SIOUXP
ROCK'S
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The Banshees story so far: Siouxsie and
Steve are still together but John (1) and Kenny have run away, leaving
the way clear for Budgie to move in. John (2) says he hasn't but
has really. He's certainly left Howard (who's no longer with
Peter). On the tour with Claire, Caesar, Tony, Tich and John (3) -
Altered Images - they meet Nick and some polecats. Now read on...
Sex Pistols
The 100 Club. Siouxsie Sioux, Steve Severin,
Marco Pirroni, Sid Vicious. 'Lord's Prayer'. You just didn't
feel anything then, did you?
"No". (Steve Severin)
Patience
1977. Nils Stevenson becomes manager.
Siouxsie Sioux, Steve Severin, Peter Fenton, Kenny Morris. John
McKay replaces Fenton. 'Captain Scarlet', '20th Century Boy'.
Siouxsie & The Banshees don't appear on Live At The Roxy. Sign
The Banshees. Sign The Banshees. "We will win in the
end".
Pose
"It was always much more insular and much more
rigid and almost... not regimental but very stiff. But I think in
a way it was necessary at that time to protect ourselves. It was a
new band and it was really a defence mechanism so as not to be poisoned
by rock and roll antics and all that dross... I'm more relaxed now I
think, because I know I'm not affected by it, y'know, I've been on the
road for four years and I don't do the things that I was frightened I
might end up doing." (Sioux)
Smile
John McKay was watching television one
Christmas. The Boomtown Rats were number one. He was
furious. "We should be number one!" He writes 'Hong
Kong Garden': metaphysical descendent of Bolan greats, as were 'Playground
Twist' and 'Staircase'. Polydor release 'Garden' as a single in
August 1978. A hit.
Scream
'The Scream' is loved or
loathed.
Tours
Traps.
Clap
'Join Hands'
- "I think it's a
masterpiece." (Severin.) Did you feel that Siouxsie
& The Banshees were...
Precious?
"I think we didn't
know how to do it. I think it was you who said that we grew up in
the spotlight from the word go, and all the faults lie from there
really. The destruction of the band." (Severin.)
Make up
"I was just stunned - we had a gig to do!
We were doing this autograph session in this record shop - which is
quite funny anyway, but it's
like - funny! Maybe it's
wrong that we should be stars or heroes to people but we always started
out to be a pop group, so that's
a kind of compromise in one way - how could you be a pop star and not
sign autographs...? So we were signing and just talking to people,
half the reason they want to sign autographs is so that they can have a
quick chat about something, and there was a little row. John and
Kenny stormed off and we just thought we'd
see them at the soundcheck. The soundcheck came and went. We
went back to the hotel and we were just sitting in the lobby. This
bloke came over and said do you know such and such and they're in room
so and so and they've just checked out. Who's that? McKay
and Morris. We just sat there for about 20 minutes not saying
anything. Suddenly we thought - the station! Me and Sioux
just ran over to the station and there was a train about to go and no
sign of John or Kenny. It was when Nils and everyone else came
back to the hotel that it started to sink in that they'd actually run
off. I just wouldn't want to live through that again... I've never
had so much trauma in my life. It was horrible."
(Severin.)
Motion
"There wasn't a thing of 'well, they've gone, we
can't fuck up our lives'. It wasn't that at all, it was just like,
'I don't want to stop!' I'd never considered stopping at that
point. I wasn't in the mood to stop. That is really what it
is all about." (Severin.)
THIS WEEK -
Memories
I don't want to harp on, I just want to hear John's
album. Obviously it was an enormous thing and it happened in
public. But as far as me and Sioux are concerned it's over.
When people start bringing the subject up, you start remembering what is
was like to be at the Aberdeen Capitol when it happened..."
