TOMORROW BELONGS TO ME
The Banshees prepare for the eighties.
The unexpected failure of Israel was
more than compensated for by the news that John McGeoch had finally joined the
Banshees as a full member and was busy writing with them for a fourth album to
be recorded in March and April 1981 after a short British tour. The band
split of September 1979 was behind them and with both Budgie and John McGeoch
as permanent members, the departure of McKay and Morris had actually improved
the band in every possible way instead of destroying it.
The news of McGeoch's decision was in
fact far more significant even than it at first seemed: it was vitally
important to the future of the Banshees as a recording band that 1981 should
find them at full strength and power as 1981 was the year in which Polydor
could choose either to offer a new - hopefully better - contract or drop the
band, having completed the full three-year term of their June 1978
contract. Obviously, the stability and future potential of the band would
have a great deal of influence on what the Polydor executives decided.
The addition of a respected musician like John McGeoch could hardly have come
at a better time.
The first result of the album sessions by
the now-permanent Banshees line-up was the single Spellbound which
proved that Israel was nothing more than a curious, isolated failure, by
selling even better than Happy House and putting another typically
Banshees tale of mystery and imagination into the singles charts. (It was
no coincidence that Spellbound was also the title of a Hitchcock
thriller and that the dominant theme of the album they were preparing was the
Supernatural.)
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