Siouxsie and the Banshees

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Siouxsie and the Banshees_table_infobox_0

Siouxsie and the BansheesSiouxsie and the Banshees_header_cell_0_0_0
Background informationSiouxsie and the Banshees_header_cell_0_1_0
Also known asSiouxsie and the Banshees_header_cell_0_2_0 Janet and the IcebergsSiouxsie and the Banshees_cell_0_2_1
OriginSiouxsie and the Banshees_header_cell_0_3_0 London, EnglandSiouxsie and the Banshees_cell_0_3_1
GenresSiouxsie and the Banshees_header_cell_0_4_0 Siouxsie and the Banshees_cell_0_4_1
Years activeSiouxsie and the Banshees_header_cell_0_5_0 1976–1996, 2002Siouxsie and the Banshees_cell_0_5_1
LabelsSiouxsie and the Banshees_header_cell_0_6_0 Siouxsie and the Banshees_cell_0_6_1
Associated actsSiouxsie and the Banshees_header_cell_0_7_0 Siouxsie and the Banshees_cell_0_7_1
WebsiteSiouxsie and the Banshees_header_cell_0_8_0 Siouxsie and the Banshees_cell_0_8_1
Past membersSiouxsie and the Banshees_header_cell_0_10_0 Siouxsie Sioux

Steven Severin Marco Pirroni Sid Vicious Kenny Morris Peter Fenton John McKay Budgie Robert Smith John McGeoch John Valentine Carruthers Martin McCarrick Jon Klein Knox ChandlerSiouxsie and the Banshees_cell_0_10_1

Siouxsie and the Banshees were a British rock band, formed in London in 1976 by vocalist Siouxsie Sioux and bass guitarist Steven Severin. Siouxsie and the Banshees_sentence_0

They have been widely influential, both over their contemporaries and with later acts. Siouxsie and the Banshees_sentence_1

Q included John McKay's guitar playing on "Hong Kong Garden" in their list of "100 Greatest Guitar Track Ever", while Mojo rated guitarist John McGeoch in their list of "100 Greatest Guitarists of All Time" for his work on "Spellbound". Siouxsie and the Banshees_sentence_2

The Times cited the group as "one of the most audacious and uncompromising musical adventurers of the post-punk era". Siouxsie and the Banshees_sentence_3

Initially associated with the punk scene, the band rapidly evolved to create "a form of post-punk discord full of daring rhythmic and sonic experimentation". Siouxsie and the Banshees_sentence_4

Their debut album The Scream was released in 1978 to widespread critical acclaim. Siouxsie and the Banshees_sentence_5

In 1980, they changed their musical direction and became "almost a different band" with Kaleidoscope, which peaked at number 5 in the UK Albums Chart. Siouxsie and the Banshees_sentence_6

With Juju (1981) which also reached the top 10, they became an influence on the emerging gothic scene. Siouxsie and the Banshees_sentence_7

In 1988, the band made a breakthrough in North America with the multifaceted album Peepshow, which received critical praise. Siouxsie and the Banshees_sentence_8

With substantial support from alternative rock radio stations, they achieved a mainstream hit in the US in 1991 with the single "Kiss Them for Me". Siouxsie and the Banshees_sentence_9

During their career, Siouxsie and the Banshees released 11 studio albums and 30 singles. Siouxsie and the Banshees_sentence_10

The band experienced several line-up changes, with Siouxsie and Severin being the only constant members. Siouxsie and the Banshees_sentence_11

They disbanded in 1996, with Siouxsie and drummer Budgie continuing to record music as the Creatures, a second band they had formed in the early 1980s. Siouxsie and the Banshees_sentence_12

In 2004, Siouxsie began a solo career. Siouxsie and the Banshees_sentence_13

History Siouxsie and the Banshees_section_0

Formation (1976–1977) Siouxsie and the Banshees_section_1

Siouxsie Sioux and Steven Severin met at a Roxy Music concert in September 1975, at a time when glam rock had faded and there was nothing new coming through with which they could identify. Siouxsie and the Banshees_sentence_14

