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"We were still a young band," says bassist Steven Severin, "and we couldn't wait to move on to the next thing.  Most of 1980 had been spent regrouping.  We barely toured at all.  But 1981 was virtually non-stop live work.  We took a month off to record 'Juju' and the rest of the time was spent on the road.  That certainly helped get us this wider audience.  And that's when we got the Suzettes!  Every town we played, 40 or 50 Siouxsie clones would turn up."

Siouxsie had defined the female punk look as early as December 1976, when she and Steven joined The Sex Pistols for their headline-grabbing appearance on Thames Television's 'Today' show.  By 1981, her part-dominatrix, part silent movie queen persona had become even more stylised and distinctive.  Her jet-black hair now crimped into a shock-headed crown of long spikes, her body encased in leather and lace, fishnets on her arms, and her face a modern-day Cleopatra mask, Siouxsie had become a style icon for a generation of ambitious, thrill-seeking young women.

"But we didn't want to go on stage and be faced by a load of Siouxsie cartoon figures,"  she once said.  "that was missing the point."

"We equated all that mimickry as an overflow from glam," Severin adds, "the way that people would dress up as Bowie or Bryan Ferry.  Of course, it was part and parcel of being popular."

While 'Israel', the band's Christmas 1980 single, narrowly missed a Top 40 placing, it confirmed the group's standing among the so-called alternative crowd, those for whom punk and its aftershocks represented a radical challenge to the mainstream.

"As 1981 started," Severin remembered in 2003, "it was a weird time in music because a lot of the old guard had fallen away or changed.  The Pistols had finished and (John) Lydon had formed Public Image Ltd.  The Clash were in America, and even post-punk acts like Joy Division had split.  People used to say that bands like Public Image Ltd., Joy Division, even The Cure were ripping us off, but I preferred to think they were having the same ideas as us, but just a bit later.  Maybe that's being a little generous, but I did feel they were kindred spirits to some extent."

None of these groups enjoyed the cachet that Siouxsie And The Banshees had.  The Banshees' long, hard, 'no compromises' struggle to find success had earned them a genuine Class Of '76 badge of authenticity.  And that only enhanced their appeal to younger audiences, who began to follow the group with almost tribal-like loyalty.  'Juju', a self-contained spectacular of the macabre and the magical, provided this audience with a near-perfect soundtrack.

"If the album sounds unified, that's because it was prepared that way," says Steven Severin.  "It was rigorously rehearsed and played live before we even thought about recording it.  We thought, OK, we're a touring band now, so let's work to the strengths of that.  We played a series of shows in February and March 1981 and most of the songs destined for 'Juju' were debuted then."

"It was," said Sioux, "the complete opposite of the way we'd done 'Kaleidoscope'."

Whereas 'Kaleidoscope' had been conceived as a set of songs united only in their diversity, 'Juju' grew from one central idea.  "'Juju' was the first time we'd made, for want of a better word a 'concept' album that drew on darker elements," Severin said recently.  "It wasn't pre-planned, but as we were writing, we saw a definite thread running through the songs, almost a narrative to the album as a whole.  The African statue on the cover, which we found in the Horniman Museum in Forest Hill, was the starting point for a lot of the imagery."

'Juju' has since become regarded as the ultimate 'goth' album.  "The Banshees would never say they were a goth band because it's simply not true" said John McGeoch.  "They paved the way for other people to say they were goth bands, but it simplifies things too much to give it a label like that.  We were more thriller than horror movie, more Hitchcockian blood dripping on a daisy than putting fangs in something."

Because all the songs had been, says Severin, "honed to perfection and bullied into shape by playing them live", there was only a hint of studio experimentation when The Banshees came to record the album in March and April 1981, again with Nigel Gray producing.  "Everything was crisp by then," Severin explains.  "We'd already been through the 'lose that verse, lose that change, you're losing the audience' bit already.  We knew exactly what we were playing, and what overdubs we wanted to do."

"It really felt like a solid unified group around that time," added Sioux.  "A lot could be understood without anyone necessarily saying it."

