Daniel Ash Coming Down Rar
So “This Love” has been in regular rotation at one of the local clubs and everyone around me is loving it as they assume it’s a new Love and Rockets single, but lo, upon finding a copy it’s just Daniel Ash out on his own. This was something unusual, did it mean all the rumors about my favorite trio were true? Had they packed it in?
The letdown friends of mine felt still hasn’t left me but they sucked it up enough to buy the album when it emerged some months later; I remember arguing with a Musicland (anyone? Anyone?) employee as they had copies but wouldn’t sell me one until it was Tuesday. You know, new release Tuesday?I’ve hated it ever since.‘Coming Down’ didn’t deliver what had been expected out of Daniel, I’ll just say that right now.
He dabbled with all sorts of styles on this dark little beauty: you had a duet with the mambo king himself Tito Puente on “Walk This Way” and the cracked splendor of “Closer to You” to send you on your way. That he chose to open with a heavily treated, almost unrecognizable version of “Blue Moon” should have been an indicator that “So Alive MK II” was not going to be waiting in the wings. If it had been I think this record would not hold up the way that it has.
You can haggle over lists of which songs of his have been the most important in your life but in the context of a complete piece of work this little solo album that could stands at the top of the pile.Ash’s songs resonated with me, particularly as I was spending a lot of time downtown with a group of friends dropping acid after which we’d wander all over the city until the sun came up. This cassette rarely left my Walkman, it was about the only thing that kept me from getting lost completely. The street signs, the lights, the rising hum of commuters, perpetually lit cigarettes and that unforgettable feeling of being a million years old as you came down those are the memories this one brings back. He’d make other albums on his own but there’s just something so seductive and dangerously out of control about what is on here; he hasn’t gone back into these waters since and the press done for ‘Coming Down’ was minuscule at best. Then again, this wasn’t the easiest bunch of tunes to get into.
The and the were not to be found here. What few articles I read seemed focused on the other bands he’d been in and completely glossed over what a fine collection of songwriting he’d accomplished on his own; side two contains my favorites: “Candy Darling”, “Sweet Little Liar” and “Not so Fast”. “Sweet Little Liar” in particular cuts right to the bone, if you wanted bete noire out of Ash then this was it. Plenty of young ladies got this on mix tapes I made at the time; I used to wonder if they still listened but with age I realize they just threw them in the trash upon receipt.
With good reason I might add, this isn’t the sort of song you make if life is going well.“And you can earn all that money/and you can earn all that gold/but you won’t get me back/no, not with that/you’ve been told and what you’re going through/there’s nothing I can do/and what you’re going through/there’s nothing I wanna do/for you/cuz you’re a liar/a sweet little liar”Did he tour for this? I never heard squat and even if I had I’m pretty sure he played 21+ venues; no love for this angry 17-year-old. Ash has stated that he made this record while going through a very unpleasant time in his life and that definitely comes across in the songs.
The artwork was a murky palette comprised of smoky grey, shiny black obsidian and washed out blue. My parents took one look and rather than confiscating it just walked out of the room.
I suppose at some point people just give up trying to have control over those around them which is what I’ve always suspected Daniel was getting at underneath the slick production and glossy imagery. Behind the smirking facade and carefully composed photographs was a very exhausted, drained man with his guitar. Thankfully, he didn’t make it obvious nor did he drown his sorrows in self-indulgent musical excess. If you hear this album and come away from it feeling hollowed out and spent you’re in good company; there is a very simple ethos to ‘Coming Down’: Sometimes you just have to let go and move on because there’s nothing left to say. Or as he put it himself rather bluntly:“Well it’s 6 in the morning/and I’m feeling so good/ain’t got no clever words no more/so I won’t be misunderstood” Own Coming Down on Amazon.
A founding member of the groundbreaking Bauhaus, Tones on Tail, and Love and Rockets, guitarist, singer, and songwriter Daniel Ash distinguished himself in the world of alternative rock during the 1970s, '80s, and '90s. Ash was born in Northampton, England, on July 31, 1957. As a child, he heard the Dave Clark Five's 'Bits and Pieces' and was blown away by the massive booming echo of the song, but it wasn't the first single he purchased - 'The first record I bought was Dave & Ansel Collins' 'Double Barrel',' he recalls. Driven by a love of rock & roll, Ash began playing in cover bands: 'The first gig I ever played was in the Glasgow Rangers Workman's Club.' That show ended in a fracas.
Ash had become friends with Peter Murphy in his teenage years: 'We were two oddballs in the class who didn't fit in.' Ash went to art school and Murphy went to work in a printing factory. They met up five years later and Ash suggested forming a band.Rigging up a makeshift rehearsal space, Ash played an echo 12-bar blues, while Murphy sang a series of newspaper articles. 'After 15 seconds,' Ash says, 'I knew we'd have some sort of success. Four weeks after, we formed Bauhaus, and we recorded 'Bela Lugosi's Dead'.' That song, issued in 1979, became the cornerstone of the goth rock movement.
After nearly five years of trailblazing recording and performing, Bauhaus broke up and Ash put together Tones on Tail with Bauhaus drummer Kevin Haskins. After several EPs, the full-length Pop, and a club hit in 'Go!,' the group mutated into the highly influential Love and Rockets in 1985, when Bauhaus bassist David J came on board. The band became one of the biggest alternative bands of the '80s, issuing respected LPs like 1986's Express and 1987's Earth, Sun, Moon, and finally enjoying a worldwide Top Ten hit with 1989's 'So Alive.' While Daniel Ash's first solo album, Coming Down, was a moody, late-night rumination written in the aftermath of divorce, Foolish Thing Desire, his second, was a celebration of life's perils and pleasures, recorded at Woodbine Street Studios with longtime collaborator John A. It's essentially positive, presenting a rush of passionate and powerful rock riffs. In 2002, Ash released a self-titled album that flirted with electronic dance which was followed three years later by a live album, Come Alive.In 2008, Ash would see the reunions of both of his primary bands with Bauhaus going on to release Go Away White, their first studio album in 25 years, and Love & Rockets reforming to play at the famed Coachella Music and Arts Festival.
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