COMPILATION - THE BEST OF (SOUND & VISION)

 
 
  UK Double CD & DVD Track Listing  
 
 
  The Best Of (Sound & Vision) Double CD & DVD Front Cover - Click Here For Full Scan 
Cat:  0602498198087
Click on cover for full scan
Click on a title for stills

 

CD 1
Dear Prudence
Hong Kong Garden
Cities In Dust
Peek A Boo
Happy House
Kiss Them For Me
Face To Face
Dizzy (Version 2)
Israel
Christine
Spellbound
Stargazer (New Mix)
Arabian Knights
The Killing Jar
This Wheel's On Fire (New Mix)

CD 2

Spellbound (12" Version) (Slightly different to 12" vinyl)
Song From The Edge Of The World (Colombus Mix) 
Kiss Them For Me (Kathak #2) (Previously unavailable)
Peek A Boo (Silver Dollar Mix)
The Killing Jar (Lepidopteristic Mix)
Cities In Dust (Eruption Mix)
Dazzle (Glamour Mix)
Stargazer (Mambo Sun Mix)
Face To Face (Catatonic Mix)

DVD

Dear Prudence
Hong Kong Garden
Cities In Dust
Peek A Boo
Happy House
Kiss Them For Me
Face To Face
Israel
Christine
Spellbound
Stargazer
Arabian Knights (Original Video)
The Killing Jar
This Wheel’s On Fire

Hidden Videos*

Israel (Alternative Video)
Face To Face (With Batman Return Film Clips)


 
  Notes: Initial copies withdrawn due to mislabeling of discs

*These hidden videos were discovered when 'ripping' the DVD content.  It's still not clear how they are reached via any normal method

All songs remastered

 

 
  Released: 2004  
  UK Chart: No. 132  
  US Chart: Not Released  
  Sleeve Design: DED Associates  
  Producer: Various  
       

 

THE BEST OF (SOUND & VISION) - PRESS

 
 
  Webmaster 20/06/04  
 
 
  The Best Of Poster Click Here For Bigger ScanSiouxsie & The Banshees 'Best Of' benefits from a  re-release.  Repackaged  as a 'Sound & Vision' edition, what you get is the two original CDs in re-mastered sound and 14 Banshees promo videos released on DVD for the first time.  The packaging has been expanded and comes in a slip case and has been dedicated to one time Banshee guitarist John McGeoch who died suddenly, earlier this year.  All 14 videos have been re-mastered and benefit greatly from DTS Digital Surround Sound.  The picture quality is superb, crisp and clean and the colours are vibrant.  The finer details have been brought to the fore, pay attention in particular to 'Cities In Dust' and be amazed at what you had previously missed out on.  Running the full gamut of The Banshees career.  From the simplicity and naivety of 'Hong Kong Garden' the dark excesses of 'Spellbound' and 'Arabian Knights' (represented here with the original edit, not the version previously released on the Once Upon A Time collection),  the psychedelia of their biggest hit 'Dear Prudence',  the archly camp 'Kiss Them For Me', the sophistication of 'Face To Face' and, included for the first time on DVD or video the Kabuki meets Elvis glitterfest that is 'Stargazer'.  Sit back and enjoy the real McCoy, this really is like viewing these videos for the first time.  
     

 

COMPILATION - THE BEST OF

 
 
  UK CD Track Listing  
 
 
  The Best Of CD Front Cover - Click Here For Bigger Scan
Dear Prudence
Hong Kong Garden
Cities In Dust
Peek A Boo
Happy House
Kiss Them For Me
Face To Face
Dizzy (Version 2)
Israel
Christine
Spellbound
Stargazer (New Mix)
Arabian Knights
The Killing Jar
This Wheel's On Fire (New Mix)

 
  Notes: All songs remastered

 

 
  Released: 30/09/02  
  UK Chart: No. 132  
  US Chart: Didn't Chart  
  Sleeve Design: DED Associates  
  Producer: Various  
       

 

THE BEST OF - PROMOS/IMPORTS

 
 
  UK Limited Edition Double CD Track Listing  
 
 
  The Best Of Limited Edition Double CD Front Cover - Click Here For Full Scan 
Cat:  065 150-2
Click on a cover for full scan
CD 1
Dear Prudence
Hong Kong Garden
Cities In Dust
Peek A Boo
Happy House
Kiss Them For Me
Face To Face
Dizzy (Version 2)
Israel
Christine
Spellbound
Stargazer (New Mix)
Arabian Knights
The Killing Jar
This Wheel's On Fire (New Mix)

CD 2

Spellbound (12" Version) (Slightly different to 12" vinyl)
Song From The Edge Of The World (Colombus Mix) 
Kiss Them For Me (Kathak #2) (Previously unavailable)
Peek A Boo (Silver Dollar Mix)
The Killing Jar (Lepidopteristic Mix)
Cities In Dust (Eruption Mix)
Dazzle (Glamour Mix)
Stargazer (Mambo Sun Mix)
Face To Face (Catatonic Mix)


 
  Notes: Available in limited edition cardboard slipcase

All songs remastered

 

 
  US Promo CD Track Listing  
 
 
  The Best Of US Promo CD Front Cover  
Cat:  440 065 152-2

 

Dear Prudence
Hong Kong Garden
Cities In Dust
Peek A Boo
Happy House
Kiss Them For Me
Face To Face
Dizzy (Version 2)
Israel
Christine
Spellbound
Stargazer (New Mix)
Arabian Knights
The Killing Jar
This Wheel's On Fire (New Mix)

 
  UK Double Promo CD Track Listing  
 
 
  Chrysalis Music Double Promo CD Front Cover - Click Here For Full Scan 
Cat:  SIOUX
IE1
Click on a cover for full scan

 

CD 1
Hong Kong Garden
Peek A Boo
Cities In Dust
Happy House
Spellbound
Arabian Knights
Fireworks
Kiss Them For Me
Face To Face
Dizzy
Israel
The Killing Jar
Christine
Swimming Horses

CD 2

Obsession
Rawhead & Bloodybones
Cocoon
Clockface
Placebo Effect
Carousel
Jigsaw Feeling
Suburban Relapse
The Rapture
Monitor
Slowdive
Playground Twist
The Last Beat Of My Heart

 
  Notes: Chrysalis Music promo CD  
       

 

THE BEST OF - LINER NOTES

 
 
  The proliferation of Siouxsie Sioux clones between 1976 and the mid-1980s is one of the most extraordinary subcultural episodes in modern times.  Perhaps the quintessential 'punk' look, the raven-coloured shockhead of hair framed a visage of corrupted glamour fashioned from '20s Hollywood, Isherwood's Berlin and '60s Hammer heroines.  Siouxsie and the Banshees became inextricably entwined with style - albeit one that seemed strange, at times sinister.  Though predominant on the streets, this visual élan has tended to obliterate the sheer range and scale of the group's achievements - which is something this latest, wide-ranging collection seeks to redress.

"I think the image gave people the opinion that we were all about the veneer," says Siouxsie.  "Fashion interests me but if there's no content to something that's alluring then it's worthless."  However, there's no doubt that the Siouxsie look helped liberate a generation.  "You were supposed to aspire to the Doris Day-type girls that appeared on the covers of Jackie.  I was the antithesis of that."

In their infancy, the Banshees were the band that remained most true to the punk era's initial spirit of independence and innovation.  Often overlooked, though, is how the group repeatedly slipped - with seemingly effortless subversion - into the pop mainstream (18 Top 40 hit singles remain a testament to that.)  And despite their avowedly suburban origins, from the environs of south-east London, the Banshees' success was international.  After Continental Europe came Japan and, eventually, - America embraced the band's deliciously twisted take on pop.