From February 1976, Siouxsie, Severin and some friends began to follow an unsigned band, the Sex Pistols. Siouxsie and the Banshees_sentence_15

Journalist Caroline Coon dubbed them the "Bromley Contingent", as most of them came from the Bromley region of southern Greater London, a label Severin came to despise. Siouxsie and the Banshees_sentence_16

"There was no such thing, it was just a bunch of people drawn together by the way they felt and they looked". Siouxsie and the Banshees_sentence_17

They were all inspired by the Sex Pistols and their uncompromising attitude. Siouxsie and the Banshees_sentence_18

When they learned that one of the bands scheduled to play the 100 Club Punk Festival, organised by Sex Pistols manager Malcolm McLaren, were pulling out from the bill at the last minute, Siouxsie suggested that she and Severin play, even though they had no band name or additional members. Siouxsie and the Banshees_sentence_19

Two days later, the pair appeared at the festival held in London on 20 September 1976. Siouxsie and the Banshees_sentence_20

With two borrowed musicians at their side, Marco Pirroni on guitar and John Simon Ritchie (already commonly known as Sid Vicious) on drums, their set consisted of a 20-minute improvisation based on "The Lord's Prayer". Siouxsie and the Banshees_sentence_21

While the band intended to split up after the gig, they were asked to play again. Siouxsie and the Banshees_sentence_22

Two months later, Siouxsie and Severin recruited drummer Kenny Morris and guitarist Peter Fenton. Siouxsie and the Banshees_sentence_23

After playing several gigs in early 1977, they realised that Fenton did not fit in because he was "a real rock guitarist". Siouxsie and the Banshees_sentence_24

John McKay finally took his place in July. Siouxsie and the Banshees_sentence_25

Their first live appearance on television took place in November on Manchester's Granada, on Tony Wilson's TV show So It Goes. Siouxsie and the Banshees_sentence_26

They then recorded their first John Peel session for BBC radio in which they premiered a new song "Metal Postcard", introducing a "motorik austerity" in the drums patterns.. Siouxsie and the Banshees_sentence_27

The band described their music as "cold, machine-like and passionate at the same time". Siouxsie and the Banshees_sentence_28

Appearing on the front cover of UK weekly Sounds magazine, Vivien Goldman wrote: "they sound like a 21st century industrial plant". Siouxsie and the Banshees_sentence_29

The Scream and Join Hands (1978–1979) Siouxsie and the Banshees_section_2

While the band sold out venues in London in early 1978, they still had problems getting the right recording contract that could give them "complete artistic control". Siouxsie and the Banshees_sentence_30

Polydor finally offered this guarantee and signed them in June. Siouxsie and the Banshees_sentence_31

Their first single, "Hong Kong Garden", featuring a xylophone motif, reached the top 10 in the UK shortly after. Siouxsie and the Banshees_sentence_32

A NME review hailed it as "a bright, vivid narrative, something like snapshots from the window of a speeding Japanese train, power charged by the most original, intoxicating guitar playing I heard in a long, long time". Siouxsie and the Banshees_sentence_33

The band released their debut album, The Scream, in November 1978. Siouxsie and the Banshees_sentence_34

Nick Kent of NME said of the record: "The band sounds like some unique hybrid of the Velvet Underground mated with much of the ingenuity of Tago Mago-era Can, if any parallel can be drawn". Siouxsie and the Banshees_sentence_35

At the end of the article, he added this remark: "Certainly, the traditional three-piece sound has never been used in a more unorthodox fashion with such stunning results". Siouxsie and the Banshees_sentence_36

The Banshees' second album, Join Hands, was released in 1979. Siouxsie and the Banshees_sentence_37

In Melody Maker, Jon Savage described "Poppy Day" as "a short, powerful evocation of the Great War graveyards", and Record Mirror described the whole record as a dangerous work that "should be heard". Siouxsie and the Banshees_sentence_38

The Banshees embarked on a major tour to promote the album. Siouxsie and the Banshees_sentence_39

A few dates into the tour in September, Morris and McKay left an in-store signing after an argument and quit the band. Siouxsie and the Banshees_sentence_40

