01- Double dare
02- In the flat field
03- Dark entries
04- Stigmata martyr
05- Bela lugosi's dead
06- A god in an alcove
07- Telegram sam
08- St. vitus dance
09- Spy in the cab
10- Terror couple kill colonel
11- Dancing
12- Hair of the dog
13- The passion of lovers
14- Mask

Musicians:
Peter Murphy – vocals
Daniel Ash – guitar, vocals
David J. – bass, vocals
Kevin haskins – drums, percussion

A textbook example of how to do a comprehensive career summary, the double-disc 1979-1983 neatly encapsulates the best bits of Bauhaus' four-year career while purposely avoiding the filler that mucks up even the band's best albums. Starting with Bauhaus' first single, 1979's grinding, obsessive "Double Dare," and proceeding roughly chronologically, the set collects the A-sides of all of the group's singles with a good cross-section of album tracks, showing off all of Bauhaus' strengths: hypnotic drones (the nine-minute live version of "Bela Lugosi's Dead"), glammy rock (Bowie, Eno, and T. Rex covers plus the hard-charging "Lagartija Nick," the group's heaviest rocker), atmospheric pop ("Hollow Hills" and the glorious near-hit single "She's in Parties"), and, most tellingly, the humor that a lot of the band's detractors either missed or refused to recognize as such. Regardless, it's hard not to giggle at obvious jokes like "Of Lilies and Remains" and "Terror Couple Kill Colonel." Even better, the original vinyl pressing was released in a gorgeous jacket featuring full-size head shots of the four members, photos of all their albums and singles, and a full discography, including post-Bauhaus solo and group projects. --- Stewart Mason, allmusic.com

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01- Kick in the eye
02- Hollows hills
03- In fear of fear
04- Ziggy stardust
05- Silent hedges
06- Lagartija nick
07- Paranoia, paranoia
08- Swing the heartache
09- Third uncle
10- Spirit
11- All we ever wanted
12- Slice of life
13- She's in parties
14- The sanity assassin
15- Who killed mr. moonlight
16- Satori
17- Crowds

Musicians:
Peter Murphy – vocals
Daniel Ash – guitar, vocals
David J. – bass, vocals
Kevin haskins – drums, percussion

Understandably complementing the first volume, 1979-1983: Vol. 1 is as similarly bereft of any sort of packaging notes as its predecessor, but is also as successful at pulling together many of Bauhaus' best moments from its later career into one knock-your-socks-off release. More Mask numbers crop up here -- two funk-heavy groovers ("In Fear of Fear" and "Kick in the Eye"), counterpointed by the slow, haunting "Hollow Hills." The Sky's Gone Out is cherry-picked for some of its best moments, including "Swing the Heartache" and "All We Ever Wanted Was Everything," though the version of "Spirit" is the less effective single re-recording rather than the dramatic album take. Rather tellingly, only three songs from Burning From the Inside are included -- "She's in Parties," the David J-sung "Who Killed Mr. Moonlight?," and the Daniel Ash number "Slice of Life." Added to all of this are the peerless covers of "Ziggy Stardust" and "Third Uncle," a couple of ringers from earlier in the band's career ("Satori" and "Crowds"), stand-alone singles "Lagartija Nick" and "The Sanity Assassin," and one honest-to-goodness rarity, "Paranoia Paranoia," a radical dub reworking of "Silent Hedges" that's just as good as the original in its own unique way. In all, a great overview of the latter years of a great band, at least in its original career. --- Ned Raggett, allmusic.com

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01- She's in parties
02- Antonin Artaud
03- Wasp
04- King volcano
05- Who killed mr. moonlight
06- Slice of life
07- Honeymoon croon
08- Kingdom's coming
09- Burning from the inside
10- Hope
11- Lagartija nick
12- Here's the dub
13- Departure
14- The sanity assassin

Musicians:
    Peter Murphy – vocals, guitar
    Daniel Ash – guitar, vocals
    David J – bass guitar, vocals
    Kevin Haskins – drums

