Song From The Edge Of The World:

  • Inspiration/Influence/Band Comment: 
    BUDGIE: "We tried Mike Thorne for the single project 'Edge Of the World' and it didn't really work."  Source: Unknown source 1988.
    SIOUXSIE: "It was disastrous! But because of the financial and time commitment we had to go with it. Luckily it was a single so it wasn't like a major disaster. After that fiasco we decided that from then onwards we were going to decide these things with our hearts rather than our heads. As usual it is only afterwards that you start cursing yourself for not having gone with your instincts in the first place."  Source: Unknown source 1988.
    MCCARRICK: It was an awful experience. No one seemed happy. Severin and Siouxsie were arguing. There was no creative spark, just this awful unrest.  Source: The Authorised Biography 2002.
    SEVERIN: It was intended as a way to break the ice with John. Wed already written and demoed it with John Carruthers and wed been looking for the right producer.  Source: The Authorised Biography 2002.
  • Recorded 28/05-03/06/87 at Abbey Road Studios.  Source: The File, Phase Five, Issue One and Two.
  • Recorded for a BBC Session 02/87.
  • Filmed promo video late June/early July Abbey Road Studios.  Source: The File, Phase Five, Issue One and Two.
  • Live debut 19/07/86 W.O.M.A.D Festival, Bristol.

The Whole Price Of Blood:

  • Inspiration/Influence/Band Comment:  
    Based on a episode from a series called 20/20 Vision Siouxsie saw about a female version of amnesty, called  'Les Sentinelle',  "They rescue women who are trapped in certain religious climates in the Middle East, religions that view any kind of pre-marital sexual aspersion as punishable by death - either by the hand of the eldest brother, or by public stoning". A sister piece to 'Swimming Horses'.    Source:  Downside Up liner notes.
  • Recorded 28/05-03/06/87 at Abbey Road Studios, final mix 02/10/86.  Source: The File, Phase Five, Issue One and Two.
  • Started life during the sessions for the 'Hyaena album'.  Source:  Downside Up liner notes.

Mechanical Eyes:

  • Inspiration/Influence/Band Comment:   
    Headlines taken directly from New York newspaper
    'The National Examiner'
    .  Source:  Downside Up liner notes.
  • Recorded 28/05-03/06/87 at Abbey Road Studios, final mix 02/10/86.  Source: The File, Phase Five, Issue One and Two.
  • Never performed live.


  • Siouxsie & Budgie feel that 'A Kiss In The Dreamhouse' was their creative peak, until the recording of 'Peepshow'.
  • Recorded in a country house in Sussex shortly after the storms that ravaged the countryside.  Source:  Record Mirror 27/08/88.

Peek A Boo:

  • Inspiration/Influence/Band Comment:  
    The soft porn industry in particular its use in advertising.  " The lyrics are written from the perspective of someone who works in a peep show.  It's really a song about my disgust at the amount of soft pornography, things like Page Three girls and pervy ads on TV, that are being forced on people at the moment."  (Siouxsie)  Source:  Smash Hits 1988.    
    "'Crimes Of Passion' was part of it.  I wrote it because I was feeling bombarded by these moronic videos on Night Network, gormless singers surrounded by models and their sweaty cleavages, cherries dropping down on their boobs, really offensive."  (Siouxsie)  Source:  NME 1988.
  • Initial recording began 07/02/87 at Abbey Road Studios.  Source: The File, Phase Five, Issue One and Two.
  • A Side of the 'Two Faced' 12" promo single has 'Dance To That And Stay Fashionable' etched into the run out groove.
  • A Side of the 12" single has 'If Thine Eye Offend Pluck It Out' etched into the run out groove.
  • B Side of the 12" single has 'Cat With X Ray Eyes' etched into the run out groove.
  • Performed on Top Of The Pops 28/07/88.
  • Harry Warren & Johnny Mercer receive a writing credit for the phrase "Jeepers Creepers, Where Did You Get Those Eyes?"
  • Was originally intended to be the B Side of 'The Passenger'.
  • A cover version of 'Peek A Boo' by Echo3 was used during a chase sequence in the film 'Jeepers Creepers'.
  • The 'Stockhausen & Waterphone' mix is attributed to Roland BB Deth, which is in fact Mike Hedges.  The name of the mix is in fact a pun on 80's pop producers Stock Aitken & Waterman.  Source:  Melody Maker 17/10/92.