In need of replacements to fulfill tour dates, the Banshees' manager called drummer Budgie, formerly with the Slits, and asked him to audition. Siouxsie and the Banshees_sentence_41

Budgie was hired, but Siouxsie and Severin had no success auditioning guitarists. Siouxsie and the Banshees_sentence_42

Robert Smith of the Cure offered his services in case they could not find a guitarist (his group were already the support band on the tour), so the band held him to it after seeing too many "rock virtuosos". Siouxsie and the Banshees_sentence_43

The tour resumed in September and after the last concert, Smith returned to the Cure. Siouxsie and the Banshees_sentence_44

Kaleidoscope, Juju and A Kiss in the Dreamhouse (1980–1982) Siouxsie and the Banshees_section_3

Drummer Budgie became a permanent member, and the band entered the studios to record the single "Happy House" with guitarist John McGeoch, then still a member of Magazine. Siouxsie and the Banshees_sentence_45

Their third album, Kaleidoscope, released in 1980, saw the Banshees exploring new musical territories with the use of other instruments like synthesizers, sitars and drum machines. Siouxsie and the Banshees_sentence_46

The group initially had a concept of making each song sound completely different, without regard to whether or not the material could be performed in concert. Siouxsie and the Banshees_sentence_47

Melody Maker described the result as "a kaleidoscope of sound and imagery, new forms, and content, flashing before our eyes". Siouxsie and the Banshees_sentence_48

Kaleidoscope was a commercial success, peaking at number 5 in the UK albums chart. Siouxsie and the Banshees_sentence_49

This lineup, featuring McGeoch on guitar, toured the United States for the first time in support of the album, playing their first shows in New York City in November 1980. Siouxsie and the Banshees_sentence_50

For Juju (1981), the band took a different approach and practised the songs in concert first before recording them. Siouxsie and the Banshees_sentence_51

Juju, according to Severin, became an unintentional concept album that "drew on darker elements". Siouxsie and the Banshees_sentence_52

Sounds hailed it as "intriguing, intense, brooding and powerfully atmospheric". Siouxsie and the Banshees_sentence_53

The album later peaked at number 7 in the UK albums chart and became one of their biggest sellers. Siouxsie and the Banshees_sentence_54

McGeoch's guitar contributions on Juju would be later praised by Johnny Marr of the Smiths. Siouxsie and the Banshees_sentence_55

During the 1981 accompanying tour, Siouxsie and Budgie secretly became a couple. Siouxsie and the Banshees_sentence_56

At the same time, they also began a drum-and-voice duo called the Creatures, releasing their first EP, Wild Things. Siouxsie and the Banshees_sentence_57

The Banshees followed in 1982 with the psychedelic A Kiss in the Dreamhouse. Siouxsie and the Banshees_sentence_58

The record, featuring strings on several numbers, was an intentional contrast to their previous work, with Severin later describing it as a "sexy album". Siouxsie and the Banshees_sentence_59

The British press greeted it enthusiastically. Siouxsie and the Banshees_sentence_60

Richard Cook finished his NME review with this sentence: "I promise...this music will take your breath away". Siouxsie and the Banshees_sentence_61

At that time, McGeoch was struggling with alcohol problems, and was hospitalised on his return to a promotional trip from Madrid. Siouxsie and the Banshees_sentence_62

The band fired him shortly thereafter. Siouxsie and the Banshees_sentence_63

Severin asked Robert Smith to take over guitarist duties again; Smith accepted and rejoined the group in November 1982. Siouxsie and the Banshees_sentence_64

Hyæna, Tinderbox and Through the Looking Glass (1983–1987) Siouxsie and the Banshees_section_4

During 1983, the band members worked on several side projects; Siouxsie and Budgie composed the first Creatures album, Feast, while Severin and Smith recorded as the Glove. Siouxsie and the Banshees_sentence_65

Smith then insisted on documenting his time with the Banshees, so the group released a cover version of the Beatles' "Dear Prudence" in September 1983. Siouxsie and the Banshees_sentence_66

It became their biggest hit, reaching number 3 on the UK Singles Chart. Siouxsie and the Banshees_sentence_67