All this has been achieved without Siouxsie and the Banshees ever losing their cult appeal, which helps to explain the enduring respect the band commands more than 25 years since debuting at London's Punk Rock Festival in 1976.  Much of this inevitably stems from the integrity they showed during the early months of punk rock.  When all around them, fakers and opportunists took the money and ran, the Banshees held out for the record deal that would give them creative control.  Some fans couldn't wait, and a spate of "Sign Up The Banshees - Do It Now!" graffiti began to appear on record company walls.  "People thought we put someone up to do it, but that wasn't true," says the singer.  The decision to wait for the right contract established the tone for the rest of the group's career.

As members of the so-called 'Bromley Contingent', Sioux and co-founder Steven Severin were among the Sex Pistols earliest, most flamboyant fans long before any Punk 'movement.  Yet with guitarist John McKay and drummer Kenny Morris (who replaced original drummer Sid Vicious after his on-night stand at the 100 Club gig), these evangelists-turned-performers were virtually the last among the Class of '76 to break.  That's because Siouxsie and the Banshees understood Punk not simply as an opportunity to claim fifteen minutes' of fame, but as a rupture in rock's solidified façade, an epochal moment that would mark a watershed in contemporary music - and the wider culture at large.

In essence, they were right: rock never sounded, nor looked, quite the same again after 1976.  But a quarter of a century on, it's clear that Siouxsie and the Banshees also managed to transcend the old boundaries.  They made their peace with '60s psychedelia, most audibly on their inspired 1983 cover of The Beatles' 'Dear Prudence'.  They elevated the status of the interface.  They anticipated the mass outbreak of hip hop-inspired rock on 1988's 'Peek-A-Boo'.  And while those old accusations of elitism have faded into history, the groups unlikely fusions now seem oddly prescient.

As this new collection confirms, this on-time band of iconoclasts were virtually reborn during the 1980s as pop eclectics unafraid to defy that fast-adhering 'Goth' tag with a string of hit singles as exotic as they were inimitable.  At a time when many of their contemporaries were losing their art to studio boffins and high gloss production, the Banshees embraced the new techniques with dignity and imagination.  That dynamic duo of unadulterated pop majesty, 'Spellbound' and 'Arabian Knights', effortlessly bear this out.  Just three years after 'The Scream', perhaps the most intelligent and distinctive debut album of the punk rock era, the group had exacted a brilliant coup d'état on pop platitudes by augmenting their punkishly untrained instincts with acoustic guitars, exotic moods and bewitching melodies.

All the signs of the Banshees' pop greatness had been there since August 1978 when punk's most zealous purists debuted with 'Hong Kong Garden'.  Hinged on a simple two-chord riff, the song was transformed by a mock-Eastern melody played on a xylophone, and a spacious production that anticipated developments in the years ahead.  Instantly, the band were elevated from the rough-houses of the punk circuit into an elegant, chart-bound act whose deviant tastes and cool ambition put them in the post-punk vanguard - with PiL and the Slits not far behind.

When The Scream patented the 'classic' Banshees sound - tenacious basslines, bittersweet vocals, incisive guitars - the group were quick to mess with their own template.  "We were the only band that could not play our instruments," Siouxsie says.  "That's why our musical landscape was so different to everyone else's.  We didn't grow up learning to play old Rolling Stones records in our bedrooms."

After the acrimonious departure of McKay and Morris during a British tour in autumn 1979, Sioux and Severin recruited a new drummer Budgie and ex-Magazine guitarist John McGeoch.  For the next three years, this line-up developed the Banshees brand with such authority that the group assumed a monolithic almost mythic status.

While punk had become blokeish and laboured, Siouxsie and the Banshees rejoiced in a new exoticism, exemplified by Klimt-inspired album sleeves and the introduction of strings and assorted percussion into their work.  a trio of singles released during 1980 - 'Happy House', 'Christine' and 'Israel' - had confirmed their reputation for innovation, and the flavours quickly intensified, reaching new peaks on the aforementioned 'Spellbound', and 'Arabian Knights'.  The latter in particular fused the group's brooding, rhythmic underbelly with an ostentatious display of sweeping choruses and lyric suggestion.  (And probably the only hit single that dared speak of conquering orifices.)  The band even took on the Beatles and won handsomely with an obscure album track, 'Dear Prudence'.

Flip a Banshees 45, though, and a rather different picture emerged.  The playful Hong Kong Garden had been backed by 'Voices', a slow, punishing 'sound poem' so abrasive that pub landlords used to play it at closing time in a bid to hasten their customers off the premises.  It worked.  Putting more difficult material on the back of singles became a bittersweet Banshees trademark.  "We made sure that the poppiest ones had the most over-the-top B-sides," says Siouxsie.  "There were many sides to the band and we wanted to reveal all of them."

By the mid-1980s, when punk's aftershocks had begun to assume distinctly yellowing hue.  Siouxsie and the Banshees forged ahead with the costume changes and the musical mutations.  1985's 'Cities In Dust' marked a new peak of sorts, its production and prowess and sense of urgency winning the group a wider audience in America.  Back home, however, the group encountered some difficulties in shedding their so-called 'Goth' tag.  "I cut all my hair off and even that didn't work," Siouxsie says.  Cue 1988's 'Peek-A-Boo', an arresting exercise in sampledelica that harnessed contemporary techniques to the Banshees sound.  From the same 'Peepshow' LP came 'The Killing Jar', which reaffirmed both Sioux's sorrow at human cruelty and the band's flair for invigorating choruses.

Well into the 1990s, the Banshees continued to forge ahead, exploring more subtle sonic spaces - the intoxicating bellydance thrill of 'Kiss Them For Me', 'Face To Face' with its lounge-like languor, the pungent 'Stargazer' and, here for 5the first time, 'Dizzy'.  By now, though, this continued quest for new directions pulled the band apart.  "We were all worn out and we began to take it out on each other," says Siouxsie.  "We didn't want to continue under those adverse conditions."  

By the middle of the decade, Sioux and Budgie began to pour their energies into their reactivated sideline project, The Creatures and their own Sioux record label.  Steven Severin, too, had his own label, RE: part of his wider online project that releases soundtracks and explores subterranean cultural spaces.  That's not to say the Banshees' story yet has reached its definitive ending.  "I like things being left open," Siouxsie maintains.  "You're left hanging..."

Mark Paytress

 
     

 

THE BEST OF - PRESS

 
 
  Q Magazine 10/02  
 
 
  The Best Of Advert - Click Here For Bigger ScanFor a band who sang about shrunken heads, 'eyes at the keyhole' and petrifaction in lava, Siouxsie & The Banshees enjoyed a pretty chipper 20 years on the job - apart from perhaps when half of the band went AWOL two dates into a UK tour in 1979 and Siouxsie got hepatitis.  The word 'amicable' didn't do their 1996 split justice: they thanked Polydor, the fans and every single past member, including the 1979 absconders John McKay and Kenny Morris.  'We've had a fantastic journey', gushed the former Susan Dallion.

She, Budgie (Mr. Sioux since 1992) and Steve Severin reformed this year for live dates, something that only seemed morally suspect because their break-up in '96 was presented as a response to the Sex Pistols' reunion.  But however you slice it - money grabbing nostalgia cruise or triumphant return - this 14 track Best Of will remind the world what an excellent singles band they were behind the gothic veil.  They deserve to sit in the same paddock as Madness, Squeeze and The Cure (the latter, of course, a band with which they shared Robert Smith more than once).

