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
Christine
Siouxsie and the Banshees Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Kaleidoscope style
Personality changes behind her red smile
Every new problem brings a stranger inside
Helplessly forcing one more new disguise
Christine, the strawberry girl
Christine, banana split lady
Christine, banana split lady
Singing sweet savages lost in our world
This big-eyed girl sees her faces unfurl
Now she's in purple, now she's the turtle
Disintegrating
The lyrics to Siouxsie and the Banshees's song "Christine" describe a person struggling with their identity and the different personas they adopt to cope with challenges. The first line, "She tries not to shatter," suggests that the person is fragile and vulnerable. They may be trying to hold themselves together, perhaps by adopting different personalities, represented by a kaleidoscope.
The next line, "Personality changes behind her red smile," implies that the person may be hiding their true self behind a façade, wearing a red smile as a mask. But as they encounter new problems, they find themselves forced to take on new disguises. This constant shifting of identities can be exhausting and may lead to a sense of helplessness.
The chorus introduces the name "Christine" and two descriptors: "strawberry girl" and "banana split lady." These names suggest childlike innocence and sweetness, but also a fragmentation of the self, as if this person is made up of different parts that don't quite fit together. The final lines of the song, "Now she's in purple, now she's the turtle / Disintegrating," indicate that the person is falling apart, perhaps unable to hold onto any one identity for long.
Overall, "Christine" is a haunting exploration of the fragility of the self and the ways in which we try to hold ourselves together in the face of challenges.
Line by Line Meaning
She tries not to shatter
The singer attempts to keep herself together despite her changing persona.
Kaleidoscope style
Her personality shifts are multiple and occur quickly, changing like a kaleidoscope.
Personality changes behind her red smile
The changes in the singer's personality are hidden behind her artificial and superficial facade of happiness.
Every new problem brings a stranger inside
When the artist faces a new issue, she adopts a new identity that's unfamiliar even to her.
Helplessly forcing one more new disguise
Despite being a victim of her uncontrollable transformations, the artist still tries to force herself into a new identity.
Christine, the strawberry girl
The name 'Christine' refers to the female protagonist of the song.
Christine, banana split lady
The name 'Christine' shifts to a different form, 'Banana Split Lady.'
Christine, the strawberry girl
The name 'Christine' returns once again to denote the artist.
Christine, banana split lady
The name 'Christine' changes to another version, 'Banana Split Lady.'
Singing sweet savages lost in our world
The artist sings about being lost in her own world of uncontrollable transformations despite her sweet demeanor.
This big-eyed girl sees her faces unfurl
The singer notices her changing persona with helplessness despite her being aware of her situation.
Now she's in purple, now she's the turtle
Again, the artist changes her identity instantly from one form to another- purple to a turtle.
Disintegrating
The singer is falling apart fragment by fragment and disintegrating with each transformation and identity she takes on.
Lyrics © BMG Rights Management
Written by: Steven Bailey, Susan Ballion
Lyrics Licensed & Provided by LyricFind
@kstardustandthespidersfrom3085
Siouxsie & the Banshees - Christine - Kaleidoscope (1980)
She tries not to shatter, kaleidoscope style
Personality changes behind her red smile
Every new problem brings a stranger inside
Helplessly forcing one more new disguise
Christine, the strawberry girl
Christine, banana split lady
Christine, the strawberry girl
Christine, banana split lady
Singing sweet savages lost in our world
This big eyed girl sees her faces unfurl
Now's shes in purple now's shes the turtle
Disintegrating
Christine, the strawberry girl
Christine, banana split lady
Christine, the strawberry girl
Christine sees her faces unfurl
Now's shes in purple
Now's she the turtle
Disintegrating
Christine, Christine
Christine, the strawberry girl
Christine, banana split lady
Christine, the strawberry girl
Christine sees her faces unfurl
Christine, Christine, Christine
Christine turn into faces
Disintegrating
Christine, Christine
Disintegrating
@mymissmacy
She tries not to shatter
Kaleidoscope style
Personality changes behind her red smile
Every new problem brings a stranger inside
Helplessly forcing one more new disguise
Christine, the strawberry girl
Christine, banana split lady
Christine, the strawberry girl
Christine, banana split lady
Singing sweet savages lost in our world
This big-eyed girl sees her faces unfurl
Now she's in purple, now she's the turtle
Disintegrating
@Fuff63
This song is strangely addictive. Best in the dark with headphones on. Kudos to the sound engineer. I don’t know who Christine is, apparently she doesn’t either…I now want to know more.
@robertbruce7686
Hope you saying your prayers (take them by the legs and throw them down the stairs otherwise)?
@colinwilson4609
She's purple, she's a turtle, she's the banana split lady and now she's disintegrating. Oh yeah, one of those gals.
@drsioux
This song is about Christine Sizemore, a woman who had multiple personalities (more than 20). Siouxsie and bandmate Steven Severin were fascinated by her. The B side to the original single is titled "Eve White, Eve Black," which is also about Sizemore.
@manonvernon8646
Nigel Gray was their producer for this and several albums, notable as producer for The Police : ) Every band he worked with, he conveyed their rapport so well. He was sorely missed on Hyaena.
@CourtTV.
@@manonvernon8646so that explains why the snare is tuned like stewart
@franckt263
This song is a work of art, that acoustic guitar is a marvel
@christiansture2961
John McGeoch is (was) such a underrated guitarist. He appeared on three of banshees best albums.
@garymurphy6361
The bass is what makes it the droning
@tz8633
The drums hypnotize me every time I listen