They also released a live album, Nocturne, and completed their sixth studio album, Hyæna. Siouxsie and the Banshees_sentence_68

Shortly before its release in May 1984, Smith left the group, citing health issues due to an overloaded schedule, being in two bands at once. Siouxsie and the Banshees_sentence_69

Ex-Clock DVA guitarist John Valentine Carruthers replaced him. Siouxsie and the Banshees_sentence_70

The Banshees then reworked four numbers from their repertoire, augmented by a string section, for The Thorn EP. Siouxsie and the Banshees_sentence_71

NME praised the project at its release: "The power of a classical orchestra is the perfect foil for the band's grindingly insistent sounds". Siouxsie and the Banshees_sentence_72

The new Banshees lineup spent much of 1985 working on a new record, Tinderbox. Siouxsie and the Banshees_sentence_73

The group finished the song "Cities in Dust" before the album, so they rushed its release as a single prior to their longest tour of the UK. Siouxsie and the Banshees_sentence_74

Tinderbox was finally released in April 1986. Siouxsie and the Banshees_sentence_75

Sounds magazine noted: "Tinderbox is a refreshing slant on the Banshees' disturbing perspective and restores their vivid shades to pop's pale palette". Siouxsie and the Banshees_sentence_76

Due to the length of time spent working on Tinderbox, the group desired spontaneity and decided to record an album of cover songs, Through the Looking Glass, in 1987. Siouxsie and the Banshees_sentence_77

Mojo magazine later praised their version of "Strange Fruit". Siouxsie and the Banshees_sentence_78

After the album's release, the band realised Carruthers was no longer fitting in and decided to work on new material as a trio. Siouxsie and the Banshees_sentence_79

Peepshow (1988–1990) Siouxsie and the Banshees_section_5

Following a lengthy break, the band recruited multi-instrumentalist Martin McCarrick and guitarist Jon Klein. Siouxsie and the Banshees_sentence_80

The quintet recorded Peepshow in 1988, with non-traditional rock instrumentation including cello and accordion. Siouxsie and the Banshees_sentence_81

Q magazine praised the album in its 5-star review: "Peepshow takes place in some distorted fairground of the mind where weird and wonderful shapes loom". Siouxsie and the Banshees_sentence_82

The first single, "Peek-a-Boo", was seen by critics as a "brave move" with horns and dance elements. Siouxsie and the Banshees_sentence_83

Sounds wrote: "The snare gets slapped, Siouxsie's voice meanders all around your head and it all comes magically together". Siouxsie and the Banshees_sentence_84

"Peek-a-Boo" was their first real breakthrough in the United States. Siouxsie and the Banshees_sentence_85

After the tour, the band decided to take a break, with Siouxsie and Budgie recording as the Creatures and releasing their most critically acclaimed album to date, Boomerang, and Severin and McCarrick working on material together. Siouxsie and the Banshees_sentence_86

Superstition, The Rapture and break-up (1991–1999) Siouxsie and the Banshees_section_6

In 1991, Siouxsie and the Banshees returned with the single "Kiss Them for Me", mixing strings over a dance rhythm laced with exotica. Siouxsie and the Banshees_sentence_87

The group collaborated with the then unknown Asian Tabla player Talvin Singh, who also sang during the bridge. Siouxsie and the Banshees_sentence_88

The single received glowing reviews and later peaked in the Billboard Hot 100 at number 23, allowing them to reach a new audience. Siouxsie and the Banshees_sentence_89

The album Superstition followed shortly afterwards, and the group toured the US as second headliners of the inaugural Lollapalooza tour. Siouxsie and the Banshees_sentence_90

The following year, the Banshees were asked to compose "Face to Face" as a single for the film Batman Returns, at director Tim Burton's request. Siouxsie and the Banshees_sentence_91

In 1993, the Banshees recorded new songs based on string arrangements, but quickly stopped the sessions to play festivals abroad. Siouxsie and the Banshees_sentence_92

On their return home, they hired former Velvet Underground member John Cale to produce the rest of the record. Siouxsie and the Banshees_sentence_93

