Press the Eject and Give Me the Tape [LIVE]

Bauhaus

Product Details

• Audio CD (June 27, 1995)
• Original Release Date: 1982
• Number of Discs: 1
• Format: Live
• Label: Beggars UK - Ada
• ASIN: B0000018AM
• Also Available in: Audio Cassette  |  MP3 Download
• Average Customer Review: 4.5 out of 5 stars  See all reviews (15 customer reviews)
• Amazon.com Sales Rank: #132,608 in Music (See Bestsellers in Music)

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Customer Reviews

Most Helpful Customer Reviews

15 of 17 people found the following review helpful:

5.0 out of 5 stars A masterpiece of Goth Rock, May 19, 2002

By	David Barnett "dbarnett513" (NJ) - See all my reviews

Bauhaus, Push the Eject and Give Me the Tape

For a brief period of time during the early to mid 1980's, the ultimate in pale white kid music was a new offshoot of post-punk that the critics were just then beginning to call "Goth Rock." At it's prime, Goth Rock was (much like its listeners) dark, depressing, and yet frighteningly attractive. However, that prime didn't last long beyond the style's infancy. As a music, Goth Rock soon began to spiral downwards into pits of self-indulgence. It's once meaningful lyrics started to become inundated with "poetic" discussions about mysticism and the like, which were at times boring and at others just downright laughable. The stage performances began to turn the way of Kissesque garish costumed melodrama. Possibly even more detrimental to Goth's reputation, was how as a culture, it began to become associated with that creepy kid you saw walking down the hallway with the fishnets and the big gaudy cross hanging across his chest (ironically, that kid probably listened to Ozzy Osbourne, but that's another story...). Basically, as soon as it all started taking itself too seriously, it became a joke.

Looking at all this, it is easy to see why so many people began quickly forgot Goth Rock's startlingly impressive origins. In their 1979-1983 prime, bands like Joy Division, Sioux and the Banshees, and The Cure were able to construct sorrowful soundscapes that were addictive at the same time as they were powerful, with lyrics that were introspective, intensely personal, and suprisingly intelligent coming from boys who wore eye makeup. Arguably the quintessential Goth Rock band from this "golden age" was Bauhaus, an English based band, who many have called the founding fathers of Goth.

In 1979, Bauhaus released their first single, "Bela Lugosi's Dead," which is, for all intensive purposes, the first Goth Rock song. Two years later, they had released two albums (neither of them masterpieces, but both good), and were rapidly increasing in popularity. Then, in 1982, they released Push the Eject and Give Me the Tape, a live album. It documented a series of shows across Europe and perfectly captured Bauhaus where it seems clear that they shone brightest: on stage.

Push kicks off with "In the Flat Fields," the title song off their first album. It rushes in with gut wrenching guitar noise, synthetic drums, and howling screams. It is angry and dark, exploring territory that beforehand had never really been touched in rock. Lead singer Peter Murphy openly sing/speaks of things like decay and fear. On tracks like "Hollow Hills," he discusses topics like the occult in a way that may now seem cliche, but then was completely revolutionary.

However, being revolutionary is only enough to make an album a point of fascination. It doesn't necessarily make it good, or even listenable. But what keeps Bauhaus' music from being dated is two things. The first is its humor, which is very rare in Goth music. The band constantly had a sense of the cult that was so quickly forming in their wake, and they always made a point to look at themselves, their posturing, and (even more appropriately) their fans, and have a nice long creepy cackling laugh. Even as their songs get ridiculously depressing, there is this sense of "Hey, we understand that we're singing about the dead guy who used to play Dracula (Bela Lugosi), and we find it just as hysterical as we do morbid." For me, listening to a Bauhaus song is like watching Terry Gilliam's Brazil or reading the posts at godhatesfags.com, it makes you laugh while it tears at your soul.

The other strong point is a big one: Bauhaus' songs are amazingly well written. Chord-based chilly guitar work and globs of feedback attack you at first, but after a song or so you forget it, as it has already seeped into the gloomy atmosphere that surrounds what are in essence the core of Bauhaus' catalog: some amazingly well written, albeit wholly unusual, pop songs. The standout is a nine and a half minute version of their signature song, "Bela Lugosi's Dead." Starting with some insanely perfunctory minimalist drum work, Bela run almost a minute before a guitar enters. But once that down-the-scale baseline starts mumbling, there's no way out. By the time the two lead guitars and Murphy's echoing vocals step in, the trance like state you will be in will be shattered to pieces and slowly gathered and forced into climax by the end scream of "Who's dead? He's DEAD! I'm dead...I'm dead, I`m DEAD, I`M DEAD!" It's surreal, it's sublime, and shows why this band hasn't receded into the annals of music history, why this song along kick started a music revolution, and why it was so hard for any of Bauhaus' followers to ever match them.

Final Rating: 9.6/10 A masterpiece of Goth Rock that has escaped the ravages of cliche and time through its excellent songwriting and intelligent, darkly humorous philosophies. Bauhaus is the ultimate example of what Goth Rock was at its height, and what it could have been had the rest of the bands followed suit.

7 of 7 people found the following review helpful:

5.0 out of 5 stars tired of gossip and complaints, February 20, 2001

By	catherine guelph "catrina_g" (milano, italy) - See all my reviews

I enjoy the music on this CD immensely. PRESS the EJECT... is a recording of various performances of the band BAUHAUS from the early 1980s. BAUHAUS may not have invented gothic rock, even so, they were the first to popularise it and no band since has surpassed them. Their songs conform to a style of fiction characterised by the use of desolate or remote settings and macabre, mysterious, or violent incidents, the very essence of gothic art. I find the soundscape created by Mr Daniel Ash fascinating. There is very little melodic component as he creates an overwhelming aural sensation. Mrrs J and Haskins provide an industrial strength rhythm section which allows Mr Ash the room to create these sensory assaults. Mr Peter Murphy sings in a sometimes detached, sometimes emotional, sometimes tongue-in-cheek, sometimes phonetic, ecclectic style. This live performance is more amazing to me because this complicated presentation would be difficult to control in lesser hands. One of my interests in this CD is in two songs which present spiritual issues, ROSE GARDEN FUNERAL of SORES & STIGMATA MARTYR. RGFOS is a poem by Mr John Cale which presents a poignant and insightful view of the difficulties of maintaining a spiritual connection in a secular world. SM is in the style of a Medieval Meditation. The Gothic period is generally from the 12th through the 16th centuries. Although these types of prayers are foriegn and perhaps, unsettling to our current sensibilities, BAUHAUS has very accurately portrayed a common form of prayer practiced by well respected mystics such as Mother Julian of Norwich (1342-1443). SM is an exceptional example of the band. Mr Murphy gives a passionate performance while Mr Ash expands the sonic limits of his instrument. Mrrs J and Haskins are in lock. I find these pieces a rewarding, mystical and musical experience of a sincere and serious spiritual expression. If you are interested in Gothic Rock Music or in songs with serious lyrical content, this CD will be interesting to you.

4 of 4 people found the following review helpful:

5.0 out of 5 stars Give me more than 5 stars., January 30, 2006

By	Kerry Garrett (Winston-Salem, NC) - See all my reviews

The greatest live rock album ever made.
Simple as that.
Remember, when the sound man says "Press the eject and give me the tape out of it." that is the end of the record. The rest of it was added for the CD. It is good but I usualy stop at the sound man because I am old and I had the record and that is where the record is suposed to end.