Siouxsie & The Banshees – Complete Discography [1978-2009/MP3/320]
Tags: siouxsie and the banshees, the rapture, 1995, flac. Corrupt Rar files/Unspecified-extraction errors are fixed by updating WinRAR to the latest version - 5. Siouxsie And The Banshees; Siouxsie Sioux - Discography 1978 - The Scream (320 kbps) 1979 - Join Hands (320 kbps) 1980 - Kaleidoscope (320 kbps) 1981 - Juju (320 kbps) 1981 - Once Upon A Time - The Singles (320 kbps) 1982 - A Kiss. Itools old version.
Siouxsie and the Banshees were a British rock band formed in 1976 by vocalist Siouxsie Sioux and bassist Steven Severin. Initially associated with the English punk rock scene, the band rapidly evolved to create 'a form of post-punk discord full of daring rhythmic and sonic experimentation'. The Times cited Siouxsie and the Banshees as 'one of the most audacious and uncompromising musical adventurers of the post-punk era.'
The group also became inspirational in the creation and development of the gothic rock genre, and their music also combined elements of pop and avant-garde. The Banshees 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. In 2004, Siouxsie began a solo career.
Read More ~ http://en.wikipedia.org/wiki/Siouxsie_and_the_Banshees
SIOUXSIE & THE BANSHEES – OFFICIAL ALBUM & SINGLE RELEASES 1978-1996
1978. Hong Kong Garden 7″
1978. The Scream CD
1979. Playground Twist 7″
1979. Join Hands CD
1979. Mittageisen (Metal Postcard) 7″
1979. The Staircase (Mystery) 7″
1980. Happy House 7″
1980. Kaleidoscope CD
1980. Christine 7″
1980. Happy House 7″
1980. Israel 7″
1981. Spellbound 12″
1981. JuJu CD
1981. Arabia Knights 12″
1981. Once Upon A Time. The Singles CD
1982. Fireworks 12″
1982. A Kiss In The Dreamhouse CD
1982. Slowdive 12″
1982. Melt! 12″
1983. Nocturne CD
1983. Dear Prudence 12″
1984. Dazzle 12″
1984. Hyaena CD
1984. Swimming Horses 12″
1984. The Thorn EP
1985. Cities In Dust 12″
1986. Tinderbox CD
1986. Candyman 12″
1987. Song From The Edge Of The World 12″
1987. This Wheels On Fire 12″
1987. Through The Looking Glass CD
1987. The Passenger 12″
1988. Peek-A-Boo 12″
1988. Peepshow CD
1988. The Killing Jar 12″
1988. The Last Beat Of My Heart 12″
1991. Kiss Them For Me 12″
1991. Superstition CD
1991. Shadowtime 12″
1992. Twice Upon A Time. The Singles CD
1992. Face To Face 12″
1995. O Baby 12″
1995. The Rapture CD
1995. Stargazer 12″
2002. The Best Of. CD
2003. The Seven Year Itch. DVD
2004. Downside Up. The B Sides 4CD
2009. At The BBC 3CD
2009. At The BBC Bonus DVD
THE CREATURES – OFFICIAL ALBUM & SINGLE RELEASES 1981-1996
1981. Wild Things By The Creatures 2×7″
1983. Feast CD
1983. Right Now 7″
1983. Miss The Girl 7″
1989. Standing There 12″
1989. Boomerang CD
1989. Fury Eyes (UK) 12″
1990. Fury Eyes (USA) EP
2006. Tivoli, Utrecht 06/03/90 CD
THE GLOVE – OFFICIAL ALBUM RELEASES 1983
1983. Like An Animal 12″
1983. Blue Sunshine CD
1983. Punish Me With Kisses 7″
MISCELLANOUS
Interlude mCD 1994 with Morrissey
The Lighthouse with Hector Zazou
Threat Of Love with Marc Almond
New Skin taken of the 'Showgirls' O.S.T. 1995
DISCOGRAPHY NOTES;
* Although this is the complete discography, i avoided including the exact same songs
If you want to complete (for example) all 7 inches, copy/paste them from the compilations
I did this to keep the discography downloadable for slow users
* Siouxsie & The Banshees (back then Suzy & The Banshees) debuted on the 100 Club festival
in London on September 20, 1976. Unsigned for 2 years their first release was in 1978
* This discography stops in 1996 when the Banshees broke up. Except from the 2003 reunion
CD/DVD which is included, i didn't include Siouxsie Sioux & Creatures releases afterwards, as
she is supported by a total different line-up. Also the music parts off to another genre
* All releases after 1996 reflect back to the 1978-1996 period & are therefor included.
UPLOADERS NOTES;
* I will seed this as long as possible via my server. If you download (parts of) this, try to keep
it seeded as long as possible, so others can enjoy it too. Enjoy!
After releasing Superstition in 1991, the Banshees headlined the first Lollapalooza festival and were then asked to record a song for Tim Burton's Batman Returns. The outcome was the fantastic stand-alone single 'Face To Face' that was co-orchestrated by Danny Elfman. A year after that, in 1993, the group started to record material for a new album. They then took a break from the recording process to play several festivals abroad, performing some of their newer songs as well even though they remained unreleased. The following year, Siouxsie also duetted with Morrissey on an incredible, heart-rending cover or Timi Yuro's 'Interlude'. The band felt that the album wasn't quite ready yet so they collaborated with The Velvet Underground pioneer John Cale to finish it. Two songs were dropped from the initial version of the album and ended up as B-sides for a later single release ('Black Sun', 'Hang Me High') while a bunch of new songs were recorded with Cale. The completed album The Rapture finally saw the light of day in early 1995.