That this collection is actually a digest of two existing compilations, Once Upon A Time (1981) and Twice Upon A Time (1992), means it's frustratingly incomplete.  Nonetheless, it's crammed with delights, from the fragrant punk gems Hong Kong Garden and Happy House, to more sophisticated later experiments such as Peek A Boo and the little-heard Face To Face from Batman Returns.  There's nothing from the Superstition album, but we could go to an early grave listing what's not here: Fireworks, Dazzle, Melt! etc.

One indisputable fact arises: the '80s were the Banshees' golden years.  This is made clear by the widescreen Israel, the heady Spellbound, Cities In Dust (their lost classic), even jangly covers Dear Prudence and This Wheel's On Fire.

There's also the obligatory one new track, Dizzy.  Aromatic, but mannered and indistinct, it adds the only wrong turn to an otherwise fantastic journey. 

4/5  

Andrew Collins

 
 
More press...
 
     

 

CREDITS

     
  Dear Prudence Lyrics  
 
 
 

Dear Prudence, won't you come out to play
Dear Prudence, greet the brand new day
The sun is up, the sky is blue
It's beautiful and so are you
Dear Prudence won't you come out and play

Dear Prudence open up your eyes
Dear Prudence see the sunny skies
The wind is low the birds will sing
That you are part of everything
Dear Prudence won't you open up your eyes?

Look around round
Look around round round
Look around

Dear Prudence let me see you smile
Dear Prudence like a little child
The clouds will be a daisy chain
So let me see you smile again
Dear Prudence won't you let me see you smile?

 
     
  Dear Prudence Credits  
     
 

Lennon/McCartney - Lyrics
Sioux - Voice
Severin - Bass
Smith - Guitar
Budgie - Drums

 
     

 


     
  Hong Kong Garden Lyrics  
 
 
 

Harmful elements in the air
Symbols Crashing everywhere
Reap the fields of rice and reeds
While the population feeds

Junk floats on polluted water
And old custom to sell your daughter
Would you like number 23
Leave your yens on the counter please

Hong Kong garden

Tourists swarm to see your face
Confucius has a puzzling grace
Disorientated you enter in
Unleashing scent of wild jasmine

Slanted eyes meet a new sunrise
A race of bodies small in size
Chicken Chow Mein and Chop Suey
Hong Kong garden takeaway

Hong Kong garden

 
     
  Hong Kong Garden Credits  
     
 

Sioux - Lyrics
Sioux - Voice
Severin - Bass
Morris - Drums & Percussion
McKay - Guitar

 
     
  Inspiration/Influence/Band Comment  
     
  SIOUXSIE: "I’ll never forget, there was a Chinese restaurant in Chislehurst called 'The Hong Kong Garden'. Me and my friend were really upset that we used to go there and like, occasionally when the skinheads would turn up it would really turn really ugly. These gits were just go in on mass and just terrorise these Chinese people who were working there. We’d try and say ‘Leave them alone’, you know. It was a kind of tribute." Source:  Punk Top Ten Interview 08/06/01
SIOUXSIE: "I remember wishing that I could be like Emma Peel from The Avengers and kick all the skinheads' heads in, because they used to mercilessly torment these people for being foreigners. It made me feel so helpless, hopeless and ill." Source:  Uncut  01/05
SEVERIN: "That was freaky. A very strange period. We'd finished it a month before it came out, and we'd pushed it away - and it was just a very strange feeling having people rush up and say how great it was." Source:  NME 23/12/78
 
     

 


     
  Cities In Dust Lyrics  
 
 
 

Water was running, children were running
You were running out of time
Under the mountain, a golden fountain
Were you praying at the Lare's shrine?

But oh your city lies in dust, my friend

We found you hiding we found you lying
Choking on the dirt and sand
Your former glories and all the stories
Dragged and washed with eager hands

But oh your city lies in dust, my friend

Hot and burning in your nostrils
Pouring down your gaping mouth
Your molten bodies blanket of cinders
Caught in the throes

But oh your city lies in dust, my friend

 
     
  Cities In Dust Credits  
     
 

Sioux - Lyrics
Sioux - Voice
Severin - Bass & Keyboards
Budgie - Drums & Percussion
John Carruthers - Guitar & Keyboards

 
     
  Inspiration/Influence/Band Comment  
     
  SIOUXSIE: "Cities in Dust happened because it, (Pompeii), had a strong effect on me, seeing the remains of the petrified bodies still caught in time as a huge body print in the lava. The age was almost timeless, it’s such a vast amount of years but timeless as well." Source:  Villa Tempo Interview 19/04/86.
SIOUXSIE: "This was our first trip to Pompeii, another amazing experience. Seeing a whole civilisation petrified in lava was like putting yourself in the place at the time, and imagining how it must have been to be there when it happened. I find it really easy to do that, to get ghost images of life continuing as it was. I often wonder if that’s what real hauntings are - your imagination and your senses bringing things back to life. That’s why you’d never be able to capture it on film." Source:  Melody Maker 17/10/92.
SIOUXSIE: "It was whilst on tour in Italy and we were going south through to Toronto and the opportunity whilst travelling arose that we could go visit Pompeii so of course we went and I dunno, the impression was so powerful and like culminating in seeing the petrified bodies that had been left there 2000 years ago."  Source:  Villa Tempo Interview 19/04/86.
 
     

 


     
  Peek A Boo Lyrics  
 
 
 

Creeping up the backstairs
Slinking into dark stalls
Shapeless and slumped in bath chairs
Furtive eyes peep out of holes

She has many guises
She'll do what you want her to
Playing dead and sweet submission
Cracks the whip deadpan on cue

Peek-a-boo Peek-a-boo
Peek-a-boo Peek-a-boo

Reeking like a pigsty
Peeling back and gagging free
Flaccid ego in your hand
Chokes on dry tears, can you understand?

She's jeering at the shadows
Sneering behind a smile
Lunge and thrust to pout and pucker
Into the face of the beguiled

Peek-a-boo Peek-a-boo
Golly jeepers
Where'd you get those peepers?
Peepshow, creepshow
Where did you get those eyes?

Strobe lights pump and flicker
Dry lips crack out for more
`Come bite on this rag doll, baby!
That's right, now hit the floor'

They're sneaking out the back door
She gets up from all fours
Rhinestone fools and silver dollars
Curdle into bitter tears

Peek-a-boo Peek-a-boo
Golly jeepers
Where'd you get those peepers?
Peepshow, creepshow
Where did you get those eyes?

 
     
  Peek A Boo Credits  
     
  Sioux - Lyrics
Sioux - Voice
Severin - Bass
Budgie - Drums, Percussion & Harmonica
McCarrick - Keyboards & Accordian
Klein - Guitar
 
     
  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.  
     

