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Peter Murphy Iconic Front Man Bauhaus

Peter Murphy Iconic Front Man Bauhaus
Sunday October 3rd 2010

Peter Murphy AOK

Singer, song writer

Credited with spearheading and personifying the gothic rock movement, the godfather of the genre, Peter Murphy, was responsible for popularizing the “goth” look with his sharp and angular features, reminiscent of a dark and brooding vampire. His twisted lyrical musings on misanthropy, mythology, and the underworld were to inspire and influence generations of black clad mascara wearers to come. Murphy’s presence was such a powerful and all consuming force that he immediately became identified as the archetype of the goth movement. This misguided typecasting of his image and music has haunted Murphy from his earliest days in the genre defining band Bauhaus and throughout his solo career.

Peter Murphy Iconic Rocker

Murphy was born outside of the English midlands city of Northampton on July 11, 1957. He was the youngest of nine children born to working class and staunchly Catholic parents. His father was a chef and a furnace worker, while his mother was a homemaker. Murphy was exposed to music at a very early age. His mother sang to him quite a bit as a small child. “They [his mother’s songs] were great gigs. She hummed melodies to me which sounded quite morose and lullaby-like. I tend to make my own music with mood and atmosphere; I can see a connection.” Although Murphy was an artistically inclined teenager, he turned down the opportunity to go to artcollege because he claimed he was anti-social. Instead, he opted to work as a printer’s assistant and chose to pursue singing, writing and painting in his free time.

Around 1979, an old school friend of Murphy’s, guitarist and fellow artist Daniel Ash, got in touch with him and asked him if he would like to join his new band, Bauhaus. The band, whose name was taken from the famous early 20th century German art school, was comprised of Murphy on vocals, Ash on guitar, David J. on bass, and his brother Kevin Haskins on drums. Their first release, the classic “Bela Lugosi’s Dead,” was released in 1979 on the independent Small Wonder label. With a hypnotically driving bass line and Murphy’s seductively sombre vocalization, the single instantly won them a rabidly loyal cult following, particularly enhanced when the single became a surprise dance club hit. The success of the single highlighted the schism in popular opinion between the band’s loyal fans and the popular press in Britain, which dogged the band and its many spin-offs from then on. Fans across the globe loved Bauhaus, while critics, most notably the ever fickle British press, loathed them.

Undeterred, Bauhaus pressed on and released their first album, In the Flat Field, on 4AD in 1980. With In the Flat Field, Bauhaus launched a rather lucrative career of putting the undead and its associated imagery to music. Part glam rock and part punk, Bauhaus was wholly its own creation and one that spawned legions of imitators and even some innovators. Promotional clips and live concert dates showcased Murphy’s love of theatrics.

Bauhaus signed to Beggars Banquet after the release of In the Flat Field. By then, they had amassed a hardcore following that delighted in dressing as dark and stately as their idols. 1981 marked the release of Mask, the first Bauhaus album for their new record company. Mask, like its predecessor, also featured oddly compelling and hypnotic rhythms courtesy of J. and Haskins. Murphy’s now signature morosely misanthropic and melancholy word play was present as well. A live album, Press the Eject and Give Me the Tape was released the following year as well as Bauhaus’ third studio album, Sky’s Gone Out.

By the time Bauhaus was ready to commence work on their fourth studio album, tensions, and inter-band stress were both on the rise. Neither Ash nor Jay was too thrilled with the idea that, increasingly, the image of the band was becoming rather inextricably tied to that of Murphy and vice versa. Also, since both Jay and Ash either wrote or co-wrote all of the band’s songs, they felt that they should get their share of the limelight for their efforts. The feelings of Jay and Ash combined with

Murphy’s rather sudden illness at the start of the sessions for their last studio album, lead to the early demise of Bauhaus.

Bauhaus Disbanded
When Murphy was well enough to return to the studio he was shocked and a bit hurt to find out that the band had proceeded to record most of the tracks for the album without him. Ash, Jay and Haskins had laid down the music for Bauhaus’ 1983 release Burning From the Inside and had left just a few songs for Murphy to sing. There were a number of tracks on Burning From the Inside that either Ash or Jay sang lead vocals on for the first time. These collaborations between Ash, Haskins, and Jay would eventually lead to the formation of Love and Rockets a few years later.

In 1983 after touring in support of Burning From the Inside, Bauhaus disbanded just as they were on the brink of national success in their native England. Also in 1983, Bauhaus released The Singles 1981–1983. Posthumously in 1985, Beggars Banquet released the Bauhaus retrospective 1979–1983 and in 1989 released Swing the Heartache, the BBC Sessions. Three years after this, Nemo released a recording of the last Bauhaus concert entitled Rest in Peace.

