head was detachable from its body save for a length of retractable string, which, when jerked savagely, would cause the hideous toy to utter one of six cute catch-phrases at random in between bursts of jazz so freeform that it might be better described as completely boneless.”
Critter #23, Animals Rock n Roll – Alan Moore, Northampton 1987

„In 1981 we held a reunion performance and decided we’d take longer over this one, in an effort to get everything absolutely right. Most of the material was written as far in advance as the night before, and it showed in the performance. It was that much more polished and professional. In ’83 we recorded a single, and Dave took it to the people at Beggar’s Banquet. They decided to bring it out on their Situation Two label so that nobody would know they were responsible if there was any trouble.” In addition to the Sinister Ducks, Moore and David J. have also been working together on a single based on the ‘V For Vendetta’ strip. “I’ve not actually had much to do with it save for the writing, but Dave’s kept tee in touch with developments throughout, and the test pressing sounds excellent.””
Alan Moore, Zig Zag article (Jun 84)

I can only remember one or possibly two concerts – definitely the Roadmender when they did Old Gangsters Never Die. Debbie’s Gloss was one of my songs for the De-GoTees […] I think I did it solo at the Roadmender along with some tunes where I was playing a Bontempi organ.
Glyn Bush

The second Sinister Ducks’ gig was at an event i promoted called ‘The Summer Shock Special’ at the Roadmender which utilised nearly all the rooms in the building for various events and performances. Red and green food and snacks were on sale. Was also my solo debut as Mr Liquorice. Also on the bill were The Sinister Ducks,The D-Go-tees,a performance group called Living Room
Pickle (Mr. Licquorice)

I’m afraid I have a very hazy recollection of the gig. I remember the toy being played held up to the microphone, but then there was a bit of a fad for clockwork toy noises incorporated into stage events at the time. I’m not sure whether John Dowie was involved somewhere, with ‘Big Girls Blouse’, but that was possibly another occasion. Setlist? What makes you think we were that well organised?? Or rehearsed?? More go with the flow…. As for myself, I joined in with and improvised with just about anybody in those days without any prior knowledge of the content – just used my ears! Still do…
Bridget Enever

1982

Bauhaus Information Club newsletter, 1982

Bauhaus Information Club newsletter, 1982

„Although Dave J has no definite release plans, amongst other projects he plans to ‘conduct’ (ha ha) a local gig, on a local bus, to „whoever happens to be on the damn thing at the time”. He’s doing it with his spare time superstars called the „SINISTER DUCKS” who feature a stunning sinister prose vocalist who goes by the delightful name of Brilburnlouge (see MASK sleeve notes). Who is this you may ask? Little do we know, except for anonymous breathtaking phone calls received from the above, reciting „old gangsters never die” to which the sinister quadruplets back up. This being a possible single on release on 4AD.”
Bauhaus Information Club newsletter, 1982

Tranks to Flavio

‘Transport of Delight’ article. Thanks to Flavio.

The Sinister Ducks 7" RARE test pressing

The Sinister Ducks 7″ RARE test pressing

1983-07-19 – on a narrow boat, Northampton

„July  1983 the celebration of another birthday, this time his brother Kevin’s 23rd. An unusual setting for a party, aboard a canal barge on the river Nene, the primary water  in Northampton that eventually feeds into The Wash in East Anglia. Amongst those providing the entertainment that day (19th July) are a duo; The Jazz Butcher and King Rolo (the latter would shortly form The Woodentops) and The Sinister Ducks who also play a couple of numbers and it’s this performance, their third and final, that prompts David to approach his record company with the idea of The Ducks recording a single. Incidentally following this “birthday show” Kevin made a surprise appearance at Kensington’s Ad-Lib club on the 25th playing drums for The Jazz Butcher.”
Sleeve notes for David J: Etiquette of Violance reissue CD by Andrew J. Brooksbank

„…the Ducks rose to the challenge by performing for the glitterati at the birthday celebration of Bauhaus drummer Kevin Haskins, on a corroded barge sailing down the river Nene int he middle of the night.” „…they provided a cursory runthrough of their hit single ([…]) before breaking up over irreconcilable musical differences on their way back to the bar at the rear of the barge.”
Critter #23, Animals Rock n Roll – Alan Moore, Northampton 1987