At its release, 1995's The Rapture was described by Melody Maker as "a fascinating, transcontinental journey through danger and exotica". Siouxsie and the Banshees_sentence_94

A few weeks after its release, Polydor dropped the band from its roster and Klein was replaced on the band's last tour in 1995 by ex-Psychedelic Furs guitarist Knox Chandler. Siouxsie and the Banshees_sentence_95

In April 1996, the Banshees disbanded after 20 years of working together. Siouxsie and the Banshees_sentence_96

Siouxsie and Budgie announced that they would carry on recording as the Creatures. Siouxsie and the Banshees_sentence_97

In 1999, they released the album Anima Animus to critical acclaim. Siouxsie and the Banshees_sentence_98

2000s–present Siouxsie and the Banshees_section_7

In 2002, Universal Music kicked off the band's remastered back catalogue by releasing The Best of Siouxsie and the Banshees. Siouxsie and the Banshees_sentence_99

In April, Siouxsie, Severin, Budgie and Chandler reunited briefly for the Seven Year Itch tour, which spawned the Seven Year Itch live album and DVD in 2003. Siouxsie and the Banshees_sentence_100

The day after their last concert in Tokyo, Japan, Siouxsie and Budgie stayed in town on their own and entered into a recording studio as the Creatures. Siouxsie and the Banshees_sentence_101

Their fourth and final studio album, Hái! Siouxsie and the Banshees_sentence_102 , came out a few months later. Siouxsie and the Banshees_sentence_103

In 2004, Downside Up, a box set that collected all of the Banshees' B-sides and The Thorn EP, was released. Siouxsie and the Banshees_sentence_104

The Times wrote in its review: "for here is a group that never filled B-sides with inferior, throwaway tracks. Siouxsie and the Banshees_sentence_105

Rather they saw them as an outlet for some of their most radical and challenging work". Siouxsie and the Banshees_sentence_106

In 2006, the band's first four records were remastered and compiled with previously unreleased bonus tracks. Siouxsie and the Banshees_sentence_107

Several recordings made for the John Peel radio show from 1978 to 1986 were also compiled on Voices on the Air: The Peel Sessions. Siouxsie and the Banshees_sentence_108

AllMusic described the first session as "a fiery statement of intent" and qualified the other performances as "excellent". Siouxsie and the Banshees_sentence_109

The second batch of remasters, concerning the 1982–1986 era, was issued in April 2009. Siouxsie and the Banshees_sentence_110

It included four other reissues (including their highly regarded A Kiss in the Dreamhouse from 1982). Siouxsie and the Banshees_sentence_111

The At the BBC box set, containing a DVD with all of the band's UK live television performances and three CDs with in-concert recordings, was also released in June of the same year. Siouxsie and the Banshees_sentence_112

In April 2014, their debut single "Hong Kong Garden" was reissued on double 7-inch vinyl. Siouxsie and the Banshees_sentence_113

It was announced that this would be part of a three-year plan with Universal. Siouxsie and the Banshees_sentence_114

In late October, their last four studio albums (1987's Through the Looking Glass, 1988's Peepshow, 1991's Superstition and 1995's The Rapture) were reissued on CD in remastered versions with bonus tracks. Siouxsie and the Banshees_sentence_115

Siouxsie and Severin curated a compilation CD called It's a Wonderfull Life for the monthly magazine Mojo, issued in September with Siouxsie on the front cover. Siouxsie and the Banshees_sentence_116

On this CD, the pair honoured several composers of film music and classical music that had inspired them. Siouxsie and the Banshees_sentence_117

In 2015, after releasing another compilation called Spellbound: The Collection, which included singles, album tracks and B-sides, the band reissued 1979's Join Hands on vinyl for Record Store Day, with different cover artwork. Siouxsie and the Banshees_sentence_118

A CD box set titled Classic Album Selection Volume One was released in January 2016, containing their first six albums newly remastered by Kevin Metcalfe. Siouxsie and the Banshees_sentence_119

Classic Album Selection Volume Two, including the other last six albums, followed in April. Siouxsie and the Banshees_sentence_120

