Their first single "Hong Kong Garden" reached the top ten in the UK in the summer of 1978. Their debut full-length The Scream (1978) is today considered as a classic. NME wrote in its review, "The band sounds like, some unique hybrid of the Velvet Underground mated with much of the ingenuity of Tago Mago-era Can, if any parallel can be drawn... certainly, the traditional three-piece sound has never been used in a more unorthodox fashion with such stunning results." Indeed, "Switch" placed Siouxsie and the Banshees as pioneers of the post-punk movement.
Their sophomore Join Hands (1979), perhaps their darkest record, followed up. Guitarist McKay and drummer Morris had left the band shortly after its release. This change allowed Siouxsie the Banshees to play different music. They recruited drummer Budgie and the gifted John McGeoch, formerly of Magazine, who would play guitars on the three following records. McGeoch's work with Siouxsie the Banshees would later be praised by the likes of Radiohead and the Smiths.
Their third record Kaleidoscope (1980) released. Including tracks "Happy House" and "Christine", showed a brand new musical departure with liquid guitars and atmospheric synthesizers. This eclectic record was a success and it reached the top five in the national UK charts. One year later, fourth full-length Juju (1981), with the vibrant "Spellbound", was yet another success for the band.
The last session McGeoch recorded with Siouxsie and the Banshees was for the "Slowdive" single off the classic A Kiss in the Dreamhouse (1982). The British press greeted this fifth release enthusiastically. NME wrote on its review, "I promise. This music will take your breath away." McGeoch, worn out by the recording process of these songs, was hospitalized on his return from a promotional trip to Madrid, Spain. At the same era, Siouxsie and drummer Budgie formed the Creatures to record music more based on percussion.
In late 1982, McGeoch was replaced by famed Robert Smith, from the Cure. Smith became a full-time member between the years 1982 and 1984. He contributed to the classic live album, and later would be DVD, Nocturne (1983) and to the sixth studio album Hyaena (1984) as co-composer.
Guitarist John Valentine Carruthers, from band Clock DVA, replaced Smith in May, 1984. He played on the successful seventh full-length Tinderbox (1986), which included the first hit single of the band in the US, "Cities in Dust". The following covers album Through the Looking Glass (1987) with "This Wheel's on Fire", allowed the band to broaden up their sound.
Following a lengthy break, the rest of the band recruited another, new guitarist Jon Klein, from Specimen and the multi-instrumentalist Martin McCarrick to record ninth studio Peepshow (1988). The hit single "Peek-a-Boo" was considered as avant-garde for its abrasive sounds.
After the most impressive tour of their career, Siouxsie and the Banshees stopped for a while and then the Creatures reappeared with critically acclaimed sophomore Boomerang (1989). One of the most languorous songs from this record, "Killing Time", was covered live by Jeff Buckley a few years later.
In May 13th, 1991 Siouxsie the Banshees returned with the single "Kiss Them for Me", mixing the Beatles strings over a dance rhythm. This track peaked in the US singles charts at number 23, allowing them to reach a new audience. Melody Maker praised the last two studio albums by the band, Superstition (1991) and The Rapture (1995). The latter, partially produced by John Cale, included the swansong "Forever".
Morrissey later recorded a duet with Siouxsie titled "Interlude". This one, off-single was published under the banner of the two artists' names. After 20 years together, Siouxsie and the Banshees split in April, 1996. Siouxsie and Budgie thet announced that they would carry on recording as the Creatures. They released their third studio Anima Animus (1999) to critical acclaim.
The box set Downside Up (2004) was released, compiling 51 unreleased B-sides and the highly praised out-of-print The Thorn EP. Most of these numbers like, "Something Wicked (This Way Comes)" and "Red over White", are considered by fans as 'classics.' After carrying on recording as the Creatures, Siouxsie released her debut solo Mantaray (2007). The record was hailed by both Pitchfork and Mojo.
Influence on Other Artists
Siouxsie and the Banshees have influenced musicians worldwide across many genres.
The band had a strong impact on Trip Hop acts such as:
* Tricky covered "Tattoo" to open his second solo album Nearly God. Here's his version: Tattoo. The original version of "Tattoo" was recorded in 1983 and is available on the Banshees Downside Up box set.
* Massive Attack covered and sampled the music of Metal Postcard on their song "Superpredators (Metal Postcard)" for the movie soundtrack The Jackal.
Siouxsie and the Banshees also inspired the following artists :
* LCD Soundsystem covered "Slowdive" for the cd-single "Disco Infiltrator". Here's the original Slowdive and the LCD Soundsystem version Slowdive (XFM session)
* Jeff Buckley covered live a Siouxsie / The Creatures song called 'Killing Time' originally composed in 1989 on the album Boomerang. Here's the original Killing Time.
* Morrissey stated this in 'GQ' in 1994 : "None of them are as good as Siouxsie and the Banshees at full pelt. That's not dusty nostalgia, that's fact."
* The Smiths guitarist Johnny Marr from The Smiths stated on the BBC radio 2 in february'2008 that he rated very high McGeoch for his work on Spellbound.
* Garbage singer Shirley Manson wrote in the foreword of the official Siouxsie and the Banshees biography in 2003 by Mojo magazine journalist Mark Paytress : "I learned how to sing listening to The Scream and Kaleidoscope."
* Radiohead bassist Colin Greenwood claims that while recording their song "There There", producer Nigel Godrich tried to get guitarist Jonny Greenwood to sound like the Banshees' John McGeoch.
* PJ Harvey selected in her top ten favourite albums of year 1999 : Anima Animus by The Creatures. aka Siouxsie.