 


     
  Happy House Lyrics  
 
 
 

This is the happy house
We're happy here
In the happy house
Oh it's such fun

We've come to play
In the happy house
And waste a day
In the happy house
It never rains

We've come to scream
In the happy house
We're in a dream
In the happy house
We're all quite sane
 
This is the happy house
We're happy here

There's room for you
If you say "I do"
But don't say no
Or you'll have to go

We've done no wrong
With our blinkers on
It's safe and calm
If you sing along

This is the happy house
We're happy here
In the happy house
To forget ourselves
And pretend all's well
There is no hell

 
     
  Happy House Credits  
     
 

Sioux - Lyrics
Sioux - Voice
Severin - Bass & Vocals
Budgie - Drums, Harmonica & Vocals
McGeoch - Guitar

 
     
  Inspiration/Influence/Band Comment  
     
  SIOUXSIE: 'Happy House' started off as a title, as a name for our fan club, the Happy House you see, and it became a song. It was the first thing we wanted to record and we had the bass, drums and vocals worked out for it so we used it in auditions as a test. So no-one did anything off pat, it was used as a guide to try out new guitarists and they had to work out their own sound." Source:  Sounds 05/04/80.
SIOUXSIE: I got an idea for a song. It's really just a happy song. The kind you make as you go along when you're happy, for no real reason. Y'know, when you're sitting in the bath or when you're walking home late at night." Source:  Smash Hits 01/05/80.
BUDGIE: "I think Happy House was where I really kind of, you know, started to say something about where I felt like, somewhere between Keith Moon, Ginger Baker and me." Source:  Punk Top Ten Interview 08/06/0.
 
     

 


     
  Kiss Them For Me Lyrics  
 
 
 

It glittered and it gleamed
For the arriving beauty queen
A ring and a car
Now you're the prettiest by far

 No party she'd not attend
No invitation she wouldn't send
Transfixed by the inner sound
Of your promise to be found

Nothing or no one will ever make me let you down

Kiss them for me, I may be delayed
Kiss them for me,  if I am delayed

It's divoone, oh it's serene
In the fountains pink champagne
Someone carving their devotion
In the heart shaped pool of fame

Nothing or no one will ever make me let you down

Kiss them for me,  I may be delayed
Kiss them for me,  I may find myself delayed

On the road to New Orleans
A spray of stars hit the screen
As the 10th impact shimmered
The forbidden candles beamed

Kiss them for me,  I may be delayed
Kiss them for me,  I may find myself delayed
Kiss them for me,  Kiss them for me
Kiss them for me,  I may find myself delayed

 
     
  Kiss Them For Me Credits  
     
  Sioux - Lyrics
Sioux - Voice
Severin - Sequencing, Keyboards & Bass
Klein - Guitar
Budgie - Drums
McCarrick - Keyboards
Talvin Singh - Tabla, Tavil & Taal
 
     
  Inspiration/Influence/Band Comment  
     
  Jayne Mansfield was the inspiration behind the song 'Kiss Them For Me'.  "This song was sparked off by Jayne Mansfield's story.  She typified the dream that Hollywood holds for young women - a fairytale thing."  (Siouxsie)  Source: Record Hunter 12/92.  
     

 


     
  Face To Face Lyrics  
 
 
 

Face to face
My lovely foe
Mouth to mouth
Raining heaven's blows
Hand on heart
Tic tac toe
Under the stars
Naked as we flow

Cheek to cheek
The bitter sweet
Commit your crime in your deadly time

It's too divine
I want to bend
I want this bliss but something says I must resist

Another life
Another time
We're Siamese twins writhing intertwined
Face to face
No telling lies
The masks they slide to reveal a new disguise

You never can win
It's the state I'm in
This danger thrills and my conflict kills
They say follow your heart
Follow it through
But how can you
When you're split in two?

And you'll never know
You'll never know

One more kiss
Before we die
Face to face
And dream of flying
Who are you?
Who am I?
Wind in wings
Two angels falling

To die like this
With a last kiss
It's falsehood's flame
It's a crying shame
Face to face
The passions breathe
I hate to stay but then I hate to leave

And you'll never know
You'll never know

 
     
  Face To Face Credits  
     
  Sioux - Lyrics
Sioux - Voice
Severin - Sequencing, Keyboards & Bass
Klein - Guitar
Budgie - Drums
McCarrick - Keyboards
 
     

 


     
  Dizzy Lyrics  
 
 
 

Scorpio rising on the horizon
Thunder tumbling from the mountains
Harpy sirens strangle silence
A piece of mind left dying

Oh so dizzy

Below the waves below their grace
Your hair is gorgeous
Dancing harmonics
Dancing hypnotic
Left dying

Oh so dizzy

 
     
  Dizzy Credits  
     
 

Sioux - Lyrics
Sioux - Voice
Severin - Bass
Klein - Guitar
Budgie - Drums & Percussion

 
     

 


     
  Israel Lyrics  
 
 
 

Little orphans in the snow
With nowhere to call a home
Start their singing, singing
Waiting through the summertime
To thaw your hearts in wintertime
That's why their singing, singing

Waiting for a sign
To turn blood into wine
The sweet taste in your mouth
Turn bitter in it's glass

Israel, in Israel
Israel, in Israel

Shattered fragments of the past
Meet in veins on the stained glass
Like the lifeline in your palm
Red and green reflects the scene
Of a long forgotten dream
There were princes and there were kings

Now hidden in disguise
Cheap wrappings of lies
Keep your heart alive
With a song from inside

Even though we're all alone
We are never on our own
When we're singing, singing

There's a man who's looking in
And he smiles a toothless grin
Because he's singing, singing
See some people shine with glee
But their song is jealousy
Their hate is clanging, maddening

In Israel, will they sing Happy Noel
Israel, in Israel
Israel, in Israel
In Israel, will they sing Happy Noel

 
     
  Israel Credits  
     
 

Sioux - Lyrics
Sioux - Voice
Severin - Bass
McGeoch - Guitar
Budgie - Drums

 
     
  Inspiration/Influence/Band Comment  
     
  SIOUXSIE: "No it's not about religion as such, it’s more general. A disillusioned person, or whole race who’ve ceased to understand or believe in what they held to be the truth. It tries to put across, you shouldn’t cover what you feel inside by teaching or attitudes imposed on you. It emphasises the strength of the individual." Source:  Sounds 28/02/81.
SEVERIN: "We wanted to do a Christmas single, and to get it out on time we had to write it on the road, which was quite unusual for us. We wrote it in a hotel room in Amsterdam (11-12 October 1980), and it came together very quickly at the sound checks." Source:  The Authorised Biography 2002.
SIOUXSIE: " 'Israel' says that religion is good if it brings disillusioned people together, but without the dogma that usually goes with religion. Source:  Trax 17/02/81.
SIOUXSIE: "I don't have faith in organised religion. I believe that everyone is different and you've got to work out how to impress yourself, and you know that better." Source:  Record Mirror 15/05/86.
 
     

 


     
  Christine Lyrics  
 
 
 

She tries not to shatter, kaleidoscope style
Personality changes, behind her red smile
Every new problem brings a stranger inside
Hopelessly forcing one more new disguise

Christine
The Strawberry Girl
Christine
Banana Split Lady
Christine
The Strawberry Girl
Christine
Banana Split Lady

Singing sweet savages, lost in her world
This big eyed girl sees their faces unfurl
Now she's in purple, now she's the turtle
Disintegrating

Christine
The Strawberry Girl
Christine
Banana Split Lady
Christine
The Strawberry Girl
Christine
Banana Split Lady

 
     
  Christine Credits  
     
 

Severin - Lyrics
Sioux - Voice
Severin - Bass
Budgie - Drums
McGeoch - 6 & 12 String Guitar & Fairfisa

 
     
  Inspiration/Influence/Band Comment  
     
  SIOUXSIE: "It’s about Christine Seisnal (adopts country accent): She’s got twenty two personalities! She don’t know who to play with!" Source:  Zigzag 05/80.
STEVE: "All twenty two personalities had different names, which was a really good source for the lyrics - the Strawberry Girl, Banana-split Lady . . .they were either names by her or the family. There’s a book called The Three Faces Of Eve about her, which is more like a biography she wrote with a friend of hers from her childhood, a cousin. She turned out to go to college and become some sort of knob on psychiatry." Source:  Zigzag 05/80.
SIOUXSIE: "Part of that oppression comes over in our number ‘Christine’. She became a textbook case ‘cause of the traumas she’d been through as a child. She witnessed many violent acts." Source:  Sounds 28/02/80.
 