Dali’s Car
After the demise of Bauhaus, Murphy began collaborations with Mick Karn, who had previously worked as a multi-instrumentalist for the band Japan. Together they formed Dali’s Car. The duo released one album in 1984 entitled Waking Hour before they disbanded. After Dali’s Car broke up, Murphy began to seriously study the fundamentals of dance with his soon to be wife, Beyhan Foulkes, who was a professional choreographer.

Murphy was forced, out of the need to survive, to form another band. He was very reluctant to do this because of the ever looming shadow of Bauhaus. Eventually, in 1986, he hooked up with a number of studio musicians who were later to be known as the Hundred Men and recorded his debut solo record Should the World Fail to Fall Apart. Hardcore Murphy and Bauhaus fans snatched the new album up but it failed to storm up the charts or to excite the general public. He released his second solo album two years later. Love Hysteria faired a little better than its predecessor in terms of sales due in part to its release in America.

Breakthrough Album
Deep, Murphy’s third solo release came out in 1990. It was the breakthrough album he had been hoping. Deep sold 350, 000 copies in America alone and contained the number one modern rock song of 1990, “Cuts You Up.” The surprising success of “Cuts You Up” propelled the sales of the nearly gold album to the number 41 spot on Billboard’s Top 100 Albums chart. Buoyed by the success of Deep, Murphy sought to concentrate his efforts on making it big in America, by touring extensively there.

Two years later saw the release of Holy Smoke, which failed to storm the charts as Deep had done. A move to Turkey and time spent in his new home with his wife and children occupied most of Murphy’s time for the next three years. In 1995, he released Cascade. The complacency of the album helped it to avoid charting in either the United Kingdom or America.

Murphy continued to focus on his live performances as he informed B-Side’s Sandra Garcia, “you don’t really get that much contact with the fans…but I keep myself in complete focus on the creativity end, of making the show happen and being as vital each night as I was last night. It’s the idea of keeping that alive. I think it’s a celebration thing. If I’m transported, then I want them to be a part of what’s happening on stage, and that’s me.”

Selected discography
Should the World Fail to Fall Apart, Beggars Banquet, 1986.
Love Hysteria, Beggars Banquet, 1988.
Deep (includes “Cuts You Up”), Beggars Banquet, 1990.
Holy Smoke, Beggars Banquet, 1992.
Cascade, Beggars Banquet, 1995.

With Bauhaus
“Bela Lugosi’s Dead,” Small Wonder, 1979.
In the Flat Field, 4AD, 1980.
Mask, Beggars Banquet, 1981.
Sky’s Gone Out, Beggars Banquet, 1982.
Press the Eject and Give Me the Tape, Beggars Banquet, 1982.
Burning From the Inside, Beggars Banquet, 1983.
The Singles 1981–1983, Beggars Banquet, 1983.
1979–1983, Beggars Banquet, 1985.
Swing the Heartache, Beggars Banquet, 1989.
Rest in Peace, Nemo, 1992.

With Dali’s Car
Waking Hour, Beggars Banquet, 1984.

Information from the “Rolling Stone Magazine”


Doug Worrall Photographer

Concert-going can be an exercise in “whats your nostalgia.”

Squeeze and Peter Murphy
Gage park Hamilton Canada
august 10th 2010
By Doug Worrall

Summertime concert-going can be an exercise in “pick your nostalgia.” Do you want to see Cheap trick or Pavement? The Jam or The Beat? Last night, I chose the early ‘80s
New Wave-y variety of nostalgia, going to see a double bill of Peter Murphy and Squeeze at Gage park main stage Hamilton

Opening the show was Peter Murphy, and a younger supporting cast.

Peter Murphy-Bauhaus

Squeeze got the crowd on its feet from the opening notes of their lead-off tune, “Take Me I’m Yours.”
It was a rousing rendition that set the tone for the rest of the evening. Lead singer Glenn Tilbrook showed that his voice is still as strong as ever,
and he also flashed some aggressive guitar playing, which signaled that this just wasn’t a night for rote renditions by a band reuniting for a cash-grab.
Tilbrook’s guitar work is something that often gets overlooked in the praise for his songwriter skills with longtime musical partner Chris Difford.

Great performance

The band didn’t overlook their popular numbers; they filled the night with many fan favorites, like “Goodbye Girl,” “Black Coffee in Bed,”
“Annie Get Your Gun,” “Tempted,” “Slap & Tickle” and the Difford showpiece “Cool For Cats.” They also displayed a genuinely fun vibe to their performance. In “Black Coffee,” for instance, Tilbrook sparred instrumentally with keyboardist Stephen Large. In fact, one of the show’s surprises was the strength of the band beyond Tilbrook and Difford. Large was a not only talented on the keys (his karate chops keyboard moves on “Slap & Tickle” were quite impressive) but also revealed an endearingly humorous presence. Both he and drummer Simon Hanson play in Tilbrook’s “other” band, the Fluffers, so it’s easy to see how they slip in naturally as Squeeze men. Similarly, the bassist John Bentley is a familiar face having played in the band back in the ‘80s.