Fired up with a sense of unity and purpose they'd not experienced since recording 'The Scream' in 1978, Siouxsie And The Banshees knew they had a work of real significance within their grasp.  And, if some of the record harked back to the vintage Banshees group sound, there was also inspiration from another, less likely quarter.  "Me and McGeoch talked about 'Their Satanic Majesties Request' - era Rolling Stones a lot while we were working on 'Juju'," says Severin.  "We weren't necessarily going to dress up in capes and pointy hats, but we wanted that 'Stones or Small Faces go psych' feel."

Both 'Spellbound' and 'Arabian Knights' were urgent, electric-acoustic and dramatic, full sounding restatements of the band's original style.  "They just came out like that," says Severin.  "They were both strikingly obvious singles, though they weren't written deliberately for that purpose."

'Spellbound' was classic Banshee Pop, whilst 'Arabian Knights', a despairing song that looks at the oppression of women in the Middle East, was accompanied by scenes reminiscent of an old Alexander Korda epic, complete wit mock swordfights and flying carpets.  "That wasn't such an obvious single," reckons Severin.  "In fact it opens quite moodily, before you get to the chanting chorus."

The hits might have helped boost sales, but what really transformed 'Juju' into one of the key Banshees albums were the four lengthy epics that provided the cornerstones of the band's live shows, both throughout this period and beyond.

Coming after the two singles, and the gloriously corrupted funk of 'Into The Light' Steven Severin's 'Halloween'  marked a dramatic change in pace.  Although milking the title for all it was worth ("trick or treat"), the song was actually based on a revelation the bassist experienced when he was six.  "I suddenly realised that I was a separate person," he said.  "I was no longer simply part of things.  And once you realise that, you've lost a certain innocence."

If 'Halloween' was the most furiously paced of the quintessential quartet, the five-minute-plus 'Monitor' was the most relentless and dirge-like.  "It's about tower block muggings," said Siouxsie around the time of the album's release.  "I read that they installed monitor cameras in the building and eventually people use to watch them more than TV!," she continued with considerable - and Orwellian-like - prescience.

Sandwiched between the two epic performances on the second side of the original vinyl LP are 'Sin In My Heart', a cue for Sioux to pick up her teardrop-style guitar on stage, and the woefully underrated 'Head Cut', a breathtakingly intense song that literally exhausts Sioux by the end.

Inevitably, though, it's 'Night Shift' and 'Voodoo Dolly' that steal the show.  Both break the six-minute mark, both are full of menace, shifts in dynamics and are both tailor-made for the stage.

'Night Shift' was based on a true-life murderer.  "This news journalist told me that they had a lot of information about the (Yorkshire) Ripper before he was caught," said Sioux in 1981.  "I don't know how true... that he was a necrophiliac, at least while he was a gravedigger, and that was why he wanted to work the night shift."

Although the song's dramatic build-up sounds perfectly accomplished to ordinary ears, Steven Severin now admits that, "of all the songs on 'Juju', that one's the least prepar4ed.  It sounds loose, a bit hesitant though that's quite charming to me.  Someone once told us it reminded them of Led Zeppelin's 'Kashmir', so as time went on, we decided to make it more 'Kashmir' than 'Kashmir'!"

If ever a song threatened to encapsulate Siouxsie Sioux in song, it is - for better or for worse - 'Voodoo Dolly'.  It's virtually impossible to listen to it without recalling her flamboyant, flamenco-influenced dancing and dramatic falls to the floor at the climax of The Banshees' live show.  As the slow, funeral pace picks up, Sioux appears to become increasingly possessed by spirits conjured up by the song, or "that little drum in your ear".  Either live or on record, 'Voodoo Dolly' was always a spellbinding performance, a seven-minute incantation to the unthinkable that ends in an old-fashioned, all guns blazing climax.

"That's the song that brought all the skulls and beads out," says Steven Severin, recalling the era when Siouxsie became the undisputed witch queen of the British rock underground.  "But look at the photos on the inner cover and she's wearing white lipstick like a Mary Quant mod.  It was as much '60s as it was anything else."

