Disc: 1
1. Double dare
2. In the flat field
3. A God in an alcove
4. In fear of fear
5. Hollow hills
6. Kick in the eye
7. Terror couple kill Colonel
8. Silent hedges
9. Severance
10. Boys
See all 13 tracks on this disc
Disc: 2
1. Telegram Sam
2. Ziggy Stardust
3. Bela Legosi's dead
4. All we ever wanted
5. Spirit
6. Severance (studio version)

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5 of 5 people found the following review helpful:

4.0 out of 5 stars Call the curtain. Raise the roof. Spirits on tonight., 12 Nov 2001

By A Customer

After 15 years, Bauhaus reunited for a brief spell for the purposes of a Resurrection tour. 'Gotham' was recorded during this tour, live at the Hammerstein Ballroom in New York City in 1998. I'm sure I wasn't the only one who wondered whether this resurrected Bauhaus could rekindle the passionate spirit of their former days, or whether the body they set to rest had decayed beyond revival.

In my opinion, the exhumation was remarkably successful. This is confirmed immediately as the foghorn chords of the opening song 'Double Dare' tear through the mist of a decade and a half. Peter Murphy's characteristic voice and Kevin Haskin's tribal drumming then reach out and pull you back through the temporal mists to the days of their first incarnation. The more upbeat 'In the Flat Field' is the perfect follow-up. Ash's chaotically discordant guitar envelopes the listener in the eeriness that distinguished early Bauhaus. After 'A God in the Alcove', Murphy knows the resurrection is complete. "Many happy returns ... Gotham City", he says.

Any fan of Bauhaus will know the extent of their talent. The range of songs on these two CDs confirm this from the faster, edgy-vocaled, warbling-guitar tracks of the 4AD period, to the spookily lamenting 'Hollow Hills', the cryptically alluring 'Silent Hedges', and the relatively delicate 'All We Ever Wanted Was Everything' and 'Spirit'.

'Telegram Sam' and 'Ziggy Stardust' are performed magnificently. If I'm not mistaken, they're both played slightly faster than the originals and, if you ask me, together with Murphy's excellent vocals, they're livelier and better.

The appearance of Dead Can Dance's atmospheric 'Severence' was a surprise for me. I welcomed the new track, but I would have far preferred a new Bauhaus composition. The inclusion of the studio version of 'Severence' is a nice touch though.

Of course, the album would not be complete without the all-time gothic classic 'Bela Lugosi's Dead', with its mesmerising rhythm and Ash's spectral guitar effects and embellishments.

Overall, the sound production is good; better than on 'Press the Eject'. The performance is possibly better too. No doubt the intervening years have improved the musicianship of the regathered quartet. However, I do miss a few songs that appear on the latter. Nevermind. The album is good. I recommend it to anyone interested in the splendidly sepulchral music of Bauhaus.

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