Astbury's career began in 1981, with the gothic rock band Southern Death Cu… Read Full Bio ↴Astbury's career began in 1981, with the gothic rock band Southern Death Cult. At that time, he was going by the name "Ian Lindsay." Southern Death Cult gigged to support its "Moya" single, and secured a slot as an opening act for Bauhaus in 1983. Shortly after that tour, the band split up.

Along with guitarist Billy Duffy bassist Jamie Stewart and drummer Ray Mondo, Ian (now going by the surname "Astbury"), formed a new band, The Death Cult and later dropped Death from the name.

**The Cult**

The Cult was one of the most successful British rock bands of the late 1980s and early 1990s. With the 1984 release of their first album Dreamtime, The Cult were the darlings of the Indie post-punk scene, their chart topping "Spiritwalker" single having held at number one for three months. Their second album, Love, evoked memories of 1960s psychedelia such as The Doors, and the Pretty Things. It also featured their now classic hit "She Sells Sanctuary", which introduced them to an international audience. On their third album, Electric, The Cult made a radical transformation to hard rock reminiscent of AC/DC and Aerosmith with the help of Rick Rubin. This further broadened their audience as rock began making a comeback in the late 1980s. Guns N' Roses, who were heavily influenced by Electric, opened for The Cult on their 1987 North American tour, before going on to sell millions of copies of their debut album Appetite for Destruction.

Although The Cult went on to greater heights with their mainstream hit single "Fire Woman," (on the follow up 1989 Sonic Temple album), they began to get criticized by many hardcore fans on artistic merits. Soured on the band's more commercial direction, The Cult were now characterized as pretentious and as having sold out, particularly among their British fan legion.

**1990s**

The dent in their reputation was amplified by the loss of many Sonic Temple fans, when their next album (Ceremony, 1991) delivered dissapointingly in the wake of an oncoming grunge fad.

In 1994, The Cult returned with their untitled album and a musical change of pace. Gone was much of their overblown rock trappings, replaced instead by Astbury's growing interest in electronica and introspective lyrics. To support the album they set out on tour, but in Brazil, Astbury's creative differences with guitarist Billy Duffy reached their peak, and Astbury walked out on The Cult.

Inspired by his sudden change in direction, Astbury immediately assembled another group of musicians and began writing new songs. He called the group The Holy Barbarians, and in 1996 the band released an album, "Cream". Although the Barbarians were not a commercial success, they were well received by many who had regained respect for Astbury as an artist.

Personal difficulties and a drive for further introspection drove Astbury away from his new group, as he began working on a solo album (eventually released as Spirit/Light/Speed), to mixed reviews and low sales.

In 1999, Ian Astbury and Billy Duffy regrouped The Cult to head one of the most financially successful tours that year. A new contract with Atlantic Records was inked, and in 2001 came the release of Beyond Good And Evil. Early radio success was being had by the single Rise, until the band had a falling out with Atlantic and they killed any and all commercial promotions and radio play for BG&E. The fight with Atlantic was described by Ian as Soul Destroying and a disillusioned Astbury, brought The Cult onto another hiatus in 2002.

*2000s*

Having long been influenced by Jim Morrison, in 2002 Ian Astbury filled his hero's footsteps by becoming lead singer in an updated version of The Doors, with original members Robby Krieger and Ray Manzarek, known as The Doors of the 21st Century, renamed in 2005 to become Riders On The Storm. In 2003, Astbury also performed with surviving members of MC5 at the 100 Club in London, before finally reforming The Cult with Billy Duffy again in 2006, for a series of live dates and rumours of reissues and another greatest hits compilation in the works.

The Witch
Ian Astbury Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

So you finally found your rhythm man
Got your funky arse out of the can
Well, the girl is coming to you
Going to show you what is true
The witch she need a lover boy
Maybe it could be you

It took a while to understand

Stole the needs of another man
It took a while to understand
Push her sex on a mortal man

Dreams are coming true
They said they wouldn't do
The cool world need a savior, boy
Maybe it could be you

It took a while to understand
Push her sex on a mortal man
It took a while to understand
Push her sex on a mortal man

She's got what you need, what she's got is good
She's got what you need, what she's got is good
She's got what you need, what she's got is good
She's got what you need, what she's got is good

She's got it, she's got it good, yeah
She's got it, she's got it good, yeah
She's got it, she's got it good, yeah
She's got it, she's got it good, yeah

She's got what you need, what she's got is good
She's got what you need, what she's got is good
She's got what you need, the witch is coming to you

Everybody need a savior, baby
Everybody need a savior
Everybody try to save you, baby
Everybody try to paralyze

Everybody need a savior, baby
Cool world need a savior
Everybody try to save you, baby
Cool world need a paradise

She's got what you need, what she's got is good
She's got what you need, the witch is coming to you

The witch is coming to you
The witch is coming to you

Overall Meaning

In "The Witch" by Ian Astbury, the lyrics describe a situation where a person has finally found their groove, and a woman - the witch - is coming into their life to show them what is true. The lyrics also indicate that the witch needs a lover, and it could potentially be this person. The verses repeat the idea that "it took a while to understand" the power that the witch holds, and that she is capable of pushing her sexual desires onto mortal men. However, the chorus declares that the witch has what the person needs and that she is coming to them.

The lyrics of this song are open to interpretation, but it could be seen as a warning of the dangers of getting involved with someone who has manipulative behavior or the possible consequences of giving into temptation. The lyrics also highlight the idea that people often search for a savior or paradise, and that the witch represents this to some individuals.

Line by Line Meaning

So you finally found your rhythm man
You have finally found your way in life

Got your funky arse out of the can
You've overcome some obstacle to get to where you are now

Well, the girl is coming to you
Someone new is coming into your life

Going to show you what is true
They will show you their true self

The witch she need a lover boy
The witch is in search of a lover

Maybe it could be you
Perhaps you could be that lover

It took a while to understand
It wasn't clear at first

Stole the needs of another man
She took something that belonged to someone else

Push her sex on a mortal man
She used her sexuality to manipulate a man

Dreams are coming true
Things are finally falling into place

They said they wouldn't do
They promised they wouldn't make it happen