If The Sky's Gone Out felt like a collection of various recordings, Burning from the Inside really was, due in large part to outside events -- Murphy had fallen victim to a life-threatening illness, so the rest of the band began recording without him, which more than anything else foreshadowed both Bauhaus' breakup and the trio's future work as Love and Rockets. As a result, two songs ended up on the album, the piano-led cinematic moodiness of "Who Killed Mr. Moonlight" and the sweet acoustic drive of "Slice of Life," with David J and Ash on lead vocals respectively. Furthermore, more songs from the earliest days of the band were dug up to provide material, the most notable and successful being the dub-inflected, heavily dramatic "She's in Parties," using filmmaking as a metaphor for romance and life, with Murphy's excellent lead balanced against a near-whispering chorus from the other two singers. The end result of all this was an album that was good in spots but not as strong throughout as it could be, while betraying the other performing and writing strains that would soon cause the band to call it a day. As before, though, when the band members were on, they were on with a vengeance, such as the medieval folk dance "King Volcano" and the starkly beautiful "Kingdom's Coming." The ten-minute title track takes a good idea and stretches it out a little too long, but the concluding track "Hope" follows it with a life-affirming, inspirational vibe that serves as much as a farewell for Bauhaus' audience as anything else. While imperfect, Burning from the Inside has much more to recommend it than many other albums. ---Ned Raggett, allmusic.com

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01- In the flat field
02- Rose garden funeral of sores
03- Dancing
04- The man with x-ray eyes
05- Belalugosi's dead
06- The spy in the cab
07- Kick in the eye
08- In fear of fear
09- Hollow hills
10- Stigmata martyr
11- Dark entries
12- Terror couple kill colonel
13- Double dare
14- In the flat field
15- Hair of the dog
16- Of lillies and remains
17- Waiting for the man

Bauhaus: 
Daniel Ash (vocals, guitar); 
David J. (vocals, bass); 
Peter Murphy (vocals); 
Peter Haskins (drums).

Just two albums into their career, Bauhaus' repertoire consisted of plenty of standards and fan favorites. Despite the punk world's disdain for live albums (because of their association with arena rock), the group issued an 11-track collection recorded in London, Liverpool, Manchester, and Paris. Though Peter Murphy's stage theatrics and the dark atmosphere of a Bauhaus live date are obviously lost on the translation to record, the band are electrifying on standards such as "In the Flat Field," "Bela Lugosi Is Dead," "Kick in the Eye," "Stigmata Martyr," and "Dark Entries." The more obscure songs, including "Rose Garden Funeral of Sores" and "The Man with X-Ray Eyes," also come off well. Though these tracks aren't quite subsitutes for their studio versions, fans of the band will love to hear them playing in their prime. ---John Bush, AllMusic Review

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01- Hair of the dog
02- Passion of lovers
03- Of lillies and remains
04- Dancing
05- Hollow hilla
06- Kick in the eye 2
07- In fear of fear
08- Muscle plastic
09- The man with the x-ray eyes
10- Mask
11- In fear of dub
12- Ear wax
13- Harry
14- 1. David Jay 2. Peter Murphy 3. Kevin Haskins 4. Daniel Ash
15- Satori

Personnel:
    Peter Murphy – vocals and guitar
    Daniel Ash – guitar and saxophone
    David J – bass guitar and vocals
    Kevin Haskins – drums

Managing the sometimes hard-to-negotiate trick of expanding their sound while retaining all the qualities which got them attention to begin with, on Mask the members of Bauhaus consciously stretched themselves into newer areas of music and performance, resulting in an album that was arguably even better than the band's almost flawless debut. More familiar sides of the band were apparent from the get-go; opening number "Hair of the Dog," one of the band's best songs, starts with a double-tracked squalling guitar solo before turning into a stomping, surging flow, carefully paced by sudden silences and equally sudden returns to the music, while Murphy details cases of mental addictions in pithy phrases. The energy wasn't all just explosive angst and despair, though; the one-two punches of "Kick in the Eye" and "In Fear of Fear" have as much hip-shaking groove and upbeat swing to them as portentous gloom (Ash's sax skronk on the latter, as well as on the similarly sharp "Dancing," is a particularly nice touch). Elsewhere, numerous flashes of the band's quirky sense of humor -- something often missed by both fanatical followers and negative critics both -- make an appearance; perhaps most amusing is the dry spoken-word lyric beginning "Of Lillies and Remains," as David J details a goofily grotesque situation as much Edward Gorey as Edgar Allen Poe. Add to that three of the most dramatic things the band ever recorded -- the charging, keyboard-accompanied "The Passion of Lovers," the slow, dark fairy-tale-gone-wrong "Hollow Hills," and the wracked, trudging title track, where the sudden appearance of an acoustic guitar turns a great song into a near-perfect blend of ugliness and sheer beauty -- and the end result was a perfect trouncing of the sophomore-slump myth. ---Ned Raggett, allmusic.com

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