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
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Split in 2002
Love Out Me
Siouxsie and the Banshees Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Cutting through to my disgrace
Disregard for bone and flesh
How can I be in such a mesh of unlikeliness?
I smash my likeness
At my fingertips
With this blade turned in on me
Cutting an ancient tree
Upturning usurping
Love me hate me help me
Save me from me
Hold me hurt me stop me
Take this love out me
Anger tinged with sadness
It's always been like this
Place the dagger 'twixt my breast
My nearest and dearest
I hurt it I hurt me
Hurt everything around me
There's nothing no trace
Still cutting to find the place
Love out me! Love out me!
Anger tinged with sadness
It's always been like this
No nothing no one no more
No no no no I can't take this
Love me hate me help me
Save me from me
Hold me hurt me stop me
Take this love out me!
The lyrics to Siouxsie & The Banshees' "Love Out Me" depict a person lost in self-destruction and despair. The singer takes a piece of broken glass and cuts their own face as a sign of their deep-seated self-hatred. The recklessness with which they treat their own body and violate their own image reflects a disregard for their own identity. They feel trapped in a cycle of pain and sadness and use self-harm as a way to release these emotions. The repeated refrain of "Love me, hate me, help me, save me from me, hold me, hurt me, stop me, take this love out me" shows a desperation for someone to intervene, to understand, and to offer guidance to the singer in freeing themselves from the constraints of their own emotions and self-destructive behavior.
The lyrics' bleak portrayal of self-loathing and pain is intensified by the repeated use of violent imagery, such as "cutting an ancient tree," and "place the dagger 'twixt my breast." The emotional depth of the song is underscored by Siouxsie Sioux's powerful vocals and the heavy rhythm that escalates throughout the song. "Love Out Me" is a poignant reflection on the pervasive feelings of despair, anger, and sadness that can easily overtake people, even those who seem to have it all together in their public lives.
Line by Line Meaning
I smash the glass into my face
I intentionally injure myself by breaking glass and then forcefully rubbing it against my face.
Cutting through to my disgrace
This act of self-harm brings me a sense of shame and humiliation.
Disregard for bone and flesh
I have no concern for my physical well-being and easily inflict harm upon myself.
How can I be in such a mesh of unlikeliness?
I am perplexed at how I find myself in a situation where I am driven to self-destructive behavior.
I smash my likeness at my fingertips
I destroy any sense of self-identity and self-worth that I have.
With this blade turned in on me
I use a sharp tool to inflict pain and injury to myself.
Cutting an ancient tree
My actions represent a deep, long-standing issue that has roots in my past.
A cutter in a forest of industry
I am a small, insignificant part of a larger system that exists to exploit and harm society.
Upturning usurping
My behavior is disruptive and seeks to undermine the established order.
Love me hate me help me
I am conflicted and unsure of what type of support and attention I need from others.
Save me from me
I am aware that I am my own worst enemy and need help in overcoming my self-destructive tendencies.
Hold me hurt me stop me
I am struggling with internal chaos and need help to regain control over myself.
Take this love out me
I am unable to handle feelings of love and affection and want to rid myself of them completely.
Anger tinged with sadness
My emotions are deeply intertwined and complex, resulting in a mixture of anger and sorrow.
It's always been like this
My self-destructive behavior is a longstanding issue that I have been unable to overcome.
Place the dagger 'twixt my breast
I am so consumed by self-loathing that I am willing to physically harm myself in the most extreme ways.
My nearest and dearest
Even those closest to me are unable to provide the support and stability that I need to overcome my issues.
I hurt it I hurt me
My actions have a ripple effect, harming not only myself but also others around me.
Hurt everything around me
My self-destructive tendencies permeate all aspects of my life and cause harm to everything I come in contact with.
There's nothing no trace
My actions have left me feeling empty, with no sense of purpose or direction.
Still cutting to find the place
I am still searching for the root cause of my self-destructive behavior and continue to inflict harm in an attempt to find it.
Love out me! Love out me!
I am desperately pleading for others to help me rid myself of these feelings of love and affection.
No nothing no one no more
I have reached a point of complete despair and feel that there is no hope for me.
No no no no I can't take this
I am overwhelmed by my emotions and feel that I am no longer able to cope with my situation.
Lyrics © BMG Rights Management
Written by: SIOUXSIE, THE BANSHEES
Lyrics Licensed & Provided by LyricFind
ScottishTeeVee
1 of over 1800 rare music related recordings on this channel, all taken from my videotape collection.
New videos most days, so Subscribe, comment, share and enjoy for Free!🙂
Martin Fitzgerald
Only got to see Siouxsie once, fabulous gig. Cheers STV, great job👏🏻👏🏻
Mark Adrian Langtry
Saw them at the Metro in Melbourne back in OCT 93
- AMAZING !
Alexis A
MY QUEEN 🖤
Jonathan Ellis
Never enough Siouxsie and the Banshees. :D
Susan Misko
What a gift to.see these wonderful, incredible performaces.
Etienne Wauquier
Love of my life 🥰
daryl kilgallon
was at this gig cant believe it was 30 years ago nearly
Paul Ashe
Thank you
ScottishTeeVee
Thanks for watching and commenting Paul