(Severin)
Help
"I did the 'Join Hands' tour and that was like
jumping in at the deep end and I knew at the end of that tour that we
were going to have to get a new guitarist, a more permanent guitarist to
replace Robert Smith of The Cure. I think at that point, during
the auditions, I knew I was going to stay. Even with just the
three of us, we had so many ideas going." (Budgie)
Tug
"Nils rang me up whilst I was rehearsing with
Magazine and he said 'We're looking for a new guitarist, we've
auditioned 80 and I couldn't find anyone, will you come along? I
said 'Well, I have a lot of commitments, Mr. Stevenson, I can't really
see anyway that I can do it'. He said 'Well, really were looking
for someone more permanent'. I asked him to give me a call at
home. I hung up and said to Barry (Adamson) 'That was
the manager of the Banshees asking me to join them'. Barry
said 'Are you going to join them?' I said 'Naah!
You're joking'. It seemed so outrageous at the time... we were in
the middle of 'Correct Use Of Soap'." (McGeoch)
Link
"One of the things we found out in auditioning
for new guitarists was that it had to be someone who grew up with what
happened in '76 and '77 and had adapted and lived through it. It
was just impossible the thought of us having a new young guitarist in
the group, because there were so many things that we'd been through that
we would have had to communicate. I think that's the main reason
we hit it off so well with Budgie, simply because he had been
around. The same with John... It was very immediate and that
was refreshing. All the people from that time had been through so
many different experiences and yet landed together and we were all
really positive again... It's very odd playing with musicians who are musicians...
John is very very good. Budgie is very good, and at first it was
totally peculiar. And I think that's one of the things that keeps
the tension going within this group." (Severin)
Ache
"I just had some time off, I met them in a pub,
got on very well, they invited me to a rehearsal, and almost on the
first day we got 'Happy House' together. The real killer was when
I went on tour with them. What the Banshees do is right up my
street because... I hate guitar solos and displays of technique,
and playing gigs with the Banshees was just really loose, it was
refreshing. It might sound a bit slick but I was married to
Magazine and I feel in love with a mistress. I had no intention of
joining them after that first tour but I just couldn't get it out of my
mind. It's probably the most upsetting thing I've ever done,
leaving Magazine, it was absolutely dreadful and I hate talking about
it... the whole thing is cheapened. Sometimes you just have
to follow your heart." (McGeoch.)
Softly Softly
Steve Severin speaks so softly the miniature
microphone struggles to pick him up. It captures the lengthy
pauses between answers excellently, though. My own voice booms
inelegantly. I'm wary of Severin. He knows I'm wary. I
know he knows. Etc. It's his 'embarrassment' (of rock
routine? of real life?) not mixing well with my own 'embarrassment' at
my parasitic role. Questions! Questions! All the time
its questions!
Rock paper bias has bent Banshees image and reputation
into all manner of peculiar and incongruous shapes. The groups
reserve when it comes to the grand intrusion, their impatience and
introversion, hasn't helped. They aren't tempted to stretch this
way and that to convert. Severin is very sensitive to criticism.
"Oh yeah! I know I am, and I know Sioux is
as well. We read every possible interview and review of everything
we've ever done because in one way it is a gauge of what you're
doing."
But very distorted.
"Oh yeah, it's purely a media gauge.
Sometimes it's more personal than that...
In your position I would rarely take notice of rock 'criticism'.
"Well if you don't take notice you might end up like
Rod Stewart or something. I don't know why were talking about the
press, it's not a hang up of mine. It was for a week after 'Kaleidoscope'."
You couldn't trust your own head?
"Of course! The record's still come
out. They wouldn't if we didn't think they were alright. It's
just that... basically it upsets me that something we've put so much
effort into is written off so cheaply.
For a couple of weeks it knocks all your sense of
value about what you've done until you remember what you felt
before. Criticism from people who come backstage can upset you as
well. The number of times I've had to answer the question - Why
was The Lord's Prayer on 'Join Hands' - it's getting like a standard fan's
question, and for a while it really bugs you that fans can ask you why -
a lot of people thought that it was a wrong move in a series of moves
that were perfect - for them. That's what I find irritating.
(So why WAS Lords Prayer on 'Join Hands'? - Ed).
What feedback are you expecting?
"The things we're trying to do are so
intangible... I think it's really great that we have such a young
audience! They must be growing up with the sound of Siouxsie &
The Banshees as part of their lives. I think that's fantastic,
because of what happened when I was young and what kind of effect that
had on me. It's just a real... I mean Marc Bolan never said
anything in his lyrics, Bowie never said anything specifically, but it
was just the whole feel of those people when you were growing up that
made you the kind of person you are today.