     

 


     
  Spellbound Lyrics  
 
 
 

From the cradle bars
Comes a beckoning voice
It sends you spinning
you have no choice

You hear laughter
Cracking through the walls
It sends you spinning
You have no choice

Following the footsteps
Of a rag doll dance
We are entranced
Spellbound

And don't forget
When your elders forget
To say their prayers
Take them by the legs
And throw them down the stairs

When you think
Your toys have gone berserk
It's an illusion
You cannot shirk

You hear laughter
Cracking through the walls
It sends you spinning
You have no choice

Following the footsteps
Of a rag doll dance
We are entranced
Spellbound

 
     
  Spellbound Credits  
     
  Severin - Lyrics
Sioux - Voice
Severin - Bass
Smith - Guitar
Budgie - Drums
 
     
  Inspiration/Influence/Band Comment  
     
  SIOUXSIE: "The magic that we want is not textbook magic.  We use words like voodoo and spellbound but they're not to be taken literally. The best magic is when something good happens and you don't plan it, it's not in your control.  To an extent it's in your control, but to be totally in control of everything then would be boring, life would be boring.  If nothing went 'something magic's happened', but it's not like that, it's just a feeling." Source:  Elektron Interview 20/12/82  
     

 


     
  Stargazer Lyrics  
 
 
 

Been thinking how to escape?
This strait jacket of constraint
Been thinking what can be wrong?
With feelings that long to belong

Stargazing me
In an upside down sea

So weary
This strait jacket dreamer
So resigned
To continue to suffer
But you've learnt
That as you grow weaker
There's less hurt
Because there's much less to hurt

Stargazing me
In a tumbling sea
Up in the galaxy
Staring down on me

Stargazer
Reach out to touch
With your mind
That frees you so much
Stargazer
Kissing your kismet
With bright jewel
Encrusted scars

Stargazing me
In tranquility
Up in the galaxy
Staring down on me

 
     
  Stargazer Credits  
     
 

Sioux - Lyrics
Sioux - Voice
Severin - Bass
Klein - Guitar
Budgie - Drums & Percussion
McCarrick - Keyboards

 
     

 


     
  Arabian Knights Lyrics  
 
 
 

The jewel, the prize
Looking into your eyes
Cool pools drown your mind
What else will you find

I hear a rumour
It was just a rumour
I heard a rumour
What have you done to her

Myriad lights
They said I'd be impressed
Arabian Knights
At your primitive best

A tourist oasis
Reflects in seedy sunshades
A monstrous oil tanker
It's wound bleeding in seas

I heard a rumour
What have you done to her
I heard a rumour
What have you done to her

Veiled behind screens
Kept as your baby machine
Whilst you conquer more orifices
Of boys, goats and things

Ripped out sheep's eyes
No forks or knives

Myriad lights
They said I'd be impressed
Arabian Knights
At your primitive best

 
     
  Arabian Knights Credits  
     
 

Sioux - Lyrics
Sioux - Voice
Severin - Bass
Budgie - Drums & Percussion
McGeoch - Guitar

 
     
  Inspiration/Influence/Band Comment  
     
  SIOUXSIE: " 'Arabian Knights' was inspired by the fact that I was listening to a lot of The Doors at the time. I wanted those kind of melodies running through it." Source:  The Authorised Biography 2002
SIOUXSIE: "It’s nothing to do with a ‘feminist’ thing, it’s like a humane thing. Like how the Muslim women cope, I don’t know. The way women are treated in some religions, if it was a race being treated like that and not a sex, there would be uproar about it. I still haven’t overcome being a girl yet, as far as other people see me, and that’s very important. I think it’s happened a bit, but not enough." Source:  NME 15/08/81
SIOUXSIE: "To think, some of our records might end up with an 'X' certificate. Like all the fuss over our 'Arabian Knights' single with the line about 'orifices'. It was only a new way of describing something...something natural, physical. It wasn't smutty or rude. Just imagery...but they don't like that." Source:  Smash Hits 06/86
SIOUXSIE: With 'Arabian Knights' it was quite a thrill to get the word 'orifices' on the radio." Source:  Record Mirror 11/11/89
 
     

 


     
  The Killing Jar Lyrics  
 
 
 

Down where this ugly man
Seeks his sustenance
Down in the blue, midnight flare
A glass hand cuts through the water
Scything into his twisted roots
Then from his eyes spring fireflies
Breathing life into a roaring disguise

Needles and sins, sins and needles
He's gasping for air
In the wishing well
Dust to rust, ashes to gashes
Hand around the killing jar

A soft hoodwink of shadow
The size of make-believe
Punches through his spike of rage
A glass hand cuts through the water
Snuffing out the magic fury
Then from inside bolt lightning cries
Swiftly crushed the final, muffled sighs

Needles and sins, sins and needles
He's gasping for air
In the wishing well
Dust to rust, ashes to gashes
Hand around the killing jar

 
     
  The Killing Jar Credits  
     
  Severin - Lyrics
Sioux - Voice
Severin - Bass
Budgie - Drums, Percussion
McCarrick - Keyboards & Cello
Klein - Guitar
 
     
  Inspiration/Influence/Band Comment  
     
  "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."

John Fowles The Collector

 
     

 


     
  This Wheel's On Fire Lyrics  
 
 
 

If your memory serves you well
We were going to meet again and wait
So I'm going to unpack all my things
And sit before it gets too late
No man alive will come to you
With another tale to tell
But you know that we shall meet again
If your memory serves you well
This wheel's on fire,
Rolling down the road,
Best notify my next of kin
This wheel shall explode

If your memory serves you well,
I was going' to confiscate your lace
And wrap it up in a sailor's knot
And hide it in your case
If I knew for sure that it was yours
But it was oh so hard to tell
But you knew that we would meet again
If your memory serves you well
This wheel's on fire
Rolling down the road
Best notify my next of kin
This wheel shall explode

If your memory serves you well
You'll remember you're the one
That called on me to call on them
To get you your favors done
And after every plan had failed
And there was nothing more to tell
You knew that we would meet again
If your memory served you well
This wheel's on fire
Rolling down the road
Best notify my next of kin
This wheel shall explode

 
     
  This Wheel's On Fire Credits  
     
  Bob Dylan - Lyrics
Sioux - Voice
Severin - Bass
Carruthers  - Guitar
Budgie - Drums
McCarrick - Keyboards & Cello
Gini Ball - Violin
Jocelyn Pook - Viola
 
     

 


     
  Song From The Edge Of The World Lyrics  
 
 
 

Let me take you down
To testify
Under the brow of a sparkling sky
We'll dance away
A distant day
And shout our sins
In a passion play

Over we go
Diving for pearls
Over we go
From the edge of the World

Let the fire fall in
The footsteps we leave
Painted on the ground
We'll watch the stars
Come crashing down
Upon our heads
Like a madding crown

Over we go
Diving for pearls
Over we go
From the edge of the World

Let me take you down
To testify
Under the brow of a sparkling sky
We'll dance away
'Til the day is done
Then rise again
To unwrap the Sun

Over we go
Diving for pearls
Over we go
From the edge of the World
This is the song from the edge of the World

 
     
  Song From The Edge Of The World Credits  
     
  Severin - Lyrics
Sioux - Voice
Severin - Bass
Budgie - Drums & Percussion
Klein - Guitar
McCarrick - Keyboards
 
