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.
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Split in 2002
Preacher Man
Siouxsie and the Banshees Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You're mine, you're mine all mine
Following the signs in your mind
You're mine, you're mine, all mine
Bring me the head of the preacher
Man in the sickening daze
O, the rotting sun washes down
They pluck the gold dust from his eyes
And pick his bones until they're clean
The book of sorrows, the American dreams
Bring me the head of the preacher man
On the blazing trail
Heaven holds lone star promise El Dorado
The insane theater, once more we rise
To drain the last of liquid sleep
The gift of chance
Eating the worm as the vapor drops and dances
And everything stops and dances
Bring me the head of the preacher man
We tumble down these lonely days
The lyrics in Siouxsie and the Banshees's song Bring Me The Head are quite cryptic and possibly intentionally mystifying. The beginning of the song mentions desire in someone's eyes and the idea of someone belonging to someone else. The lyrics then shift to a more macabre tone, discussing the desire to bring the head of a preacher man. The preacher man is described as being in a sickening daze, and the sun is described as rotting. The moonshine boys and vultures are waiting to pick at his body after he is beheaded. The idea of sorrows and American dreams is also brought up.
The second half of the song mentions the promise of El Dorado, a mythical city of gold, and the idea of insanity in the theater. The lyrics suggest that they are rising again and they will "drain the last of liquid sleep." The idea of taking a chance is also mentioned, along with eating a worm and everything stopping to dance. The song finally ends with the repeated desire to bring the head of the preacher man as they tumble down these lonely days.
Overall, the lyrics seem to be a mix of surrealism, violence, and mythology. The desire to bring the head of the preacher man could be interpreted as a rejection of religious authority, and the mention of American dreams suggests a critique of capitalist culture. The song has a dreamy and intense quality to it, making it a haunting listen.
Line by Line Meaning
Following desire in your eyes
I can sense your attraction towards me from the way you're looking at me.
You're mine, you're mine all mine
I know that you belong to me and only me.
Following the signs in your mind
Your thoughts are leading you to me and you're acting on them.
You're mine, you're mine, all mine
I'm completely sure that you're mine and I'll possess you forever.
Bring me the head of the preacher
I want the ultimate punishment for the one who's been preaching against me.
Man in the sickening daze
The man I want dead is out of his mind and has been causing discomfort.
O, the rotting sun washes down
The sun is setting on this world and a rotten future is looming ahead.
The moonshine boys, the vultures drool
The scum will feed on the remains of the ones who oppose me.
They pluck the gold dust from his eyes
After he's dead, his followers will be hunted for their riches.
And pick his bones until they're clean
My servants won't stop until they have all the valuables and secrets of his followers.
The book of sorrows, the American dreams
The sorrow and destruction I will bring will be remembered through time and space.
Bring me the head of the preacher man
The consequences can't be avoided, and the punishment will be served.
On the blazing trail
I'm unstoppable and my path is burning everything in its way.
Heaven holds lone star promise El Dorado
I'm going to achieve my goals and reach the paradise I deserve.
The insane theater, once more we rise
The madness of my actions will create a spectacle that will be remembered.
To drain the last of liquid sleep
My enemies will have no peace as I destroy their dreams and create chaos.
The gift of chance
Everything is falling into place to help me achieve my goals.
Eating the worm as the vapor drops and dances
I'll do whatever it takes to get what I want, even if it means taking risks and accepting the consequences.
And everything stops and dances
My presence will make everything freeze and the only thing moving will be the darkness surrounding me.
Bring me the head of the preacher man
His death is inevitable, and I'll be the one who will bring his downfall.
We tumble down these lonely days
As we fall into despair and isolation, my power will continue to rise and consume everything that was once beautiful.
Lyrics © BMG Rights Management, Universal Music Publishing Group
Written by: BUDGIE, SIOUX, ROBERT JAMES SMITH, STEVEN SEVERIN
Lyrics Licensed & Provided by LyricFind