I fall over myself agreeing with him. "And
if we're doing that to people I think that's really good, and that's why
when anybody ever asks us what we are I always say - A Pop Group."
Does it upset you that people approach you as if you
believe you're producing 'high art'?
"Yes, I've always been annoyed by that... it's as
though they've found some sort of new consciousness or something that
they're trying to work us in or out of. In one way it should be
like that, but not all the time. It's as much Nils as anything
else. One of the first things he said to us when we'd done a couple
of gigs down the Roxy was' I've got to get you on 'Magpie'.
Great!"
Do you feel that Siouxsie & The Banshees have let
people down in anyway?
"I think a lot of it got distorted, about what
bands were trying to do. You get one extreme of the 'why have you
got a single on the album' people, and then you've got people who just
want you to be like a '70s album band. There has to be room for
something new, for a band which puts out really great singles and puts
out great albums that can be respected as great albums. The things
has to mix. There aren't King Crimson and they're aren't Slade
anymore. Everything sort of melts into one."
Where does this 'respect' come from?
"To a certain extent I want us to be respected
like an album band in the '70s, like Can and Beefheart, people who never
had hit singles. But on the other side of the coin I really liked
Roxy and Bowie and T.Rex..."
The best post-punk groups mix the mythological singles
and albums consciousness with mesmerising grace and potency... that
Bolan/Can feel bound tightly with sparks and sparkle.
"I think it's good that we can do accessible pop
songs as well as have contrast with the album songs and b-sides."
said Sioux, unaware of what Steve would say in another place.
"I thinks that's vital for us or anyone that I ever liked... the
only example I can sincerely give is The Velvet Underground..."
Craft, spontaneity, a lack of misguided, misleading
and contrived intellectualism.
"We're just not intellectuals," says
Severin. "we're just not... I've never understood that cold
distant thing... every gig is like - mad!"
Next
"Actually it's going to the fourth and fifth
album." Severin laughs. "For the price of
one! It'd be great to do. We've got the material. One
of the albums is going to be three or four minute songs that could be
singles, one album is gonna be four songs."
Essential Banshees. Two sides. To every
story, and all the best pop groups.
Switch
An anonymous some-day in Bristol. A Top Rank
Hall that could be in any major city. The Banshees are out
eating. Its late afternoon, coming up to soundcheck time. It
was Swansea the day before: a lot of spitting, a lot to have
to contend with. A few dates before that, a few dates after
this. A shirt, realistic tour. Altered Images are the
support. Siouxsie & The Banshees are always very selective
about who tours with them: it is a show. Like
Buzzcocks, they've never had a bad support. Human League, Spizz,
Cure and now the Images.
Altered Images, a Glasgow five piece, build bold pop
songs with unique moods and balances. They are Scottish at a time when
that means something or other. Actually it doesn't mean a
thing. Scotland is not the home of a new sound, just the New
Coincidence. The cynics, the critics, the cretins are already
dropping down on Altered Images, absurdly comparing them with the
Banshees, interpreting Sioux and Steve's interest as conceit. All
this stupidity is rooted in laziness, a cranky need for comparative
criticism. Seeing something that isn't there. Altered Images
are an eccentric, exciting, erratic two guitar, girl singer pop group
who should be a chart group. The corruption and cheapness of the
London dominated putrid pop world and its self-protecting propaganda,
its fear and it's blindness, gets in the way of natural 1980 pop groups
like Altered Images.
Claire sings. Caesar and Tony play
guitars. John is bass, Tich is drums. The Banshees are at
the top, they're at the bottom. The Banshees are deep into The
Game, have been knocked about. Altered Images aren't sure how to
play. The Banshees know all about the stupid questions that come
their way. Altered Images are just finding out. One of the
group is still at school. 18 and under, they could be crushed by all the
baddies. They've been together since 1978.
The Banshees have worked their way up to staying in
hotels. Images stay in B&B hotels, or friends' houses, or
drive to London after a gig where they have somewhere to stay. A
£300 fee they received for a John Peel session is helping to finance
their first tour.