It must have been a really good party as I have no recollection of it! It may have happened or it may have been confused with my wedding reception which took place on a narrow boat, on the canals surrounding Northampton. The boat was called the Saucy Sue and we had a costume wedding (all guests in fancy dress). Now Alex Green along with Pat Fish were the wedding band! So there is a connection there with Alex. But it wasn’t a Sinister Ducks performance.
Kevin Haskins

Sinister Ducks Press pack

Sinister Ducks Press pack
Thanks to Andrew J. Brooksbank

„The Single was recorded at Beck Studios in Northampton (Wellingborough). ‘March Of The Sinister Ducks’ was built up in layers on top of a basic structure of Dave’s guitar and piano. The cabaret saxophones on the choruses were augmented with kazoos played by Alan and myself. Vocals and duck effect came later. ‘Old Gangsters Never Die‘ was recorded live with us all together in the same room, I seem to recall that the version released was the third take.”
Alex Green, Apollox, 1995

„Created in 1981 by Peter Kent (initially one half of 4AD with Ivo-Watts Russel) as an alternate to Beggars Banquet and to create appeal to an ever growing indie audience Situation Two funded a Sinister Ducks single; March Of The Sinister Ducks and Old Gangsters Never Die. Built largely around David’s guitar and Alex’s piano, the saxophones were augmented by Kazoos for the chorus, played by all three with vocals and assorted duck noises for March Of… added post production. Old Gangsters Never Die was originally a soliloquy in the surrealist play Another Suburban Romance written by Alan Moore and Jamie Delano. Issued in  a special fold out sleeve with stunning artwork from Edwin Pouncy better known of course as comic scribbler Savage Pencil augmented by contributions from another comic artist Kevin O’Neil. Also included within the package was a short band member biography, albeit under pseudonyms; The Translucia Baboon for example was Alan Moore, Alex Green as Max Acropolis whilst David appears as Captain Jose De Silva. The single was released by Situation Two on the 26th of August. There were vague plans for a second e.p. but this eventually came to nothing.”
Sleeve notes for David J: Etiquette of Violance reissue CD by Andrew J. Brooksbank

„The Sinister Ducks did a few concerts and it was obvious to J that they should record a single. “It was easy. We went to Beck Studios where we did all of our Bauhaus stuff and Alan wrote the words. The ‘B’ Side – “Old Gangsters Never Die” – was part of a play that he had written that dated back to the Arts Lab before I had met him. He resurrected it and made it into a pop song and me and Alan put some music to it.” The Sinister Ducks single was released in 1983 and received some intriguing reviews. Due to Moore’s appearance, the single is quite colleetable today not only for the music – uh the lyrics go “quack, quack!” – but the delightful fine art packaging. ‘It was two way traflic — comics and music.” recalls Moore. “It has got a Kevin O’Neill cover on it. There is a rare comic strip version of Old Gangsters Never Die done by Lloyd Thatcher. There is a Savage Pencil graphic on the back, which Sav was telling me was the first time that he had drawn his subsequently popular Dirty Duck character. He got the idea fiom the Sinister Ducks.” The Sinister Ducks even performed on water at Bauhaus drummer Kevin Hawkins’ birthday party on a canal barge.”
Ian Shirley: Can Rock & Roll Save the World?: An Illustrated History of Music and Comics, 2005

Sinister Ducks promo badges

Sinister Ducks promo badges
Thanks to Andrew J. Brooksbank

Discography

The March of The Sinister Ducks 7″ single
SIT 25, Situation Two, 1983

Fully signed 7″. Thanks to Andrew J. Brooksbank

Tracklist:

Suiside: March of The Sinister Ducks

Homiside: Old Gangsters Never Die

 

Critters #23 flexi disc
1033161ABX, F.B.I. Music & Noise, 1986
Tracklist:
Round Side: Teddy Payne & The Bluebears – Right To The Blues
Flat Side : The Sinister Ducks – March Of The Sinister Ducks

Critters Flexi disc

A Compilation Of Songs And Performances By Alan Moore And Friends CD
Universal / ILEX, 2011
CD accompanies the book, Alan Moore: Storyteller
Tracklist:
02, The Sinister Ducks – March Of The Sinister Ducks [2:42]
Also includes tracks by Satanic Nurses, The Emperors of Ice Cream, Alan Moore / Pat Fish etc.

