Bela Lugosi’s Dead, A Look Back On The Bauhaus Classic

Bela Lugosi's Dead, A Look Back On The Bauhaus Classic 7

Bela Lugosi’s Dead: DOM COOPER explains how a classic horror star influenced Northampton Goth Rock outfit Bauhaus

Bela Lugosi's Dead by Bauhaus

A figure is frozen in terror, enveloped by a giant shadow. Standing against a baroque door, the man is caught in time, trapped in the shadowy form of spiked vampire wings. The image is black and white, worn and old, like a bleached ink stain.

Tripping beats ping and stutter with dub echoes to become punctuated by ominous bass plucks and scrapping open guitar strings. The guitar then ramps up and turns into a swirling maelstrom. Finally a voice intones deeply, sounding somewhere between the voices of Lou Reed and Ian Curtis, speak-singing the words ‘White on white, translucent black capes’.

The song is ‘Bela Lugosi’s Dead’ by Bauhaus. The image is taken from the silent film ‘The Cabinet of Dr Caligari‘, a German expressionist film from 1920, which is a giant of silent horror, all angled shadows and haunting expressions. The film image was used on the single’s sleeve.

Bauhaus' Bela Lugosi is Dead

Bauhaus were named after the German design movement of the 20s, and formed in Northampton in 1978. Their line up was – vocalist Peter Murphy, guitarist Daniel Ash, bass player David J and drummer Kevin Haskins. The band is often cited as one of the first goth (gothic rock) bands, and they were known for their dark moody music.
The song was recorded as part of their demo at Beck studios in Wellingborough.

Almost ten minutes long, it was captured as a live take – one long sprawl of dread. ‘Bela Lugosi’s Dead’  is The Velvet Underground via David Bowie fed through the dub of the Black Ark in the same manner of PIL and Pere Ubu. It became Bauhaus’s first single in ’79, and was released on Small Wonder Records. It received considerable interest and the band went on to sign to 4AD, who released their debut album ‘In the Flat Field’.

The lyrics of the song riff on horror films and vampire mythology. For example ‘The bats have left the bell tower’ and ‘Red velvet lines the black box’. Later we hear, ‘Alone in a darkened room, the count, Bela Lugosi’s dead, undead, undead, undead’.

Bela Lugosi was an actor best known for playing Dracula in the 1931 film. He’d played the part in the Broadway version beforehand and went on to star in the Hollywood film, scaring audiences in their masses. He found himself typecast as a villain in horror movies and will always be remembered as the count.

The song stretches on with the atmosphere building. Murphy crooning, ‘Strewn with time’s dead flowers, bereft in deathly bloom’. Ghostly guitar creeps behind him, perfectly echoing the image from ‘The Cabinet of Dr Caligari’. The guitars finally give way to leave the splutter of beats slowly stagger to a halt.

Bela died at the age of 73 of a heart attack. His final curtain came on the 16th August 1956, whilst sleeping at his L.A. home. His family buried him in his Dracula cape.

Listen to Bauhaus’ Bela Lugosi’s Dead

Forest Graveyard, Bodies And Twisted Faces

Forest Graveyard, Bodies And Twisted Faces 13

DOM COOPER tells us about a Forest song about a visit to a graveyard

Forest Graveyard, Bodies And Twisted Faces 14

A circular guitar motif gives way to stabbing chords and short rhythmic flute notes. A forlorn voice then sings, ‘In a graveyard I have been, a body I have seen, from the shock though I had dreamed, that body was me’.
The song is called simply ‘Graveyard’ and the band are Forest.

Forest were a mid sixties psych-folk act from Grimsby. Comprised of Derek Allenby, Hadrian Welham and Martin Welham.

Forest's Full Circle

After singing harmony in various folk clubs they shortened their name from The Foresters of Walesby to just Forest. This was coupled with them breaking away from just doing traditional songs to explore the scene of the time. A move to Birmingham in 1968 saw them start to write songs in the vein of The Incredible String Band and Dr Strangely Strange. They were soon championed by John Peel and it wasn’t long before they were signed to Harvest Records, home to Pink Floyd and Roy Harper.

Forest’s eponymous album was released in 1969. Followed by ‘Full Circle’ in ’70. This track is from that second album. An album of baroque and medieval sounding songs with dark lyrics and acid touches. Using a raft of instruments, from pipes, mandolin, harmoniums and harpsichords to cello, whistles and violins, the band conjure ethereal songs.

‘Graveyard’ has a spooky otherworld nature. Telling the tale of a visit to a graveyard and a sighting of a body. To then hear that the singer feels that he is the dead body he has spied. Twisted faces appear to him and he feels life is full of fear. He then steps out of a dream and is still the body below.

It conjures a bleak moorland church, crows and harsh wind.

All the while flutes and pipes interrupt as if some medieval procession is spurring him on, to fall in to the grave and become the body – as if they are from another time, led by the skeletal death with a flute.

The song has that unsettling thing of being sickly sweet and very dark at the same time. Very pastoral and harking back to times when witches were feared. Like an audio version of the film ‘Blood On A Satan’s Claw’.

The band called it a day in 1972.

DOM COOPER is a graphic designer, illustrator and writer. He co-runs Rif Mountain Records and plays in The Straw Bear Band. Previously he played in The Owl Service, The Fiends and Wolfgang & The Wolf Gang. Dom is obsessed with music, and is interested in British folklore, history and culture. Follow him at @domcooperdesign | Find him at www.domcooper.com