     

 


     
  Dazzle Lyrics  
 
 
 

The stars that shine
And the stars that shrink
In the face of stagnation
The water runs
Before your eyes

Swallowing diamonds
Cutting throats
Your teeth when you grin
Reflecting beams on tombstones

A jamboree of surprises
Playing Russian Roulette, or the lucky dip
A clench fist to your heart
Coal dust on your lung

Dazzle, it's a glittering prize
Dazzle, it's a glittering prize

A silver tongue for the golden one
In a dead sea of fluid mercury
Baby piano cries, under your heavy index and thumb
Pull some strings, let them sing

The stars that shine
And the stars that shrink
In the face of stagnation
The water runs
Before your eyes

Dazzle, it's a glittering prize
Dazzle, it's a glittering prize

 
     
  Dazzle Credits  
     
 

Sioux - Lyrics
Sioux - Voice
Severin - Bass & Keyboards
Budgie - Drums & Percussion
Robert Smith - Guitar & Keyboards
Strings - The Chandos Players

 
     
  Inspiration/Influence/Band Comment  
     
  SIOUXSIE: "The sentiment behind it is of lying in the gutter but still looking up at the stars. I’d seen ‘Marathon Man’, and I was really intrigued by the guy swallowing diamonds to keep them, and then realising it was like swallowing glass - that they would pass through his system and tear him apart. So that’s the line - ‘Swallowing diamonds, cutting throats’. " Source:  Melody Maker 17/10/92.
SIOUXSIE: "Quite a lot of this, and ‘Swimming Horses’, came from visiting Israel for the first time. ’The sea of fluid mercury’ in the lyric, is the Dead Sea." Source:  Melody Maker 17/10/92.
MCCARRICK: "I'd been recording a Peel session with Marc Almond and it was all going horribly wrong. Marc was screaming, everyone else was screaming, and then there was this shout from down the corridor. It was Sioux and Budgie. She looked about 7ft tall and with the most piercing blue eyes - a terrifying vision in real life, like a big strutting cockatoo. Shortly afterwards, she sent a tape over to me, Anne and Gini. It was her playing a piano part which she wanted arranged for a big string section. That turned out to be the intro to 'Dazzle'." Source:  The Authorised Biography 2002.
 
     

 


     
  Fireworks Lyrics  
 
 
 

The body is wrapped in shadow
The face is built of cinders
And panic tears thro' your silhouette
As you're squeezed by burning fingers
And he's crackling in colours
With teeth of gelignite

When he sighs his song of pirouettes
Thro' a dance of dynamite

We are fireworks, slowly, glowing
Bold and bright
We are fireworks, burning shapes
Into the night

His fuel is our frustration
And dreams begin to ache
And all the while we wear a party smile
And happily we shiver
Happily we shake
Oh shake, shake, shake

We are fireworks, slowly, glowing
Bold and bright
We are fireworks, burning shapes
Into the night

Twist and turn, burn, burn, burn
Twist and turn, burn baby burn

 
     
  Fireworks Credits  
     
 

Severin - Lyrics
Sioux - Voice
Severin - Bass
Budgie - Drums & Percussion
McGeoch - Guitar

 
     
  Inspiration/Influence/Band Comment  
     
  SIOUXSIE: " 'Fireworks' indicated the direction we wanted for the album. We wanted strings on that. John wanted a machine but Steve and I said it had to be real strings. They give a real, earthy, rich sound. You could hear the strings spitting and breathing and wheezing." Source:  Record Mirror 18/12/82
SIOUXSIE: "We'd heard that he (Martin Rushent) wanted to work with us. We wanted to have a go. We thought he might have a different approach to the Banshees, that he wouldn't treat us like a cult. We'd have changed him as much as he changed us. Rushent agreed to a date to start working with us and ten he kept putting us off at short notice so we've abandoned the idea." Source:  Record Mirror 12/06/82
SIOUXSIE: "The song's very sexual, explosive, distraught." Source:  Record Hunter 12/92
 
     

 


     
  Swimming Horses Lyrics  
 
 
 

Falling in your
Falling in your
In your arms
In your arms
Fish on a line learns to live on
Dry land
Thrown back again to drown

Kinder with poison
Than pushed down a well
Or a face burnt to hell
Feel the cruel stones
Breaking her bones

Dead before born
Words fall in ruins
But no sound
She's dying of your shame
She's maimed by your pain

He gives birth to swimming horses
He gives birth to swimming horses

Fish on a line
But back in the water to drown
We drown
Floating in sky

He gives birth to swimming horses
He gives birth to swimming horses

Take a ride on the tide
With the assassin at your side
This weightlessness under water
Forgets in slow motion
And washes pointless tortures

He gives birth to swimming horses
He gives birth to swimming horses

Floating in sky like fishes can fly
Through your arms

 
     
  Swimming Horses Credits  
     
 

Sioux - Credits
Sioux - Voice
Severin - Bass & Keyboards
Budgie - Drums & Percussion
Robert Smith - Guitar & Keyboards

 
     
  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".  (Siouxsie)  Source:  Melody Maker 17/10/92.  
     

 


     
  Obsession Lyrics  
 
 
 

Do you hear this breath
It's an obsessive breath
Can you feel this beat
It's an obsessive heart-beat
Waiting to be joined with its obsession

I close my eyes
But I can't sleep
The thin membrane can't veil
The branded picture of you
The signs and signals show
The traffic lights say go
Again you baffle me,
Pretending not to see...me

I broke into your room
I broke down in my room
Touched your belongings there
And left a lock of my hair
Another sign for you
You screamed into my face
Get the hell out of my place
Another sign for me?
Can you forgive me?
For not understanding your ways

You know sometimes you take it all too far
Then I remember
It's a game between you and me
A divine test for us two
It's all in my imagination
Yes they even say that our mission 
Is only my obsession

Do you hear this breath
It's an oppressive breath
Suffocating in the poison
Of your obsession

Can you feel this beat
It's a possessive beat
Your pulse stops in the claws
Of your obsession

 
     
  Obsession Credits  
     
 

Sioux - Lyrics
Sioux - Voice & Bells
Severin - Bass
Budgie - Drums & Percussion
McGeoch - Guitar
Caroline Lavelle - Cello
Anne Stephenson - Violin
Virginia Hewes - Violin

 
     
  Inspiration/Influence/Band Comment:  
     
  SIOUXSIE: "The events in the song actually took place. It's about a friend of a friend of mine. Its an extreme example of what happens in more subtle ways in most peoples relationships." Source:  Record Mirror 18/12/82
SIOUXSIE: "People are confused by the fact that we do songs like 'Tattoo' and 'Obsession,' which are wrongly classed as horror, which I hate." Source:  Sounds 10/05/86
BUDGIE: "While we were putting the guitar part to tape it happened, something so peculiar that it would almost change the arrangement of the song. Psycho guitar was stabbing out from the speakers, when suddenly the tape machine began to slow down. Slower and slower, almost to a dead stop, and then just as mysteriously it began to correct itself. Nobody tampered with the machine, which after its brief spasm, was now working perfectly. The effect it had on the guitar part was wonderful; but what had caused it? There was no logical explanation." Source:  No.1 02/11/88
 
     

 


     
  Rawhead & Bloodybones Lyrics  
 
 
 

Bad word,
Or bad deed,
Unpunished invites grief,
Here's Rawhead and Bloodybones
Reaching from
Dark cupboard
Crouching under stair,
Lurking in chimney,
Pond or well
We're down here,
Held here
Dragged here
And drowned here by
Rawhead and Bloodybones
Pop eyed,
Horns,
Bushy tailed
Long teeth and
Claws as well
Rawhead and Bloodybones