David J : Etiquette of Violance reissue CD
CDBRED604, Cherry Red, 2013
Tracklist:
CD 2 / 16 : Old Gangster Never Die (remastered) [6:42]
CD 2 / 17 : March Of The Sinister Ducks (remastered) [2:41]

England Their England : Monsters Maniacs And Moore
Central TV documentary, 1987
Tracklist:
March Of The Sinister Ducks (ducks video, see below @1:30)
Old Gangster Never Die (excerpt, lip-synched performance by Alan Moore, see below @8:12)

Song list

The March of The Sinister Ducks
An original song with lyrics & lead vocals by Alan Moore. Released on 7″ single and played live.
Old Gangster Never Die
An original song with lyrics & lead vocals by Alan Moore. Released on 7″ single and played live.
Debbie’s Gloss
Regarding the Critters article it was played live at the very first Ducks gig by Grant Series (although he has no recollection of it). Also played live by the D-Go-Tees.
Plastic Man Goes Nuts
Also mentioned in the Critters article by Alan Moore. It could be an original song.
Nightflyers
An original song with lyrics & lead vocals by Alan Moore.
Last Night
An original song with lyrics & lead vocals by David J.
Poem
A spoken word piece by David J.
I Get A Kick Out Of You
An (almost) acapella cover of Frank Sinatra’s classic with lead vocals by Alan Moore.

Setlist.fm plagiarism or how I became a thief (of my own work)

Well……I have always considered myself as a good guy. I have been running my website for almost ten years and I got lots of requests thru the years and I have tried my best to help out people, provided material for half dozen books, sent freebie CDs and digital recordings for people I barely knew etc.  But I just realised that some people think (or could think) that I’m thief or at least a plagiarist… Let me tell you how it came about…

Few weeks ago I got an email from a young fan of Bauhaus, he requested me to send him a recording of an old gig. He stated that he has nothing to send in return but I didn’t mind as I like to do favours. I sent it to him and got a heartfelt ‘thank you’ email but there was something in it that really shocked me. He said it must have been huge work to copy all those Bauhaus setlists from setlist.fm onto my website. I said “What???!!!” and went to setlist.fm to see that most of setlists from my website now appear there. ALMOST EVERY setlist that I collected and worked out from old bootleg recordings and stuff I got from other fans have been added to that website by Trentkers and Blue_Meany (and maybe some more users ) without asking me, giving credits or at least adding a simple link to my website. I wouldn’t mind if it would be a couple of setlists but I speak about few hundreds. I know it’s very hard to prove it, but i’m pretty sure about it. Just take a look at the following examples.

Exactly the same list of gigs here and there. What I’m missing is also missing there, what I have is also available there…

Setlist for Den Haag 81 gig. They even reproduced my “Live improvisation” comments for Colours (and they also called the different pieces Part I, Part II and Part III as I did, spooky isn’t it?)

Setlist for David J Chicago 1990 gig. They made the same mistake as I did because this setlist is a pretty much mixed (first 6 songs should have been in mid-section)

 

I believe there is no such thing as copyright for this material but people should respect other people’s work. I have worked out most of the setlists myself, listened over 500+ hours of music, compared different versions of songs etc, and maintained my website for almost 10 years.
And now somebody just came and suggested that I have lifted material from setlistt.fm, and that really pissed me off, that people think I’m a thief even though I have put serious work onto my website…I think that using (or ‘stealing’ if I want to be frank) that huge amount of work without any permission is such an awful thing that I had to say something about it.

 

That’s something that I really don’t like about Internet. People think that just because things are up there they could be used without permission. I have seen lots of material from my website floating on various websites and social media and mostly without linking source or giving credits. I believe that you came across with that great photos of Bauhaus with Nico @ Manchester 1981? That photos were made by Akiforhair and been published on my website first with credits and thanks to the author who was kind enough to digitise them for me. And then somebody just shared that pictures without credits and you know the rest. They were used everywhere, sometimes even with wrong date/venue (Salford Uni) but always without mentioning the photographer. That’s how this world works now.

 

So, please people, do RESPECT each other and each other’s work and ask before posting/sharing/using something that don’t belong to you…

 

Thanks for reading.

