I woke up one day, knowing little to nothing about Siouxsie and the Banshees, but having a sudden itch to scratch. I needed every album they (and The Cure) released in the 80's. Up until this point, my only exposure to the band was their 1990 inclusion on the Batman Returns soundtrack, but quite frankly, that was one of my favorite things about that album. It was this that I was hoping to get more of.
Siouxsie and the Banshees formed in 1975 by vocalist Siouxsie Sioux and bass guitarist Steven Severin, and found themselves immediately part of the emerging punk scene. Their first gig at the 100 Club found them among the likes of the Sex Pistols, Clash, and Subway Sect, where they performed a twenty minute version of the Lord's prayer. The irony of the show was that the only member of the band who knew how to play an instrument was guitarist Marco Pernoi. The Banshee's goal, in true punk form, was to simply annoy the crowd as much as possible, but found themselves getting bored far quicker than that audience.
Though they intended to break up after the show, they found themselves being asked to play again, and brought in drummer Kenny Morris and guitarist Peter Fenton to complete the lineup. However, after playing a few gigs, Fenton was removed from the band, and replaced by John McKay.
Wanting complete control over their music, the band found it difficult to get a recording contract. It wouldn't be until Polydor offered such an opportunity that the Banshees would finally get into a studio to record their first single, Hong Kong Garden. The song would reach the top ten in the UK, and laid the groundwork for their first album, The Scream (1978), which actually would not feature the single. This was followed in 1979 by their follow up album, Join Hands.
The Banshees would embark on a major tour, but soon find themselves shy two members after Morris and McKay began arguing with the other members over creative decisions, and quit mid tour. Budgie would join as their new drummer, but after difficulties in finding a replacement guitarist, Robert Smith (of The Cure) offered to fill in for the remainder of the tour, which they took him up on.
Budgie would join the band in the studio for their next album, 1980's Kaleidoscope, becoming a full member. However, still without a guitarist, John McGeoch, of the group, Magazine, would assist in the recording, and would ultimately join the band full time.
This lineup would remain through 1982's A Kiss In the Dreamhouse. However, before we get that far, we have to stop in the middle at today's Retro Spin, 1981's Juju.
Juju is the band's critically acclaimed fourth studio album, and considered to offer not only the sound that their fans have come to love, but also a strong pop feel, which helped to bring in new fans. Unlike their previous album, Juju returned to more guitar driven tracks, thanks in part to McGeoch.
Would it be here that I would find what I was looking for? Tunes reminiscent of Face to Face, from the Batman Returns soundtrack? Well...Maybe. I'm not too sure.
As a whole, Juju definitely delivers an edgy post punk, yet somewhat pop sound, and it is certainly "different" from what I'm used to. What I found interesting was that the two tracks, and major singles, Spellbound, and Arabian Knights, really didn't resonate with me. Rather, it was the song sandwiched in between them, Into the Light, which I dug.
Truthfully, by the twenty-five minute mark of Juju, I honestly stopped really paying attention to it. Everything just kind of fell into background noise, with nothing really sticking out. This was kind of unfortunate, as because I said at the beginning, I picked up every Banshee album from the 80's, a task that was not only a bit more expensive than I thought it would be, but also not as easy to find as one would have thought. Will I get around to listening to the others? Absolutely. Am I sitting on the edge of my seat waiting to do so? No, not at all. By the time Juju wrapped up, I was pretty done.
Researching this particular group / album, what I found the most interesting was how involved Robert Smith was within it. It was coincidental, I suppose, that I got a bug to get not only every 80's Siouxsie And The Banshees album, but also The Cure at the same time.
Smith would actually return to the group in 1986 upon the firing of McGeoch (due to alcohol addiction) for the studio album, Hyæna. However, he would step out again, and John Valentine Carruthers would become the new guitarist for 1986's Tinderbox, and 1987's Through the Looking Glass.
As part of the ever revolving door of guitarists, Carruthers was released upon completion of their 87' album, cited as not fitting in with the band. After a break, they would recruit Jon Klein as their newest guitarist, as well as multi instrumentalist, Martin McCarrick for 1988's Peepshow. This lineup would also release 1991's Superstition, and after a long break, 1995's The Rapture. However, this would be their last studio album (unless one has come out since this writing in 2023).
I say that last part in parentheses because in 2023, Siouxsie And The Banshees would shock their fans with an announcement in 2023 that they would be embarking on a tour. Not only has this been a major success for them, but as we all know, could lead to a return to the studio.
Before closing, we also have to rewind all the way back to 1981, where after the release of Juju, Siousie and Budgie would form the group, The Creatures, and release their first EP, Wild Things. The two would also start a personal relationship at this time. Fortunately, neither of these aspects appeared to hinder the Banshees. At The Creatures, Siousie and Budgie released four additional studio albums, and an additional EP.
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| THIS WEEK ON THE CHARTS March 23, 1985 |
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