A limited vinyl picture disc edition of The Scream was released in November. Siouxsie and the Banshees_sentence_121

A vinyl reissue series on Polydor of all of the band's albums, remastered from the original ¼" tapes in 2018 by Miles Showell and cut at half speed at Abbey Road Studios, began in August 2018. Siouxsie and the Banshees_sentence_122

The eleven studio albums were reissued on black vinyl; Superstition and The Rapture were pressed on double LP. Siouxsie and the Banshees_sentence_123

In December 2020, their first compilation Once Upon a Time: The Singles was reissued on clear vinyl. Siouxsie and the Banshees_sentence_124

Musical style Siouxsie and the Banshees_section_8

Siouxsie and the Banshees have been described as developing "a form of post-punk discord full of daring rhythmic and sonic experimentation". Siouxsie and the Banshees_sentence_125

The Times wrote that "The Banshees stand proudly [... as] one of the most audacious and uncompromising musical adventurers of the post-punk era". Siouxsie and the Banshees_sentence_126

With some of their darkest material, the band also helped spawn the gothic scene. Siouxsie and the Banshees_sentence_127

The band is also considered a new wave act. Siouxsie and the Banshees_sentence_128

They were also one of the first alternative bands; music historian Peter Buckley pointed out that they were at "the very front of the alternative-rock scene". Siouxsie and the Banshees_sentence_129

In 1988, "Peek-a-Boo" was the very first track to top the US Modern Rock chart after Billboard launched this chart in the first week of September to list the most played songs on alternative and college radio stations. Siouxsie and the Banshees_sentence_130

Simon Goddard wrote that the "Banshees - Mk II would become one of the biggest alternative pop groups of the 1980s". Siouxsie and the Banshees_sentence_131

Spin described them as "alternative rockers" in 1991 when referring to their presence in the top 40 chart. Siouxsie and the Banshees_sentence_132

Noting the band's participation in the first Lollapalooza festival, journalist Jim Gerr saw them as one of the "elements of the alternative rock community". Siouxsie and the Banshees_sentence_133

Mojo retrospectively presented them as one of "alternative rock's iconic groups". Siouxsie and the Banshees_sentence_134

Legacy Siouxsie and the Banshees_section_9

Siouxsie and the Banshees have had an impact on many later genres including post-punk, new wave, synth pop, gothic rock, alternative music, shoegazing and trip-hop, influencing a wide range of musicians including Joy Division, the Cure, the Smiths, Depeche Mode, PJ Harvey, Radiohead, Tricky and LCD Soundsystem. Siouxsie and the Banshees_sentence_135

Joy Division's Peter Hook, who saw the group in concert in Manchester in 1977, said: "Siouxsie and the Banshees were one of our big influences [...] The Banshees first LP was one of my favourite ever records, the way the guitarist and the drummer played was a really unusual way of playing and this album showcases a landmark performance". Siouxsie and the Banshees_sentence_136

Drummer Stephen Morris said about the Banshees Mk1, their "first drummer Kenny Morris played mostly toms" and "the sound of cymbals was forbidden". Siouxsie and the Banshees_sentence_137

Joy Division producer Martin Hannett saw a difference between the Banshees' first main lineup and the other bands of 1977: "Any harmonies you got were stark, to say the least, except for the odd exception, like Siouxsie. Siouxsie and the Banshees_sentence_138

They were interesting". Siouxsie and the Banshees_sentence_139

The Cure's leader, Robert Smith, declared in 2003: "Siouxsie and the Banshees and Wire were the two bands I really admired. Siouxsie and the Banshees_sentence_140

They meant something." Siouxsie and the Banshees_sentence_141

He also pinpointed what the 1979 Join Hands tour brought him musically. Siouxsie and the Banshees_sentence_142

"On stage that first night with the Banshees, I was blown away by how powerful I felt playing that kind of music. Siouxsie and the Banshees_sentence_143

It was so different to what we were doing with the Cure. Siouxsie and the Banshees_sentence_144

Before that, I'd wanted us to be like the Buzzcocks or Elvis Costello, the punk Beatles. Siouxsie and the Banshees_sentence_145

