They haven'treleased a studio album in twenty-five years and haven't played together live since 2006, but Bauhaus have never really gone away. Even after three members formed Love and Rockets, and singer Peter Murphy went solo, it was Bauhaus that goth fans obsessed over, marveling at thesnarling punk of "Double Dare" or the Halloween dub of "Bela Lugosi's Dead." And Bauhaus' self-professed final album, Go Away White — recorded in less than three weeks during their last reunion — shows why they've remained vital: Despite followers from Nine Inch Nails to Korn, no one has ever come close to capturing the genuinely odd rumble at the heart of their music. While their last record, 1983's Burning From the Inside, moved ever closer to Love and Rockets' slicked-up alt-rock, the loose, garage-y Go Away White points back to Bauhaus' roots as Grand Guignol punks: Guitarist Daniel Ashstill strangles his chords with alien buzz on "Endless Summer of the Damned"; David J's bass remains subliminally funky on "Undone"; andMurphy's voice has held up well, moving easily from a howl ("Adrenalin")to an overbaked croon ("Saved"). Like true vampires, Bauhaus stillmanage to pull off being melodramatic and wickedly energetic even in oldage. R.I.P. again.

“Is It True”

As the British Invasion reached its peak in 1964, Brenda Lee went from Nashville to London to record one of her hardest-rocking hits, her perky vocal backed by a stuttering, squalling guitar. That guitar was played by session musician Jimmy Page, yet to skyrocket to fame with first the Yardbirds and then Led Zeppelin. "She said to me, 'I've come here to make a record with the British sound,'" remembered producer Mickie Most. "She felt she wouldn't get the same sound in Nashville because they're only just catching up on the British beat group sound of about six months ago."