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LOOK
DEEP into my eyes little one... trusssssssst me! Yesss, trusst me when I
say - this is ok, actually.
Who wouldn't
love that sssublime sssnake from The Jungle Book? Even he gets a chance
on this, the Banshees' 'Pin-ups' style collection of favourites from Ten
Years In A Tour Bus. Siouxsie croons 'Trust In Me' from the Disney
soundtrack but fares badly when compared with that python's creepy
delivery. In the film, Snakey sings it while the camera closes-up to his
eyeballs and they start spinning and spinning and.... ZONK, you're out!
It's been a
long time since The Banshees have been hypnotic, but this has its
moments. Unluckily, it's not half the LP that Nick Cave produced with 'Kicking
Against The Pricks', because there Cave climbed right into his choices
intent on doing damage, but here The Banshees are mostly too respectful.
Except on 'Strange Fruit', which is a wobbling, imageless disaster - the
"part sacrilege" that Severin was talking about, I think.
Major monuments
on the rock n' roll landscape have been scaled: The Doors, Iggy, Roxy
Music, John Cale, Television. All ghosts of the present, and if
disturbed in this manner, likely to provoke a good thrashing. But The
Banshees have escaped unscathed at several points.
Iggy's 'The
Passenger' is one of the few rock records that could start a barndance
anywhere in the world. It's a legend, and at least Siouxsie knows that
if you're going to mess with this one, mess with it or leave well alone.
So as all concerned take a ride to see what's theirs, the horns swoop
and it swings along famously. I can almost see Siouxsie giggling at the
fun of it. On 'Hall Of Mirrors', the Banshees and Kraftwerk are well
matched, for each has a trademark pulse, and the tune is made for
measure.
Anyone
attempting the play-out Television's seldom-heard debut, 'Little Johnny
Jewel' is asking for it. But rather than try for the high-wire tension
of the original - and that, friends, is not even worth a try - they've
reheated it in a supper-lounge suit, and it charms its way without
sounding like sacrilege. JV Carruthers plinks and plonks his way
psychedelically, his last call for The Banshees, while Budgie stabs at
the drums with traditionally peerless timing, and I admit, it's great.
'You're Lost,
Little Girl' needs its Morrison to convince, but Cale's 'Gun' stomps
along righteously and the horns again puff it up for a welcome
reincarnation.
Even allowing
for the flat 'This Wheel's On Fire' and the token of their glam
adolescence (Ferry's 'Sea Breezes', which sent me to sleep in its
original surroundings), The Banshees have here made their first good LP
in five years. Whatever that's worth today.
David
Swift
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