 
     
  Rawhead & Bloodybones Credits  
     
  Severin - Lyrics
Sioux - Voice
Severin - Bass
Budgie - Drums, Percussion
McCarrick - Keyboards
Klein - Guitar
 
     

 


     
  Cocoon Lyrics  
 
 
 

Here in my cot
Where my cot loves me
I'll stay here a while
In the cotton wool cocoon
'Till the chrysalis is ripe
'Till the time is right
With this feeling of insecurity
I have to shrink back inside
Run and hide

Back in the cocoon
Hugging my knees
Watching my insides
The skinned glow worm writhings

Lying in blankets
I've been here a while
Tapping out rhythms
Against the mattress and wall
The heat melts the sheets
Another layer is peeled
Tapping out rhythms

Just my cot, the wallpaper and me
I've been here awhile
Tapping out rhythms
Still finding charms in the memory
Of those constrictor arms
Glowing in the dark in my luminous green
A pearl beaded lizard
Bathed in a gossamer scent
With my heat detector lip-pit
Pulling at the newly formed tissue

Lying in blankets
I've been here awhile
Tapping out rhythms against the mattress and wall

Waiting to loose the bandages
Waiting for new appendages

Lying in blankets
I've been here a while
I've been here too long
Banging out rhythms
Listen for other tapings
Banging out rhythms
Back in the cocoon

 
     
  Cocoon Credits  
     
 

Sioux - Lyrics
Sioux - Voice
Severin - Bass
Budgie - Drums & Percussion
McGeoch - Guitar & Keyboards

 
     
  Inspiration/Influence/Band Comment:  
     
  SIOUXSIE: "Mike Hedges was the one who introduced me to LSD. One time, I decided to have a night in under the influence just to see what would happen, and I ended up writing 'Cocoon'. It's all a bit of a blur, but I remember getting out this Neapolitan ice cream and thinking I was on the beach. I was actually in the kitchen on the floor". Source:  The Authorised Biography 2002
SIOUXSIE: "I always think 'Cocoon' off 'A Kiss In The Dream House' sounds really happy but, again, the lyrics are a bit odd, they grate against the sound of the music. I think that's something we're good at, subverting lyrics." Source:  Melody Maker 14/05/83
MCGEOCH: “The nearest we got to writing a song in the studio was ‘Cocoon’. I actually got a good review for my ‘jazz’ playing, which it certainly wasn’t. I was just flapping about.” Source:  The Authorised Biography 2002
 
     

 


     
  Clockface  
 
 
 

Instrumental

 
     
  Clockface Credits  
     
  Sioux - Voice
Severin - Bass & Piano
Budgie - Drums
McGeoch - Guitar
 
     
  Inspiration/Influence/Band Comment:  
     
  The original title of this song was 'Kaleidoscope'. Source:  The File Phase One  
     

 


     
  Placebo Effect Lyrics  
 
 
 

You dip your hands into my flesh
And say you won't reveal a scar
I must have faith in this procedure
It's a miracle, It's a wonder

A thousand hidden needles
In a thousand covered nerves
Stick pins in my receptacles
Look to your Voodoo doll, your mojo

Staying alive at five
For you to cure my ailments
Another soul is saved
With your bogus medications

Which colour shall we have today?
Depends on how I feel you say
Consult your research on the media
See blue will calm my hysteria

Staying alive at five
For you to cure my ailments
Another soul is saved
With your bogus medications

Staying alive at five
With your empty containers
Another corpse ornaments your waiting room
A placebo effect reversed

Will you ever regret, the placebo effect
Can you ever forget, the placebo effect

 
     
  Placebo Effect Credits  
     
 

Sioux - Lyrics
Sioux - Voice
Severin - Bass
Morris - Drums & Percussion
McKay - Guitar

 
     
  Inspiration/Influence/Band Comment  
     
  "Placebo Effect" came from hearing a programme on Capitol Radio, when one of the station's resident Kildares was discussing the kind and colour of medicaments that different nations most favour. Apparently the UK goes for pills while the French like suppositories and the Italians injections.  Source:  Melody Maker 17/02/79.  
     

 


     
  Carousel Lyrics  
 
 
 

You clamber up
And look behind
Their watchful eyes
The helping hands
A hen that's fierce
And painted blue
With red eyes
Wants to swallow you

A dragon dives and soars on tracks
The hands that strap you to its back
You turn around and look behind
Their smiling eyes won't help you down

Their tiny hands
Their tiny feet
Such little hearts
To miss a beat
Grotesque dwarves
In mirrored rooms
Pulled and taut
A thousand yous

Staring back through stinging tears
Remembering those funhouse thrills
The paint box tunes and wild balloons
Their watchful eyes, you start to swoon

Oh painted vile in lurid hue
The snarling horse that waits for you
Its motor whirr's and colours curl
Inside your head the monsters whirl
 
Its motor whirls and colours curl
Inside your head the monsters whirl

In sucked out
Time stood still
Roundabout back
Carousel
Time stood still
And you remember it well
Carousel

 
     
  Carousel Credits  
     
  Sioux - Lyrics
Sioux - Voice
Severin - Bass
Budgie - Drums, Percussion
McCarrick - Keyboards
Klein - Guitar
 
     
  Inspiration/Influence/Band Comment  
     
  "..is 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.  
     

 


     
  Jigsaw Feeling Lyrics  
 
 
 

Send me forward, say my feelings
But all the signals, send me reeling
Jigsaw feeling

One day I'm feeling total
The next I split in two
My eyes are doing somersaults
Staring at my shoes

My brain is out of my hand
There's nothing to prevent
The impulse is quite meaningless
in a cerebral non-even

Send me forward, say my feelings
But all the signals, send me reeling
Jigsaw feeling

Five fingers do my walking
Ten toes unravel knots
Amorphous jigsaw pieces
falling into slots

Send me forward, say my feelings
But all the signals, send me reeling
Jigsaw feeling

So I just sit in reverie
Getting on my nerves
The intangible bonds that keep me
Sitting on the verge....
Of a breakdown
Of a reaction
Of a result
Complete me, defeat me, maybe

 
     
  Jigsaw Feeling Credits  
     
 

Severin - Lyrics
Sioux - Voice
Severin - Bass
Morris - Drums & Percussion
McKay - Guitar

 
     
  Inspiration/Influence/Band Comment  
     
  SIOUXSIE: "It's the wrong things doing the right things for you. It started out as a self-disgust song and evolved from that. " Source:  Unknown 1978 
SIOUXSIE: It's when your limbs won't do what your brain wants them to. You're so confused that you can't co-ordinate your limbs to do something positive, and you just twist yourself in knots." Source:  Melody Maker 21/10/78
 
     

 


     
  Suburban Relapse Lyrics  
 
 
 

I'm sorry that I hit you
But my spring snapped
I'm sorry I disturbed your cat nap
But whilst finishing a chore
I asked myself 'what for?'
Then something snapped.
I had a relapse
A suburban relapse

I was washing up the dishes
And minding my own business
When my string snapped
I had a relapse
A suburban relapse

Should I?
Throw things at the neighbours
Expose myself to strangers
Kill myself or you?
Now memory gets hazy
I think I must be crazy
but my string snapped
I had a relapse
A suburban relapse

 
     
  Suburban Relapse Credits  
     
 

Sioux - Lyrics
Sioux - Voice
Severin - Bass
Morris - Drums & Percussion
McKay - Guitar & Saxophone

 
     
  Inspiration/Influence/Band Comment  
     
  SIOUXSIE: "It's committing a crime under the stresses of everyday life. Being so confused and... I don't know how anyone can be a judge, an actual one in court". Source:  Melody Maker 21/10/78.  
     