'Juju' did have a horror theme to it, but it was psychological horror and nothing to do with ghosts and ghouls.  We were quite confident with the image we were putting across, and were starting to play with it a bit."

Not that their audiences - or the many bands that followed in their wake - always understood that.  "I've always thought that one of our greatest strengths was our ability to craft tension in music and subject matter," Sioux added.  "'juju' had a strong identity, which the goth bands that came in our wake tried to mimic, but they simply ended up diluting it.  They were using horror as the basis for stupid rock 'n' roll pantomime.  There was no sense of tension in their music."

Mark Paytress 2006.

PUNK?  GOTH?  GLAM?  PSYCHEDELIA?  THREE CLASSIC BANSHEES ALBUMS REMASTERED

Whether being chatted up by Bill Grundy, or playing alongside Sid Vicious in an early Banshees incarnation at the 100 Club, Siouxsie Sioux is considered central to punk's legend.  However the Banshees, formed with glam devotee and fellow disaffected suburbanite Steve Severin, stood counter to the punk ethic.  Whereas much punk evoked the bleak, bus-shelter misery of '70s Britain as a stark corrective to prog rock's fantasy universe, the Banshees' confrontation tactics involved scaring up a proto-Goth, anti-romantic world of voodoo, horror and the occult.

Scorning the inclusivity of punk ("Everyone can't do it," Severin famously said), the Banshees found immediate popularity.  By the time of Join Hands, their second LP in '79, they were no longer the only practitioners of their signature, swirling, sheet-metal guitar sound, as evinced on "Playground Twist".  Although "Icon", with its scorched-earth guitar backdrop, captured their very fiery essence, and "The Lord's Prayer" is an exhilarating ordeal, tracks like "Regal Zone" suggest a band scratching at a metal door, uncertain where to go next.

The tensions that held the Banshees together dully pulled them apart and, following Join Hands, guitarist John McKay and drummer Kenny Morris acrimoniously quit the band.  Kaleidoscope, which bitterly acknowledges the split on "Happy House", is a halfway affair musically, even if new additions Budgie (who adds rhythmic flair to tracks like "Lunar Camel") and ex-Magazine guitarist John McGeoch fit in seamlessly.  Most intriguing on this reissue is the addition of demos for, among others, "Christine" and "Paradise Place", real chalk and pins stuff which shows the new line-up struggling to turn a setback into neo-psychedelic opportunity.

1981's Juju, in contrast, was The Banshees' most fully realised album.  Alongside the whipcracking dervish of "Spellbound" and the kinetic glitter of "Into The Light", "Halloween" makes a mockery of the clunky Goth scene the Banshees accidentally inspired.  And "Voodoo Dolly", which distils the bloodsucking fear the Banshees hoped to inspire, is indicative of a band who, against all odds, were in complete control.

Join Hands 4/5
Kaleidoscope 3/5
Juju 4/5

Q&A STEVE SEVERIN

UNCUT:  Were you 'anti-punk' in some ways?

STEVE SEVERIN:  Anti the second wave of punk, maybe.  People like The Clash, who set up that whole tower block aesthetic.  That's not what we were about, nor the Pistols or Wire.  I always hated that.

How did you approach remaking the band after McKay and Morris split?

With a mixture of terror and adrenaline!  We were still novices musically.  We had to start anew, though that was a blessing - that line-up probably only had one more album in it.

You were hailed as the first Goths.  How did that feel?

We never liked being called punks or Goths.  We made videos dressed in white just to distance ourselves from that.

Are you friends with McKay and Morris today?

Yes, it's all hunky dory.  Siouxsie and Budgie met John McKay and his wife-to-be on the eve of their wedding and got them hugely hungover.  She said ruining their marriage was revenge for him ruining the band!

David Stubbs

Chilling

From ice maiden to carnival queen - Siouxsie And The Banshees on CD.