*Jane's Addiction guitarist Dave Navarro also makes a parallel between his band and the Banshees in Siouxsie's official biography: "There are so many similar threads : melody, use of sound, attitude, sex-appeal. I always saw Jane's Addiction as the masculine Siouxsie and the Banshees."
*The Beta Band sampled the bridge of Painted Bird on their track Liquid Bird from the Heroes to Zeros album.
*Red Hot Chili Peppers covered Christine live at the V2001 festival. In 2002, their guitarist John Frusciante stated in an article featured on Total Guitar Magazine about Banshees guitarist John McGeoch : "He’s just a great guitar player, full stop. I wanted to listen to these people who weren’t just about technique but more about textures. People like John McGeoch. People who used good chords." also declaring that John McGeoch was an influence for the sound on the Red Hot Chili Peppers album By The Way.
*The Mars Volta covered Pulled to Bits (Live At The Royal Albert Hall) for the 'Wax Simulacra' single.
*Arcade Fire singer Win Butler suggested to the band Devotchka to cover the 1988 Siouxsie song : The Last Beat Of My Heart. One can listen to the Devothcka version on their Curse Your Little Heart ep.
* The Cure leader Robert Smith declared in 2003 in Mark Paytress's Siouxsie biography : "Siouxsie and The Banshees and Wire were the two bands I really admired. They meant something." He also pinpointed what the Join Hands tour brought him musically. "On stage that first night with the Banshees, I was Blown away by how powerful I felt playing that kind of music. It was so different to what we were doing with The Cure. Before that, I'd wanted us to be like The Buzzcocks or Elvis Costello, the punk Beatles. Being a Banshee really changed my attitude to what I was doing." He also talked about the band to Steve Sutherland in 1985 to describe "The Head On the Door" : "It reminds me of the Kaleidoscope album, the idea of having lots of different sounding things, different colors."
*U2 selected Christine for a compilation made for Mojo and The Edge presented an award to Siouxsie at a Mojo ceremony in 2005.
www.siouxsie.com
https://siouxsieandthebanshees.backstreetmerch.com
Split in 2002
Carcass
Siouxsie and the Banshees Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Seeking Heinz main-courses
Craving for a raw love
He'll hide you from the cleaver
He'll hang with you forever
Longing for a fresh meat
By hook or by crook
For an impaled affair
By hook or by crook
You'll be last in his book
Of flesh oh so rare
Be a carcass... be a dead pork
Be limblessly in love
Be a carcass...be a dead pork
Be limblessly in love
Someone's left in cold storage
Thawed in Heinz main-courses
Carving for a new tin
He got you with the cleaver
He hung you up forever
Anticipating new skin
Out of the frying pan
And into the fire
58th variety
Out of the frying pan
And into the fire
Mother had her son for tea
Be a carcass...be a dead pork
Be limblessly in love
Be a carcass...be a dead pork
Be limblessly in love
In love with your stumps
In love with the bleeding
In love with the pain
That you once felt
As you become a carcass
You become a carcass
Carcass
The lyrics of Siouxsie and the Banshees's song "Carcass" revolve around the concept of being a carcass, a dead and dismembered body, or meat, that someone else is craving for. The first stanza describes the person who is in search of a fresh, raw love and is willing to hide their partner from anyone else who might interfere in their impaled affair. The second stanza talks about someone yearning for a new skin or a fresh tin, while anticipating the flesh oh so rare. The line "58th variety" might be a reference to the countless Heinz products or the different ways the person might enjoy their meat.
In the chorus, the lyrics almost seem like an invitation to become a carcass, to be limbless and in love, which could be interpreted as giving yourself fully to someone else, even if it means losing a part of yourself. The final verse suggests that the person has become so obsessed with the idea of being a carcass that they are in love with the stumps, bleeding, and pain that comes with it.
Overall, the song can be seen as a commentary on the objectification of women or perhaps the idea of willingly giving yourself over to another person's control.
Line by Line Meaning
Someone's in cold storage
There is a person kept in cold storage
Seeking Heinz main-courses
Looking for someone to be 'main course'
Craving for a raw love
Desiring a love that is unrefined or untainted
He'll hide you from the cleaver
He will keep you safe from the knife
He'll hang with you forever
He will always be with you
Longing for a fresh meat
Desiring a new and untainted partner
By hook or by crook
By any means necessary
You'll be first in his book
You'll be his first priority
For an impaled affair
For a relationship that may be dangerous
You'll be last in his book
You'll be his last priority
Of flesh oh so rare
Of an uncommon or exotic partner
Be a carcass... be a dead pork
Be a lifeless and unfeeling body
Be limblessly in love
Be in love to the point of being helpless
Someone's left in cold storage
There is someone who has been abandoned in cold storage
Thawed in Heinz main-courses
Defrosted to be a part of someone's meal
Carving for a new tin
Searching for a new partner
He got you with the cleaver
He has captured you with the blade
He hung you up forever
He has kept you for eternity
Anticipating new skin
Looking forward to a new partner
Out of the frying pan
Escaping from one danger
And into the fire
Only to meet another danger
58th variety
Another partner in a series of many
Mother had her son for tea
A mother has consumed her own child
In love with your stumps
Being in love with someone who has lost limbs
In love with the bleeding
Being in love with someone who is hurt or in pain
In love with the pain
Being in love with someone who causes pain
That you once felt
The pain that you have experienced before
As you become a carcass
As you turn into a lifeless body
You become a carcass
You turn into a lifeless entity
Carcass
A dead body or a lifeless entity
Lyrics © DOMINO PUBLISHING COMPANY, BMG Rights Management
Written by: PETER FENTON, KENNETH MORRIS, STEVEN SEVERIN, SIOUXSIE SIOUX
Lyrics Licensed & Provided by LyricFind