North
"Another thing that's really odd about the band
apart from having musicians in is having non-Londoners."
(Severin).
Nice Guy
How could anyone say that a band with Budgie in is
heartless? The morning after a searing Bristol show we sit in the
foyer of Bristol Holiday Inn: Budgie takes away the weight of a
long nights drinking with a glass of cold Guinness. He's from St
Helens, and was part of the roots of the peculiar Liverpool swell.
He broke out of Liverpool, saved The Slits, teamed up with Glen Matlock
in a sort of supergroup, and landed, fatefully, in the Banshees.
He's very happy about it.
"There are moments of discomfort. I wasn't
too sure what was or is expected of me in some ways, whether Steve and
Sioux were going through periods of not wanting a permanent structure
anymore, cos they were so obviously pissed off with what happened.
But I think it's just evolved naturally, it's making its own structure.
"Thinking back over what's happened to me over
the last three years it's just ridiculous, the situations that I've been
through. What happened back in '76 wasn't just a new spark in the
record industry or anything like that, that wasn't really the important
thing. I don't think it was like a blasting down of everything
that had gone before so much as suddenly realising we were
ourselves."
No time at all
The drive from Bristol to Sheffield is long, boring
and cramped. "I just hate travel," says Sioux.
"I hate getting from A to B, I just want to be there. I'm
cursing and trying to get some sleep. Always thinking are we there
yet?"
As soon as we are there it's straight to this Top Rank
to soundcheck. Altered Images are already there. They'd
journeyed via London. There's little to say. Altered Images
hang around for the Banshees to soundcheck. Claire has her picture
taken: an exaggerated show of shyness.
Close
Severin's conversation is wandering. "The
drummer from Altered Images was saying to me about losing all his
friends since the connection with us. It just made me think about
my situation when I was first in a band and then in a band who made
records and a record that got into the top ten. I didn't lose any
friends... all the friends I had were like great friends.
Some people are seeing strange things in the closeness
between the Banshees and Altered Images.
"That's evil. Ridiculous. We had the
same love for Spizz when he started, and the Human League, the same love
for The Cure. We only play with people that we really like... this
is the first band that's got a girl singer, that's all. They're a
pop group! They've got at least four pop singles!"
Again
I interview Altered Images outside their dressing room
after their set at the Birmingham Top Rank. Reaction to the group
had been slow. Audiences seem to need signs and suggestions before
they open up. A year from now, Images, playing substantially the
same music - stronger, sharper - will be topping bills and
storming. At Sheffield I'd asked them to play 'Jeepster'.
They didn't but they dedicated a song to me. I was at the hotel
with the Banshees whilst they were on. I missed it. Choke.
They're eager to talk
Claire: "We just wanted to make
tunes."
Caesar: "Originally it was very
disjointed. All different parts just stuck together."
Claire: "All our songs were about eight
minutes long because no-one knew when to stop."
John: "We just want to try new things, be
respected by people..."
Caesar: "Initially we had two girl
singers. It didn't work out. They used to hide behind each
other."
John: "The Banshees have helped us a
lot. It's a compliment, because we're one of the few bands the
Banshees have openly said they liked." Caesar: "We
did a gig at the Nashville supporting Margo & The Randoms and we
were really bad. All the record companies were there and we blew
it. It was probably best that happened..."
Claire: "We want lots of hit singles.
Why shouldn't we be in the charts?"
Caesar: "We didn't want a sex symbol so we
got Claire!"
John: "We take it seriously, but we don't
take it too seriously."
McGeoch toughens up as soon as the tape recorder is
turned on
We talk after the Birmingham show in a corner of the
hotel bar. McGeoch fits into Siouxsie & The Banshees
emphatically. How long has he been a Banshee?
"I'm not a Banshee"
Very Clever.
He sighs, wearily. "It might sound like a
pat answer because I've been asked the question so many times, but I
think it's a reasonable one because without going into a lengthy legal
discussion it's about as near as I can come to explaining my position
within the band."
During this interview I nibble away at McGeoch's
patience. "What I do with my life is extremely important to
me. I lose a lot of sleep over it. I just hate interviewers
coming up to me and saying why did you do this, why did you do
that..."