At the dawn of punk, Siouxsie Sioux was chiefly renowned for her dismissal of Bill Grundy as "a dirty old man" and for a dress sense designed to provoke an outbreak of British sexual hypocrisy.  The Banshees may have made their debut at the 100 Club Punk Festival in 1976 but their extended assault on The Lord's Prayer was as much a dare as a stab at launching a career.  Siouxsie's original invention was herself and that unflinching stare remains one of the great icons of punk's disdain.

These beginnings render it all the more surprising that, 11 albums on, the Banshees have long transcended the first flush of punk to create an unmatched legacy of dramatic and very British pop.  Polydor's release of the first seven Banshees titles on CD means that all their output is now available on compact disc bar the two "holiday projects", The Creatures and The Glove.  If Siouxsie's reputation remains that of the haughty Queen of Gothic Punk, these CDs suggest that, within the parameters of their brooding and fantastical world view, there is a good deal more to Siouxsie and her long-term partner Steve Severin than that enduring image suggests.

Although Siouxsie and Severin's punk credentials are impeccable, the Banshees were the last of the original punk clan to release a record.  By the time Hong Kong Garden entered the Top Ten in August 1978, the Banshees had already seen their fair share of touring and rapidly progressed beyond the confrontational three-chord thrash that had rendered punk a musical cliché.  Spearheaded by John McKay's sheet-metal guitar, their debut LP The Scream virtually invented the Gothic rock genre overnight and stands alongside Magazine's Real Life as a turning point in punk's movement away from rabble-rousing and into the internal landscape of the psyche.  While songs like Carcass are dated by their goose-stepping beat and stone-faced delivery, the gut-wrenching Overground and the dizzy Jigsaw Feeling demonstrate that already the Banshees were far more concerned with psychodramas of disgust than confronting society head on.

The Scream was a new take on suburban angst as Siouxsie's howling vocals intimated that the boredom and alienation of suburban life amounted to nothing less than a horror show.  On later albums, the Banshees would uncover a rich exoticism in suburban fears; on The Scream, Steve Lillywhite's thundering production ensures that they sound trapped.  Restored on CD to all its forbidding austerity, The Scream is both a declaration of intent and something of an artistic full stop.

The following year's Join Hands indicates that while only PiL could match the Banshees' chilling wail of noise, they'd left themselves little room to manoeuvre.  McKay's guitar still seesaws disturbingly and Severin's ear for compelling bass riffs is apparent on Placebo Effect, but while Siouxsie turns domestic claustrophobia into Gothic nightmare on Premature Burial and Mother, her vocals are oddly unwieldy.  While Hong Kong Garden had displayed an ability to combine a playful sense of unease with driving pop melody, on Join Hands there are only riffs.

The departure of McKay and drummer Kenny Morris a mere four days after its release suggests that the Banshees' two halves had indeed reached an impasse.  The next album Kaleidoscope featured the now long-serving Budgie on drums and guitar work from John McGeoch and Steve Jones.  The Banshees' embattled state obliged Sioux and Severin to rediscover their pop flair and the album's tow singles, Happy House and Christine, display a renewed ability to surround Siouxsie's icy mixture of fatalism and sarcasm in the kind of melodies that even a punk's parents might hum.  The inventiveness of a piece like Red Light, driven along by the clicks of a camera shutter, proved that the Banshees were considerably more than a one-trick pony.

1981's Juju finds McGeoch firmly ensconced on guitar, Sioux and Severin devoting themselves to an exhaustive exploration of the power of idols and the Banshees reborn as a magisterial hard rock band.  On moody songs like Arabian Knights, Siouxsie unveils a new sensuality while the Banshees display the brooding authority of the Stones circa Paint It Black.

Juju confirmed the Banshees' staying power even if their frequent assaults on the singles chart has never own them a mass following like that of The Cure.  Most early Banshee albums have their indigestible moments and the argument that they are the best singles band gains some credence from the Once Upon A Time collection where early singles like The Staircase gain contrast from later stabs like the eerie Israel.  A sequel is now surely due.