Being a Banshee really changed my attitude to what I was doing". Siouxsie and the Banshees_sentence_146

The two songwriters of the Smiths cited the band; singer Morrissey said that "Siouxsie and the Banshees were excellent", and that "they were one of the great groups of the late 1970s, early 1980s". Siouxsie and the Banshees_sentence_147

He also said in 1994, "If you study modern groups, those who gain press coverage and chart action, none of them are as good as Siouxsie and the Banshees at full pelt. Siouxsie and the Banshees_sentence_148

That's not dusty nostalgia, that's fact". Siouxsie and the Banshees_sentence_149

When asked "who do you regret not going to see live", guitarist Johnny Marr replied "Siouxsie and the Banshees mk 1. Siouxsie and the Banshees_sentence_150

But mk 2 were even better". Siouxsie and the Banshees_sentence_151

Marr mentioned his liking for John McGeoch and his contribution to the single "Spellbound". Siouxsie and the Banshees_sentence_152

Marr qualified it as "clever" with a "really good picky thing going on which is very un-rock'n'roll". Siouxsie and the Banshees_sentence_153

Smiths' historian Goddard wrote that Marr "praise[d] the McGeoch-era Banshees as a significant inspiration". Siouxsie and the Banshees_sentence_154

U2 cited Siouxsie and the Banshees as a major influence and selected "Christine" for a Mojo compilation. Siouxsie and the Banshees_sentence_155

The Edge was the presenter of an award given to Siouxsie at the Mojo ceremony in 2005. Siouxsie and the Banshees_sentence_156

In December 1981, Dave Gahan of Depeche Mode named the Banshees as one of his three favourite bands along with Sparks and Roxy Music. Siouxsie and the Banshees_sentence_157

Gahan later hailed the single "Candyman" at its release, saying, "She always sounds exciting. Siouxsie and the Banshees_sentence_158

She sings with a lot of sex - that's what I like. Siouxsie and the Banshees_sentence_159

This is a great Banshees record[...], I like their sound. Siouxsie and the Banshees_sentence_160

I used to see them quite a lot when I was younger." Siouxsie and the Banshees_sentence_161

Jim Reid of the Jesus and Mary Chain selected "Jigsaw Feeling" from The Scream as being among his favourite songs. Siouxsie and the Banshees_sentence_162

Thurston Moore of Sonic Youth cited "Hong Kong Garden" in his top 25 all-time favourite songs, and Kevin Shields of My Bloody Valentine also mentioned them as being among his early influences. Siouxsie and the Banshees_sentence_163

Dave Navarro of Jane's Addiction once noted a parallel between his band and the Banshees: "There are so many similar threads: melody, use of sound, attitude, sex-appeal. Siouxsie and the Banshees_sentence_164

I always saw Jane's Addiction as the masculine Siouxsie and the Banshees". Siouxsie and the Banshees_sentence_165

Primal Scream's Bobby Gillespie liked the group's ability to produce pop songs while transmitting something subversive. Siouxsie and the Banshees_sentence_166

He said, "They were outsiders bringing outsider subjects to the mainstream. Siouxsie and the Banshees_sentence_167

We’re not trying to rip off the Banshees, but that's kind of where we’re coming from". Siouxsie and the Banshees_sentence_168

The Banshees have been hailed by other acts. Siouxsie and the Banshees_sentence_169

Thom Yorke related that seeing Siouxsie on stage in concert in 1985 inspired him to become a performer. Siouxsie and the Banshees_sentence_170

Radiohead cited McGeoch-era Siouxsie records when mentioning the recording of the song "There There", and rehearsed Banshees' material prior to their 2008 tour. Siouxsie and the Banshees_sentence_171

Jeff Buckley, who took inspiration from several female vocalists, covered "Killing Time" (from the Boomerang album) on various occasions. Siouxsie and the Banshees_sentence_172

Buckley also owned all the Banshees' albums in his record collection. Siouxsie and the Banshees_sentence_173

Suede singer Brett Anderson named Juju as one of his favourite records. Siouxsie and the Banshees_sentence_174