So let's talk about the guitar. McGeoch is a
great guitarist, whatever the occasion. "I play guitar like I
paint. The parallels are trying to shrug off as many influences as
possible, recognise yourself and then destroy it... I hate to
sound like an artistic Martyr, I'm not really interested in the
righteous side of artistic music, because what I like more than anything
else it to... hit the big E, y'know, and I paint in the same way,
splashing a big bit of red across the canvas."
Siouxsie & The Banshees
Caesar: "End of subject! Ours music's
really happy."
John: "We express our youth."
Claire: "We do?"
Hold
"We'd rather be decadent than responsible.
Something like UK Subs is responsible." (Severin.)
Sign
After the Bristol gig - the Banshees were pleased with
their performance - queues form for signatures, on all sorts of bits of
paper. Group members are pawed at and smothered. After the
Sheffield gig - the Banshees were depressed and rushed away from the
club - there are no signatures. After the Birmingham gig, a few
hunters find their way to the Banshees' crowded dressing room.
Sioux, though, finds time to eat a salad, while me and Budgie discuss
Man, Groundhogs, Curved Air and other rubbish.
"People come back," he explains, "ask
you to sign something, ask for a drink, y'know, give me your
jacket. Sometimes they come in as if they're really expecting you
to do something for them, you have to give them more, be at their beck
and call. Stay still, I'm going to take a photograph. There's
lots of things... if you start thinking about them too much, putting
them in terms of perpetuating the rock myths, you'd just crack up."
"I don't like liggers," says Sioux with
obvious distaste, "I just switch off whenever there are liggers
around the band. I've never in my life asked for an
autograph. I never wanted that. I never wanted to wait
outside a gig to touch Marc Bolan or whatever. I never wanted to
find out where they were living. I just didn't want that. I
was just really thrilled when a new single came out, or there was a new
photo in the paper."
When the hunters come hunting, and thrust tatty ticket
stubs under her nose minutes after a show, she is extremely
polite. "I've been rude before. It varies.
Sometimes I'm in a very tolerant mood. Other times I'm not and I'm
probably a real bitch. When I'm rude they mutter what a bitch I
am, I just won't talk to them, I tell them to get out. Then I
think how petty it is, what a prima donna behaving like that. When
you think you're being strong and not being poisoned there's always the cliché
of you thinking well I'm acting like a drama queen. It's a vicious
circle - other times you think why am I trying to be polite?"
No one thinks to ask Altered Images for their
autographs.
British rock
As the Banshees and Altered Images criss-cross around
the country truly furthering the cause and possibility of pop music, a
swarm of other groups are also touring, spreading various diseases and
debasements, attracting their particular tribal audience. In
Bristol the night the Banshees were playing, Ossie Osborne's 'new band'
is playing the Colston Hall. In Sheffield, both The Scorpions and
Rockpile are 'in town'. In Birmingham, AC/DC play the City Hall.
Each group's audience is sadly predictable, obviously
uniformed, mostly dogmatic. One lot embroider their jackets, one
lot spit - "Three years of fucking ignorance" Severin
shouts in desperation from the Sheffield stage. Images and
Banshees pop music reaches a much more narrow audience than it should.
"I think the one thing I get reminded of whenever
I go on the road, and I was aware of it before," Sioux tells
me, "is breaking down territory barriers, as far as the audience
goes. We want if possible a wide cross section in the audience,
whether they're... just as individuals, not as a punk audience or a blah
blah audience or a London audience or a Scottish audience. It was
then and is now always a specific audience that comes to see us and it's
really disillusioning when you play somewhere like Swansea and there is
this punk audience and there are two boys who've come down from London
and they've had to beg me to let them stay in the gig for two hours cos
they can't go outside in case they're beaten up because of their
accents. I think that's... the only thing I've been conscious of
wanting to change, of not having this specific audience, a narrow minded
patriotic type."