The thoroughly entertaining concert also served as a reminder of the massively impressive song library that Difford and Tilbrook built over the years.
Not only have they composed hooky, literate tunes like “Tempted” or “Is That Love” but they really crafted some truly unique numbers.

It’s hard to think of rock songs that are crafted as inventively as “Up The Junction” “Pulling Mussels From A Shell” or “Cool For Cats” that are also catchy and memorable.


Although Difford and Tilbrook have had some rough patches in their professional relationship over the years, they now seem to be enjoying playing together.
Tilbrook, in fact, told the crowd that they “love each other again,” while Difford said that standing next to Tilbrook on stage was one reason that his job
was one of the best in the world. The band is releasing soon a disc entitled Spot The Difference, on which they re-recorded their classic tunes.
While this could seem like another way to repackage their greatest hits and regain some publishing rights,
the skill and enthusiasm that the band brought to this concert suggests that the album should also be just as joyous a journey down memory lane as the show was.


The evening was nostalgic and the icons of rock history put on great shows.

Doug Worrall


Peter Murphy Iconic Bauhaus Frontman Plays Gage Park Hamilton

Peter Murphy Iconic Bauhaus Front-man Plays Gage Park Hamilton


Last nights entertainment at the main stage gage park Hamilton started for me when  the Iconic Front man from Bauhaus got on stage.Peter Murphy

put on a great show and was received well by well over 5000 revellers.

Peter Murphy




New York, NY – Bauhaus main man PETER MURPHY makes a central cameo appearance as ‘The Cold One’ in Eclipse, the most recent installment of the Twilight series. Eclipse debuts June 30 in the U.S. and July 1 in the UK, where Murphy will be walking the red carpet at the London premiere in Leicester Square at the Odeon Theatre (accompanied by his daughter, Hurihan).

Murphy’s last film appearance was in 1983 when Bauhaus performed “Bela Lugosi’s Dead” in the opening credit sequence of Tony Scott’s vampire thriller The Hunger starring David Bowie, Catherine De Neuve and Susan Sarandon.

As a bookend to the now-infamous “Bela” performance, Peter felt that a cameo in The Twilight Saga: Eclipse was too good to turn down. “Who else could have and should have done it?” he laughs. “It was really lovely and smart of David Slade to ask me…I was honored, actually.”

Murphy’s cinematic role marks the commencement of an eventful rest of the year for the artist, who launches his worldwide “Dirty Dirt Tour” in late July, and is adding the finishing touches to his new studio album NINTH, due in the Fall. Confirmed tour dates, including an August performance at Rebellion Festival in the UK, can be found below. Additional dates will be announced shortly.

Currently living between Istanbul and New York City, the famed post-punk innovator, sonic alchemist and celebrated founding father of the Gothic movement, has been working on several exciting new projects over the past 2 years, most importantly his long-awaited ninth studio album aptly-titled, Ninth. Produced by David Baron, the set follows: 2004’s Unshattered, Dust (2002), A Live Just For Love (live album) (2001), WildBirds: 1985-1995 (compilation) (2000), Recall EP (1997), Cascade (1995), Holy Smoke (1992), commercial breakthrough Deep (1990), the seminal Love Hysteria (1988) and the 1986 solo debut, Should the World Fail to Fall Apart.

“I have had my Ninth album ready to go for a while now,” Peter explains. “I’ve been playing it live, alongside Bauhaus classics and my own hits,long before the official release and it’s added more stardust to the long shelf life of songs I have under my belt.”

Peter Murphy broken string

Most recently, Peter ignited a new generation of fans while appearing with Trent Reznor during his 2009 final Nine Inch Nails tour. Famously descending on a chain from the rafters upside down (like the theatricalgenius he is) at New York’s Terminal 5, Peter joined Reznor and his band to perform The Downward Spiral favorite “Reptile,” along with Murphy’s “Strange Kind Of Love,” Bauhaus’ “Kick in the Eye,” Joy Division’s“Atmosphere” and Pere Ubu’s “Final Solution.” Murphy’s cover of Nine Inch Nails’ “Hurt” has also been a recent staple of live sets.

Also last night at gage park “Squeeze” Put a show-on and will post the pictures tomorrow {Tuesday August 10th 2010)

Peter Murphy is playing Lee’s Palace Tuesday August 10th Toronto Ontario
Doug Worrall

Peter Murphy broken string
Intense show
Peter Murphy working crowd