A Kiss In The Dreamhouse (1982) found the Banshees further investigating the kind of offbeat textures that Brian Jones brought to the Stones in the mid-'60s.  Songs like She's A Carnival and Cascade make gorgeous use of strings while Siouxsie's voice acquires a hidden warmth for studies in erotic extremity like Melt! and Obsession.  Dreamhouse probably remains the Banshees' finest hour.

In 1983, the Banshees marked time with the live Nocturne, a well-recorded resumé of the band's capacity for Sturm und Drang lightened by the occasional exchange with the audience ("What time tunnel did you crawl out of?" Siouxsie asks one particularly nostalgic punk fan).  McGeoch had flown the nest immediately after the Dreamhouse and Nocturne misses his magisterial authority despite Robert Smith's capable but understandably muted understudying.  Smith soon departed in turn and the Banshees spent the mid '80s trying to capture their old fire.

The Banshee's origins and Siouxsie's forbidding stare have made it hard for them to escape their punk associations while their use of horror imagery has occasionally blinded fans to the questions of power and threatened innocence their unsettling narratives explore.  These CDs lend their work a fresh clarity and trace a remarkable evolution which serves as a reminder that, for its bravest exponents, punk was always more a question of daring than a set of conventions.

The Scream 4/5
Join Hands 3/5
Kaleidoscope 3/5
Juju 4/5
Once Upon A Time 4/5
A Kiss In The Dreamhouse 4/5
Nocturne 3/5

Mark Copper

Without wishing to sound demeaning or sexist, I have observed that the most popular women in the r'n'r world are fond of playing character-roles within their music: viz Toyah the rebellious child-woman, Kate Bush the poetic fairy princess, and Siouxsie Sioux, once ice-maiden, now the witch, the soothsayer, the bringer of evil tidings.

A fetish, African magical rites or spells - that's both the real Juju and the make-believe Juju - and rarely has a title so succinctly summed up the mood of a record. This is the soundtrack of the unknown, hinting darkly at black magic, witchery, murder and death. After the relative calm (before the storm) and optimism of "Kaleidoscope" the Banshees are wailing again, doom is at the door, creating what is hardly the sound of summer but what is something intriguing, intense, brooding and powerfully atmospheric.

Sioux's voice seems to have acquired a new fullness of melody - a rich, dark smoothness matched only, perhaps, by Bourneville chocolate and Jim Morrison! The sacrificial dance of "Spellbound" is relentlessly dark but at the same time deliciously fertile of melody, courtesy Sioux, the echoing tribal drums of Budgie, and McGeoch, the only man who can make an acoustic guitar sound foreboding. The way this unit operates is impressively cohesive, like one brain the inventive musical talents of McGeoch, Budgie and Severin mesh perfectly with Sioux's rant.

"Into The Light" becomes hypnotic as simple melodies flow and wordy rhymes repeat themselves into a trance, voice and guitar delicately interplay. "Arabian Knights" steps on less menacing territory, with words that seem to criticise the Westernisation of Arabia, but in an atmosphere of devilish proportions that would fit comfortably into "Rosemary's Baby": "I heard a rumour, what have you done to her/Veiled behind screens/Kept as your baby machine/Whilst you conquer more orifices...."

With a beat blacker than Burundi, "Halloween" becomes a whirlpool, an insistent pressure enticing you to become a whirling dervish to the irresistible mixture of hooks (trick or treat?) harmony and grinding dance. Bewitched, bothered and bewildered? The oppressive feel of "Monitor" matches its lyric, condemning the erosion of liberty: "Sit back and enjoy/The real McCoy/Our new air of authority/Our sentinel of misery" , and the teeth-gnashing sound of McG's guitar, one of his many moody effects which sound as if they should be synthesised.

A return to morbid fascinations on "Night Shift", a slower, more menacing paean to vampires, necrophilia and murder with some particularly evocative imagery: "The cold marble slab submits at my feet/With a sweet dissection/Looking so sweet to me - please come to me/With your cold flesh - my cold love.." After the frantic soaring, almost purgative effect of "Sin In My Heart" comes a piercing cry from Sioux-warrior into "Head Cut", a surreal panorama of Bosch-like visions, of lips eating lips, death masks, shrunken severed heads and fires of hell, accompanied by bizarre and haunting guitar noise. We descend into what is probably the raison d'etre of "Juju", "Voodoo Dolly", as Sioux sticks pins in you with swoops and echoes, Budgie performs a primitive tribal rhumba and McGeoch wrings and wrenches yet more un-guitar like notes from his instrument.

