This MySpace does not belong to a member of Tones on Tail. It is only a fan-made tribute. I apologize to anyone who has messaged me believing otherwise.
BUY TONES ON TAIL'S "EVERYTHING!" FROM AMAZON.COM
1982-1984
Originally intended as an outlet for Bauhaus' guitarist Daniel Ash to record his more experimental material, Tones On Tail surfaced in 1982 with the 12" e.p., 'A Bigger Splash', on 4AD Records. Fuelled on a steady diet of hash and McDonald's Big Macs, this musical offshoot became the psychedelic and light hearted antithesis of Bauhaus' doom and gloom reputation. Danny was initially joined by Glenn Campling (an old art college friend and former Bauhaus roadie) on bass and keyboards, and, with the subsequent demise of Bauhaus in 1983, drummer Kevin Haskins, turning this 'side-project' into a 'proper' band. During their short tenure together, Tones On Tail created some of the most inventive, arresting and tongue-in-cheek "pop" music until, sadly, due to "creative differences" between Daniel and Glenn, the group disbanded semi-acrimoniously in 1984.
"The main idea behind Tones On Tail was to be spontaneous and otherworldly" recalled Daniel and Kevin Haskins in a recent interview, "We were a motley crew of individuals who essentially wanted to sound like a band from Venus or Mars!" grinned Danny. Between 1982 and 1984, Tones On Tail created an impressive collection of impulsive and deliciously twisted, abstruse songs that defy categorisation. Rather than attempting to reach any creative compromise or middle ground within the group (a factor which eventually caused the demise of Bauhaus), Tones On Tail strove to express each individual member's distinct musical sensibility. Thus their 'rock' music incorporated experimental electronica, dance, dub, abstract minimalism and elements of free-form jazz.
"Glenn was heavily into early electronica and dance music, like Kraftwerk and Gary Numan, and that really influenced our sound and approach to writing", stated Danny. They even used keyboards in their music; a vehement no-go area for Bauhaus! Creatively, the group needed to dissociate themselves from the dark and theatrical days with Bauhaus and besides, they were eager to try something new. "The whole idea of wearing white was a conscious reaction against the past; we needed distance, so we had to recreate ourselves entirely", agreed Daniel and Kevin.
Ultimately, Tones On Tail was driven by the celebration and expression of three individuals' disparate musical tastes. Therefore, their music had a tendency to be 'inconsistent' (in the traditional sense of the word) because they chose to explore various musical arenas, rather than stick to one particular genre. Nowhere did all of these elements come together so harmoniously than on the sensational debut album, 'Pop', ironically both their first and last real album! Each song was different, occupying its own unique space. In an interview with Swing Fanzine in the summer of 1984, Daniel explained Tones On Tail's unique dynamic:
"There are so many albums where you put it on and it's the same all the way through: We really try to break that up so that each track is completely different." He continued, "A lot of the things we do aren't exactly obvious, but can't you get a mood from each track? I mean 'Lions' is basically a love song and 'War' is a statement about the big bomb, the third world war, not a criticism, just an observation. 'Happiness' is an irony. 'Rain' is another love song." Recently he observed, "Twist' is my favorite song because it comes the closest to sounding like what we envisioned Tones On Tail to be - modern psychedelia".
Inevitably, Britain was not so warm to Tones On Tail. They were continually blasted in the press for being a 'depressing dirge' and it became increasingly evident that most of the criticisms and dismissals were heavily rooted in a form of Bauhaus backlash. However, that didn't deter the band because they wanted to be acknowledged on their own terms and were not dependent on commercial success or critical acclaim. Consequently, much like Bauhaus, Tones On Tail were important underground cult figures in the development of the 'new wave'.
It wasn't until the release of 'Lions', the second single from 'Pop', that things started to happen for the group. Despite the single's lukewarm response at home, its B-side, 'Go!', unexpectedly became an international club hit! You could hear the song echoing throughout most of the innovative and avant garde, underground dance clubs in New York, Los Angeles, Paris, Berlin and Amsterdam (to name a few).
'Go!' is still considered a hallmark of the 80's British 'new wave' period and frequently appears on compilations. You can even hear strands of Tones On Tail's work in some of today's groups. Moby's 'Go' not only borrowed the title but also the vocal shout and Fun Loving Criminals sampled 'Movement Of Fear' in their universal hit, 'Scooby Snacks'.
Similar to Bauhaus, Tones On Tail disbanded without tarnishing their "legend". . Essentially, Tones On Tail was a studio band that rarely played live (they only had one UK tour and one American tour), opting to concentrate their energies into perfecting their "cosmic" sound and studio craftsmanship. In just 3 short years, they recorded an essential collection of dark and twisted art-rock with peculiar, yet, insatiable grooves. Thus, combining Danny's relentless guitar, cryptic lyrics and inviting vocals with Glenn's electronica / disco influences and Kevin's rhythmic and tribal drumming, Tones On Tail created a unique sound that was not limited to the boundaries of their influences. Instead, they used the group as a platform for uncompromising experimentation and exploration. They would eventually put T.O.T to rest and reunite with their former Bauhaus cohort, bassist David J., to form Love and Rockets. But that, of course, is another story!
And finally, they hold the unique honour of being the only band from the Beggars Banquet family to have releases on all of the in house labels at that time; 4AD, Situation 2 and, of course, Beggars Banquet.