The Killing Jar:

  • Inspiration/Influence/Band Comment:  
    John Fowles
    The Collector"A killing jar is a device used by butterfly collectors to contain and ultimately kill their specimen. The use of the word killing jar in the song is used as a metaphor for controlled violence. An emotional relationship snuffed out until it is merely a prized possession or keep sake."
  • Remixed for single released by Mike Hedges under the name Roland Death.  "This one worked really well.  Mike Hedges did the remix, but he called himself Roland Death - as in roll on death..."  (Severin)  Source:  Melody Maker 17/10/92.


  • Inspiration/Influence/Band Comment:  
    " trying to remember what its like when you are a child - its a bit cinematic and it reminds me of films like 'Funhouse' or Hitchcock's Strangers On A Train, with the carousel at the end." (Siouxsie).  Source:  BSIDE 02/89.

Burn Up:

Ornaments Of Gold:

  • Inspiration/Influence/Band Comment:  
    "Eureka's a big part of it, I love that film.  That song's about imagining adornment, intoxication.  I wish people were more exotic with one another.  I was flicking through
    The Koran, a book there called Ornaments Of Gold, saying "Don't look for riches on earth, you'll get them in Heaven", which is just keeping people who've got nothing content.  The song is saying why not have both!" (Siouxsie).  Source:  NME 1988.

Rawhead & Bloodybones:

  • Used for a yoghurt commercial in France.

The Last Beat Of My Heart:

  • Inspiration/Influence/Band Comment:  
    "It's about being fragile and exposed."  (Siouxsie)  Source:  Option 03/89.
  • Covered by Edera - Refection In The Looking Glass.
  • Covered by Devotchka 
  • The record cover is a painting by artist Kathy Ward.
  • The promo video was filmed using one continuous shot.


  • Inspiration/Influence/Band Comment:  
    "The song is deliberately rich.  It's about Shostakovitch, a really sad man, who was victimised, ridiculed and then broken by the Stalin regime.  I love his music, really powerful.  The song's about wishing you could be a consolation to him" (Siouxsie).  Source:  NME 1988.

False Face:

  • Originally demoed during the 'Tinderbox' sessions.  Source:  Downside Up liner notes.
  • Never performed live.


  • Inspiration/Influence/Band Comment:  
    "Whilst mixing 'Peepshow' deep in the heart of Soho at the now defunct Marquee studio which was accessed via an old dark alleyway.  Every night, long after midnight with great ceremony, a 'lady of the night' on her way home from 'work' would stop to feed the local felines who would miraculously appear from out of the shadows on time". (Siouxsie).  Source:  Downside Up liner notes.

Something Wicked (This Way Comes):

  • Inspiration/Influence/Band Comment:  
    Song title taken from a Ray Bradbury novel and film adaptation of the same name. 

Are You Still Dying Darling?:

  • Inspiration/Influence/Band Comment: 
    Written about Ex manager Dave Woods.  Source: The Authorised Biography.
  • Never performed live.

El Dia De Los Muertos:

  • Inspiration/Influence/Band Comment:   
    An exhibition called 'Day Of The Dead' by Posadas at the Serpentine Gallery, London.    Source:  Downside Up liner notes.
  • The demonic laughing at the end of the song can be attributed to Budgie.
  • Working title 'Black Girl In The Cooking Pot'.  Source:  Downside Up liner notes.


  • Originally titled 'Istanbul'.  Source:  Downside Up liner notes.
  • Never performed live.

Typhoid Mary:

  • Unreleased track from the Peepshow sessions..


  • The intention was to film and release a video from one of the shows during the Peepshow Tour.  "Well, we had a great live in concert thing for Radio One, and it sounded great, and we said can we use that, and they said no!"  "That was because we were going to erect the stage posthumously and do a show but maybe what we'll do is the next time we go out well combine elements of that and other ideas we have..." muses Budgie hopefully.  Source:  BSIDE 04/90.


  • "The thing about guitarists, the thing going against most of them is that they don't experiment with their sound, and I like a guitar that doesn't sound like a guitar".