 

Daniel Ash – Rare trax compilation – 3rd CD

This is a follow up to my 2 Daniel Ash – Rare trax compilations and unfortunately a little bit more ramshackle than the previous ones due lack of material. I had about 10 leftovers that haven’t found their places on the first 2 CDs and my first intention was to fill the remaining space with Poptone stuff recorded for WFMU radio session and some Daniel Ash songs from an early Love And Rockets rehearsal but it didn’t work well. So I decided to use remixes for filler tracks instead. Some of them are really intriguing as Daniel tends to add extra backing vocals and/or guitars to his remixes. His backing vocals are very obvious in Modern Day Privateers and Young Americans and there is a very Ash-ish guitar bit in I’m Crazy as well, but I’m not sure about the others.  
As for the core tracks, there are few real gems here like 2 versions of The Spider Song by The Exit Girls from ’83. This tracks were recorded at Beck Studios during Bauhaus days. Daniel produced the session and also contributed guitars, his bits later appeared in Tones On Tails songs like Burning Skies, Never Never etc. The Spider Song was released on cassette by Northampton Musicians Collective in ’85, however it was a very low-key release and almost impossible to find a copy now.
Another rare track is called It’s a Dog’s World which is actually an early longer version of Kid 2000 (later appeared on his 3rd self-titled solo album) without spoken-word by Daniel’s nephew.
One song I was pondering about is Demon out. It was floating around the internet about 15 years ago and I’m still not sure if it has anything to do with Daniel. I haven’t found anything about it over the years so any information are welcome.
Please note that Watch Me Burn is just a placeholder here, a little excerpt that will be replaced with the final version when “Love, Ecstasy, Terror” (first solo album by Adam Bravin of She Wants Revenge) comes out.

CD 3

01, The Spider Song 3:44
Exit Girls w/ Daniel Ash, A Nestfull Of Starlings Pt. 31 1983
02, The Spider Song – dub mix 3:47
Exit Girls w/ Daniel Ash, A Nestfull Of Starlings Pt. 31 1983
03, Malediction 3:36
Botanica w/ Daniel Ash, Malediction CD 1999
04, It’s A Dog’s World 4:47
Show Reel licensing sampler CD-R 2001
05, Simultaneous 6:35
Puscifer w/ Daniel Ash, Money $hot 2LP 2015
06, Jealousy 3:35
Demo, remastered and edited 2016
07, Ball of Confusion 6:06
21st Century version, Stripped outtake(?) 2014
08, Malediction 3:35
Bubbleman mix, Botanica w/ Daniel Ash, With All Seven Fingers CD 2002
09, Watch Me Burn 0:14
Excerpt, Adam Bravin w/ Daniel Ash, Love, Ecstasy, Terror
10, Burning Man 6:26
Instrumental, Burning Man 12" 2001
11, Demon Out 5:58
Unknown source (Internet) 2002
12, Nephritis 4:38
Daniel Ash re-mix, Bones Howell - Hair of The Dog limited edition 7" / digital single 2011
13, Modern Day Privateers 3:42
Daniel Ash Thunder Clap Remix w/ additional vocals, bass and guitars, ...And We All Die - Modern Day Privateers digital single 2016
14, I’m Crazy 4:13
PMS-mix, unknown band
15, Razor’s Edge 4:21
Daniel Ash & Magic Crystal Mix, Celebration, Soundcloud 2014
16, Maniera 3:41
Remixed by Daniel Ash, Sukekiyo - Adoratio 2CD/Blu Ray 2017
17, Young Americans 5:09
Daniel Ash re-mix of a David Bowie classic w/ additional vocals, Daniel Ash's MySpace 2009

Bauhausgigguide.info went down

Sad to say but my Bauhaus Gig Guide website went down yesterday due lack of background service. OpenShift V2 has reached end of life and despite the fact that I had spent long hours with migrating to V3 I still have serious problems with it. Unfortunately it’s very unlikely that I can solve this problems in a foreseeable future so I might need to move my site again. That’s pretty sad as OpenShift V2 had worked as charm for years. Before that I had tried several free providers and moved my site from one to another half dozen times and that was very exhausting job, so I’m not in a best mood to start struggling with that again…So I will give OpenShift V3 a week or two before that…

Anyway, If you could suggest a reliable free PHP/MySql provider then please let me know. Thanks.