Hubble bubble, "such an ugly little dolly", toil and trouble, "her nails are deep in your hair". They wardance to an end, teasing and gloating over an imaginary victim, Sioux ju-jubilant. As the witch says, it sends you spinning, you have no choice, you are entranced, spellbound. Dance, dance, dance."  

4½ Out Of 5  

Betty Page 

More press...

Scarecrow grins he's growing very tall
Growing tall under the golden sun
The golden sun

Growing with the children of the corn
Sending out the message of a strange tongue
A message of the sun

Young skin stretched thin over a flawless grin
The crimson spilling golden crops of hair
Spilling everywhere

Watch the children of the corn follow
One by one they're following the sun
Got to run

Following the sun on the run
Following the sun
Don't be ashamed of what you've done
You must not run
Follow the sun

Sioux - Lyrics
Sioux - Voice
Severin - Bass
McGeoch - Reverse Solo Guitar
Budgie - Dry Drums & Arid Percussion

Shiny, shiny pieces
Shut your mouth

Pass the parcel
Pass the castle
Kill the Queen
With little shiny razors
Black, shiny razors

Cutthroat finger
Rain red, rain red
Towers open fire

Severin - Lyrics
Sioux - Voices & Faders
Severin - Drumbox
McGeoch - Stutter Guitar
Nigel Gray - Loops & Faders

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

Lyrics:  Severin

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

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

Into the line
I see it fine
Into the line
Our hearts entwine
Remember when
Your time again

Standing in the light
Always sitting on the line
Never on a side
Always wanting to be right
Pushing out the light
Standing in the light
I never wanted to be right
Now I'm attracted by the light
And blinded my the sight

Into the light
I see it fight
Into the light
A new horizon
Bleached into white
Kept out of sight

Dead ahead in the night
Burning in the light
And knowing that it's right
Driving in the night
Dead ahead in the light
Into the light

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

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

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

The night is still
And the frost it bites my face
I wear my silence like a mask
And murmur like a ghost

"Trick or Treat"
"Trick or Treat"
The bitter and the sweet

"Trick or Treat"
"Trick or Treat"
The bitter and the sweet
 
The carefree days
Are distant now
I wear my memories like a shroud
I try to speak but words collapse
Echoing, echoing

"Trick or Treat"
"Trick or Treat"
The bitter and the sweet

"Trick or Treat"
"Trick or Treat"
The bitter and the sweet

I wander though your sadness
Gazing at you with scorpion eyes
Halloween Halloween
 
A sweet reminder
In the ice-blue nursery
Of a childish murder
Of hidden lustre
And she cries

"Trick or Treat"
"Trick or Treat"
The bitter and the sweet

"Trick or Treat"
"Trick or Treat"
The bitter and the sweet
 
I wander through your sadness
Gazing at you with scorpion eyes
Halloween Halloween

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

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

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

Only at night time I see you
In darkness I feel you
A bride by my side
I'm inside many brides
Sometimes I wonder

What goes on in your mind
Always silent and kind
unlike the others

Fuck the mothers kill the others
Fuck the others kill the mothers
I'll put it out of my mind because I'm out of my mind with you
In heaven and hell with you

My night shift sisters
Await your nightly visitor
They don't bother me no
No they don't bother me

The cold marble slab
Submits at my feet
With a neat dissection
Looking so sweet to me, please come to me

With your cold flesh, my cold love
Hissing, not kissing
A happy go lucky chap
Always dressed in black
He'll come to you, he'll come to you

My night shift sisters
With your nightly visitor
A new vocation in life
My love with a knife

Fuck the mothers kill the others
Fuck the others kill the mothers
I'll put it out of my mind because I'm out of my mind with you
in heaven and hell with you