 


     
  The Rapture Lyrics  
 
 
 

O pull on the rein and haul me in
Back to the start where eyes first blink to see
A flowing mane a cut-glass limb
And they're falling soaring so rhythmically

O pull on the rein and haul me in back to the start
Rebirthed in ecstasy with cherubim and seraphim
When I was falling soaring so rhythmically
Falling soaring falling for you so completely

The Rapture unfurling blues and greens
The Rapture a swirling violet stream
Mystic majestic entangled in a web of curling vapour thread
Encaptured by forces unseen
Enraptured an eclipse intoxicating
Strangely not inside strangely not outside
Drowning in the middle of an eerie transition
And I don't know your name
Never been alive yet I haven't died
I hover disembodied in a semi-wakened haze

Floating far above the cloud
Sinking far below the ground
Only my senses remain

The Rapture unfurling blues and greens
The Rapture a swirling violet stream
Mystic majestic entangled in a web of iridescent curling vapour thread
Floating far above the cloud
Sinking far below the ground
No form only my senses remain

Wondering if I dare to say your name
Wondrous thoughts embalmed avow you came
By the crescent disc rising amethyst
How can love remain the same unchanged?
Moonlight plays upon this sunken brow
Midnight ink bleeds wet mercurial clouds
By the crescent disc rising amethyst
Somnambulist unharnessed storms the plough
By the crescent disc rising amethyst
How can love remain the same unchained?

 
     
  The Rapture Credits  
     
 

Sioux - Lyrics
Sioux - Voice
Severin - Bass
Klein - Guitar
Budgie - Drums & Percussion
McCarrick - Keyboards & Cello

 
     

 


     
  Monitor Lyrics  
 
 
 

Monitor outside
For the people inside
A prevention of crime
A passing of time

The come and they go
It's a passing of time
They come and they go
Whilst we sit in our homes

Sit back and enjoy
The real McCoy

Our new air of authority
Our sentinel of misery
His face was full of intent
And we shook excitement
Then the victim stared up
Looked strangely at the screen
As if her pain was our fault
But that's entertainment
What we crave for inside
No more second rate movies
From those people outside

 
     
  Monitor Credits  
     
 

Sioux - Lyrics
Sioux - Voice
Severin - Bass
Budgie - Drums & Percussion
McGeoch - Guitar

 
     
  Inspiration/Influence/Band Comment  
     
  Inspired by the advent of Close Circuit TV and the idea of real violence as entertainment. A story was related to Siouxsie of how, when CCTV was installed in a tower block, in an attempt to curtail vandalism and crime, it instead resulted in the tenants deriving more pleasure from watching the ‘real life’ crime on CCTV, than watching fictionalised accounts on their own televisions.  
     

 


     
  Slowdive Lyrics  
 
 
 

Get your head down to the ground
Shake it all around
A dirty sound
Put your knees into your face
And see if you can race
Real slow

It's a slowdive
When you die slow
Oh it's a low jive
Do the slowdive

Now you jump back like a hound
Emit a howling sound
Dig those limbs into the floor
And holler out for more

And you revel in the dips
When your backbone slips
Taking honeysuckle sips
From your rolling hips
It shifts and it shifts
It's a slowdive when you die slow
When you come alive it's a low jive
Do the slowdive

 
     
  Slowdive Credits  
     
  Sioux - Lyrics
Sioux - Voice
Severin - Bass
Smith - Guitar
Budgie - Drums
 
     
  Inspiration/Influence/Band Comment  
     
  SEVERIN: "It was just a drunken evening..." Source:  Melody Maker 17/10/92
SIOUXSIE: "Another sexual song, but more playful. It's very open, very relaxed, loose. I wrote it on the spot after a jam in the studio." Source:  Record Hunter 12/92
SIOUXSIE: "I remember I wanted the string players to slow down and get tired, so the ’Oh my God!’ in the middle of the song is one of the string players’ wrists falling off! And the video was this boy’s first dance routine! It took months of rehearsal, and getting him to wear false eyelashes." Source:  Melody Maker 17/10/92
SIOUXSIE: " 'Slowdive' was an improvised lyric...It's like, umm, if you're making music, what it amounts to is, because you're expressing something you can't say in words. So for me to explain what that is, is taking away something that you lose when you're just using speech.  With music it should speak for itself. Source:  Elektron Interview 20/12/82
 
     

 


     
  Playground Twist Lyrics  
 
 
 

Hanging, hanging, hanging
Hanging from your daisy chains
Swinging in the trees
Running from your enemies
And falling on your knees
On your knees, on your knees
Get down on your knees

Throw the dice
You three blind mice
Did you ever see
Such a thing in your life
You swallow the trail
But still arrive
Inside your entrails

Hanging, hanging, hanging
Hanging out at party games
Dancing in the shadows
Up and down on the sea-saw
Balancing the scales
You're drunk, you're drunk
Get your balancing the scales

Someone to blame
Someone to shame
Someone that you can claim
Go back to pass the parcel
And follow the leader

Hanging, hanging, hanging
Hanging from your climbing frames
Swinging in the gallows
Laughing with your buddies
But you can drown when you're shallow
You can drown when you're shallow
You can drown, drown, drown
Drown, drown, drown, drown, drown

 
     
  Playground Twist Credits  
     
 

Sioux - Lyrics
Sioux - Voice
Severin - Bass
Morris - Drums & Percussion
McKay - Guitar & Saxophone

 
     
  Inspiration/Influence/Band Comment  
     
  Talks about adults who act like children and children who think they're adults. It might be interpreted as a swipe against the music press. As the title suggests, there's a kind of nursery-rhyme section. Source:  Melody Maker 17/02/79
SIOUXSIE: "It's about the cruelty of children and that whole aspect of being thrown out into the playground in the winter in howling gales and left to fend for your-selves. It's not the sort of thing you're supposed to write pop songs about." Source:  The Authorised Biography 2002
SIOUXSIE: "I suppose ‘Playground Twist', is quite happy at the end, because the baddies are swinging in the gallows." Source:  Sounds 20/06/81
 
     

 


     
  The Last Beat Of My Heart Lyrics  
 
 
 

In the sharp gust of love
My memory stirred
When time wreathed a rose
A garland of shame
Its thorn my only delight
War torn, afraid to speak
We dare to breathe

Majestic
Imperial
A bridge of sighs

Solitude sails
In a wave of forgiveness
On angels' wings
 
Reach out your hands
Don't turn your back
Don't walk away
How in the world
Can I wish for this?
Never to be torn apart
Close to you
'Till the last beat of my heart

At the close of day
The sunset cloaks
These words in shadowplay
Here and now, long and loud
My heart cries out

And the naked bone of an echo says
Don't walk away

Reach out your hands
I'm just a step away
How in the world
Can I wish for this?
Never to be torn apart
Close to you
'Till the last beat of my heart

How in the world
Can I wish for this?
Never to be torn apart
'Till the last beat
'Till the last fleeting beat of my heart

 
     
  The Last Beat Of My Heart Credits  
     
  Severin/Sioux - Lyrics
Sioux - Voice
Severin - Bass
Budgie - Drums, Percussion
McCarrick - Keyboards
Klein - Guitar
 
     
  Inspiration/Influence/Band Comment  
     
  "It's about being fragile and exposed."  (Siouxsie)  Source:  Option 03/89.