Red Hot Chili Peppers performed "Christine" in concert, and their guitarist John Frusciante cited the Banshees in interviews. Siouxsie and the Banshees_sentence_175

Garbage singer Shirley Manson stated, "I learned how to sing listening to The Scream and Kaleidoscope". Siouxsie and the Banshees_sentence_176

Siouxsie has also been praised by other female singers including PJ Harvey and Courtney Love. Siouxsie and the Banshees_sentence_177

PJ Harvey has stated, "It's hard to beat Siouxsie Sioux, in terms of live performance. Siouxsie and the Banshees_sentence_178

She is so exciting to watch, so full of energy and human raw quality", and selected Siouxsie's album Anima Animus in her top 10 albums of 1999. Siouxsie and the Banshees_sentence_179

The band had a strong effect on two important trip hop acts. Siouxsie and the Banshees_sentence_180

Tricky covered "Tattoo" to open his second album, Nearly God; the original 1983 proto-trip-hop version of that song aided Tricky in the creation of his style. Siouxsie and the Banshees_sentence_181

Massive Attack heavily sampled "Metal Postcard" on the song "Superpredators (Metal Postcard)", recorded prior to their Mezzanine album. Siouxsie and the Banshees_sentence_182

Air's Jean-Benoît Dunckel cited the group as one of his three main influences. Siouxsie and the Banshees_sentence_183

Billy Corgan of the Smashing Pumpkins cited the Banshees as an important influence on his music. Siouxsie and the Banshees_sentence_184

Faith No More covered "Switch" in concert and cited The Scream as one of their influences. Siouxsie and the Banshees_sentence_185

The Banshees continue to influence younger musicians. Siouxsie and the Banshees_sentence_186

Singer James Murphy was marked by certain Banshees albums during his childhood. Siouxsie and the Banshees_sentence_187

His band LCD Soundsystem covered "Slowdive" as a B-side to the single "Disco Infiltrator". Siouxsie and the Banshees_sentence_188

The Beta Band sampled "Painted Bird" on their track "Liquid Bird" from the Heroes to Zeros album. Siouxsie and the Banshees_sentence_189

TV on the Radio said that they have always tried to make a song that begins like "Kiss Them for Me" where all of a sudden, there's an "element of surprise" with "a giant drum coming in". Siouxsie and the Banshees_sentence_190

Santigold based one of her songs around the music of "Red Light". Siouxsie and the Banshees_sentence_191

"'My Superman' is an interpolation of 'Red Light'". Siouxsie and the Banshees_sentence_192

Indie folk group DeVotchKa covered the ballad "The Last Beat of My Heart" at the suggestion of Arcade Fire singer Win Butler; it was released on the Curse Your Little Heart EP. Siouxsie and the Banshees_sentence_193

Gossip named the Banshees as one of their major influences during the promotion of their single "Heavy Cross". Siouxsie and the Banshees_sentence_194

British indie band Bloc Party took inspiration from "Peek-a-Boo" and their singer Kele Okereke stated about that Banshees' single: "it sounded like nothing else on this planet. Siouxsie and the Banshees_sentence_195

This is [...] a pop song that they put out in the middle of their career [...] to me it sounded like the most current but most futuristic bit of guitar-pop music I've heard". Siouxsie and the Banshees_sentence_196

A Perfect Circle's Billy Howerdel said that the Banshees was "top three favorite bands for me". Siouxsie and the Banshees_sentence_197

The Weeknd sampled different parts of "Happy House" for his song "House of Balloons", and also used the chorus of the initial version. Siouxsie and the Banshees_sentence_198

Band members Siouxsie and the Banshees_section_10

Main article: List of Siouxsie and the Banshees members Siouxsie and the Banshees_sentence_199

Discography Siouxsie and the Banshees_section_11

Main article: Siouxsie and the Banshees discography Siouxsie and the Banshees_sentence_200

Studio albums Siouxsie and the Banshees_section_12

Siouxsie and the Banshees_unordered_list_0

Credits to the contents of this page go to the authors of the corresponding Wikipedia page: and the Banshees.