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

Sin in my heart
Sin in my heart
Sin in my heart flying like a dart
Oh sin in my heart

It's beginning to start
It's beginning to start
When you're lying like a tart
Sin in my heart
When you grovel at my feet
Oh sin in my heart
It's short and sweet

Sin in my heart
Swift as a dart sin in my heart
Oh sin in my heart

When you grovel at my feet
Keep it short and sweet
Sin in my heart

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

The head is the best part
My headcut my woodcut
I saw you in the gallery
With your torso and family
A huge smiling central face
With eyes and lips cut out
But smiling and eating
Lots of others lips
 
A beautiful mask in plastercast
Such a beautiful mask in plastercast
 
Can I take it back with me
Back to the flat with me
 
Oh severed head
I'll feed your head with bread
And paint your lips bright red
I'll keep it fresh on ice
It will look very nice
 
Can I take it with me
Back to flat with me

Shrunken heads under the bed
The flies are humming
There's a red under the bed
The spit is turning
Roasting burning
Shadows dancing-by the fire
Flickering flames laugh-with desire
 
The head is the best part
My headcut my woodcut

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

She's your little voodoo dolly
And she's gonna make you lazy
Like the little drum in your ear
Transfixes you to your fear

And now she's transfixed in your fear
And you know she's gonna stay there
Because her nails are deep in your hair
And she made you so unaware
 
Are you listening to your fear
The beat is coming nearer
Like the little drum in your ear
Transfixes you to your fear
 
She's such an ugly little dolly
And she's making you look very silly
And when you listen in to her ear
You get paralysed with her fear
Oh down down in your fear
 
Now this little voodoo dolly
Has made you very lazy
And you're anaemic from her sucking
And when your dead she'll find another

Better break that little dolly
And sling her in the corner
Now she's a sorry little dolly
Such a sorry little dolly
 
Are you listening to your fear
The beat is coming nearer
Like that little drum in your ear
Transfixing you to your fear
listen

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

Your love your love your love your love is a supernatural thing
Your love your love your love is a supernatural thing
When we touch it gives me some funny feeling in my brain
I'm so possessed by your love sometimes I don't even know my name
When we kiss you know you make me hot
I break out sometimes in little bitty green spots
You give me give me what you got
But don't stop it now 'cause I need a lot

Your love your love your love your love is a supernatural thing
Your love your love your love your love is a supernatural thing
Interplanetary, extraordinary oh I like it
Interplanetary, extraordinary oh I like it, I like it

You give me constant feeling every time I squeeze you
Your love so electrifying so satisfying Lord knows I ain't lying
Your love your love your love your love is a supernatural thing
Your love your love your love is a supernatural thing
Interplanetary, extraordinary oh I like it
Interplanetary, extraordinary oh
Supernatural Thing

Interplanetary, extraordinary
Supernatural Thing

Gwen Guthrie/Patrick Grant - Lyrics
Sioux - Voice
Severin - Bass
McGeoch - Guitar
Budgie - Drums & Percussion

Oh
Six-foot high
In the sky
Jive and jibe
Watutsi tribe

Oh

Watch the Conga eel
Squeeze with deadly steel
His next Congo meal

Oh

Carramba, carramba
Congo Conga
We can do the can can
To the Congo Conga

Oh

Bow down to Mau Mau
Whilst humming the Congo Conga
Now we say meow to the nasty Mau Mau

Deep in the heart of this quagmire
Danced the Congo Conga
Vipers of Zaire
Raised heads and shook the fear

Oh

Carramba, carramba
Congo Conga
We can do the can can
To the Congo Conga

Oh

La la la-oh

Six-foot high
In the sky
Jive and jibe
Watutsi tribe

Please don't cry
Watutsi tribe
You're still high
Up in the sky

La la la-oh

We can do the can can

Do the Congo Conga

Sioux - Lyrics
Sioux - Voice
Severin - Bass & Machine Flange
McGeoch - Pennywhistle Guitar
Budgie - Zulu Drums, Percussion & More Drums

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

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