I interview Sioux in the upstairs part of Sheffield
Top Rank just before their lengthy soundcheck (soundchecks are integral
parts in the Banshees song process - the next single, a Christmas song,
'Israel', has been moulded during soundchecks. Recorded on Bonfire
Night, released by the end of November, it's their third great single of
the year). As we talk, Budgie bashes around his kit on the
downstairs stage, getting himself and his kit in the mood. Sioux's
the face and made up fashion that caused a thousand lookalikes... hair
to toe, make up to boots... she's dimly aware of the phenomenon.
Is she surprised that she's a pop star?
"I'm not surprised that people buy the records,
but I am surprised by the way it's still treated as being a big deal to
see Siouxsie going into a hotel or trying to get backstage to find
me... all this surprises me. I thought it would change, but
it hasn't. I feel I must let a lot of people down because I don't
do all the clichés that you associate with pop star..." Does
she relish being a trendsetter?
"No. I should be impressed but I'm
not. I just wish people had more pride in themselves and thought
more of themselves. I switch off."
When Sioux speaks there's usually a hard edge to her
voice, and in what she says. But does she think that people's
general notion of her as 'cold' is pretty comic.
"Yeah!... I dunno, it's just like they're saying
there's no passion and there's no fire and I think that's wrong. I
think the word is used because there's a hard approach I have to a lot
of things, but there's always a way of getting things done and just
being strong, y'know."
Budgie's bashing gets louder, blotting out what we're
saying. Sioux starts to raise her voice. "Music to me
is really important, to be able to relax with or enjoy... it's a real
lifeline, to feel like getting up and dancing when you're listening to
the music, you really feel thankful to people who make you do
that..."
Gossip
As the Banshees collect in the Sheffield hotel lounge ready
to drive to the gig, Nick Lowe and Jake Riviera walk through.
Rockpile are staying at the same hotel. Sioux hates Nick
Lowe. Any particular reason? "No particular
reason."
"Curved Air", shouts Severin as Lowe
disappears through a door, tentatively offering a wave. Lowe
delights in calling the Banshees 'the new wave Curved Air'. Later
that night, after respective gigs five groups spilling and milling get
the night porter sweating with their drink fuelled antics. On one
side of a large room, Rockpile and their support Polecats 'get it
together'. The Polecats haul out their acoustic guitars and double
bass and slap out a selection of creeky oldies, to the delight of Dave
Edmunds and the disgust of John McGeoch. Altered Images are in the
room, so too are three quarters of The Human League, along to see their
friends. Is the split in the room symbolic? A certain
tension builds up. Polecats turn out to be Banshee fans and
earnestly try to impress them. Budgie wanders as if in a blur over
to where the pointed Terry Williams is sat and to jeers drops deep into
a drum chat. "I really liked his drumming on Spunk Rock when
he was in Man," Budgie will explain to me
enigmatically. In turn, Williams asked Budgie how he did the
drumming on 'Happy House'.
Me and Sioux are talking about the weather or America
or Mick Jagger or her great white leather slip on's or something.
Lowe spots me and gives me the thumbs up. Thumbs up! He
limps over to where we're sat and squats down in between, waiting coyly
for his turn to talk, fiddling with a £10 note. He and Sioux
stiltedly talk about 'business'.
When it's all over I say to Lowe, I'm surprised you
survived! "What do you mean?" Curved Air.
"Ah," he smacks his lips, "it's all part of the
circus."
"He was just trying to be quotable." tuts
Severin later.
Mirror
Minutes before Siouxsie & The Banshees go on
stage: Sioux will be teasing and backcombing her hair:
Severin will be applying white make up to his face: Budgie will be
spraying some joint easing stuff on his arms: McGeoch will be
sucking on a large cigar and drinking a vodka and orange.
When on stage, showing off, turning on, breaking
through, Siouxsie & The Banshees make you think of someone seeing
their first ever pop concert.
Repeat
"They must be growing up to the sound of Siouxsie
& The Banshees as part of their lives. I think it's fantastic,
because of when I was young and what happened to me. It's just a
feeling." (Severin.)
Jigsaw feeling
Pop music is about liking things.
Pop music is about wanting things.
Pop music is about:
Altered Images and Siouxsie & The Banshees.
Two glittering parts in the grand puzzle.
Paul Morley 08/11/80
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