Superstition had taken the Banshees to a poppier direction than ever before, and The Rapture picks up where its predecessor left off. Siouxsie was not impressed with previous producer Stephen Hague's computer-based working style, so the new album was written with a different kind of an approach, with the band completely in charge (apart from the Cale-produced parts of it, of course).
The lead single 'O Baby' has got to be one of the most scorned SATB singles there ever was if internet forums are to be believed, and sure, on a certain level I can see the point: it's certainly no 'Spellbound' or 'Cities In Dust'. With a legacy as long as theirs (nearly 20 years, 10 previous studio albums) the constant comparisons are inevitable. But as in Superstition's case, prejudices can make you blind and if you take of the nostalgia glasses, you can notice that 'O Baby' is actually an adorable carefree '90s alt-pop gem where Siouxsie sings about being happy and presumably, in love: 'The cracks in the ground grin up at me / Even the creases in my shoes smile up at me'. The music video is an ironic jab at child beauty pageants, where Siouxsie first plays along, then tears her clothes to tatters, smears the dressing room mirror with makeup, throws tiaras around and stabs a wig holder. Oh, and turns a false eyelashes into a Hitler moustache. All this while sporting a pink princess dress. Hilarious.
(And for a really surreal experience, check out the Juno Reactor remix of the song - it's a Goa trance version of the song!)
Siouxsie Rapture
The darker numbers are usually among the definite highlights of the Banshees' albums and 'Not Forgotten' is no exception: not only is it triumphant on its own, it also showcases Budgie at his best - his tribal, distinctive drumming truly makes him one of the most unique and talented percussionists in pop/rock music. And then in the next song, 'Sick Child', he moonlights as a lyricist. It is a remarkably soothing song with beautiful, cello-accompanied instrumentals and represents the band's softer and more tender side. Both songs were used in movies during the time of their release: 'Sick Child' in the American supernatural horror-fantasy film The Craft and 'Not Forgotten' in the cult classic Showgirls for which the band also recorded another song, 'New Skin'.
Easily the best tune they recorded with Cale is 'Forever', a glorious swan song of the band with Siouxsie lamenting 'We couldn't stay together / This couldn't last forever'. Not all songs from the Cale sessions excel quite as well, though. 'The Lonely One' would've made a good suitable B-side for 'O Baby', but on The Rapture ends up feeling pointless and fillerish. (Funnily enough, with its accordion and summery soundscape, it sounds like it could be taken from The Creatures BoomerangLP.
Siouxsie The Rapture
) Unfortunately, the same applies to 'Falling Down' even though it does sound edgier and has more going on.The biggest issue I've got with this LP is its length: clocking at 54 minutes, it could do with a track or two less. The previously mentioned two songs come to mind, but the main reason to its lengthiness is actually the title track that is eleven and a half minutes long. 'The Rapture' consists of three different parts that segue into one another, and is an artistically ambitious composition driven by McCarrick's cello arrangements. It is an exquisite piece per se and got the attention it deserved when it was used as an opening song for the second set of Siouxsie's Dreamshow live recording, backed by the Millennia Ensemble orchestra. It just doesn't fit in the middle of the album, surrounded by four-minute pop tunes. Either it should've been the album closer, or it could've been released as a stand-alone EP. Probably the latter, as the ferocious 'Love Out Me' serves as a powerful ending note for the record. Lyrically it describes a self-destructive person's desperate plea for help: 'Love me / Hate me / Help me / Save me from me / Hold me / Hurt me / Stop me / Take this love out me!'. Interestingly enough, the occasional saxophone sounds on the last song of their last album recall the use of the instrument on their debut The Scream. It is sad that this is where the Banshees' story comes to an end but with 'Love Out Me' they do bow out with a roar.
The Rapture is an interesting record. Considering it was written of their own accord, this is exactly as they wanted the album to turn out like. It's possibly the happiest-sounding record the Banshees ever wrote and along with Superstition, one of their most accessible ones. It still provides the listener with a broad soundscape from its initial poppiness to the thunderous 'Not Forgotten', the raging angst of 'Love Out Me' and the subtle melancholy of 'Sick Child'. During the '90s, Siouxsie's voice started to change with her pitch lowering, likely due the natural effect aging has on vocals although being a lifetime smoker surely contributed as well. And nowhere on the album can this new, more robust voice be heard as well as on the dramatic, partly spoken word number 'The Double Life'.
Personally I think that both Superstition and The Rapture are actually very nice pop albums that have received disproportionate criticism. No, they don't sound like Jujuor The Screambut that's exactly the thing: Siouxsie and the Banshees were a spectacular band in that sense that whenever they recorded a new album, they came up with a new sound - a sound that was distinctively Banshees-y but still something fresh that hadn't been heard from them before. How sad would it be if they still relied on same kind of pattern after 14 (as in Juju's case) or 17 (as with The Scream) years! The band evolved, but unfortunately not all of their fans did. In the end, The Rapture is a fine Banshees pop record and gives a worthy ending chapter to the story of one of the most important groups to emerge from the post-punk wave. Bravo.
4 / 5
(And for a really surreal experience, check out the Juno Reactor remix of the song - it's a Goa trance version of the song!)
Siouxsie Rapture
The darker numbers are usually among the definite highlights of the Banshees' albums and 'Not Forgotten' is no exception: not only is it triumphant on its own, it also showcases Budgie at his best - his tribal, distinctive drumming truly makes him one of the most unique and talented percussionists in pop/rock music. And then in the next song, 'Sick Child', he moonlights as a lyricist. It is a remarkably soothing song with beautiful, cello-accompanied instrumentals and represents the band's softer and more tender side. Both songs were used in movies during the time of their release: 'Sick Child' in the American supernatural horror-fantasy film The Craft and 'Not Forgotten' in the cult classic Showgirls for which the band also recorded another song, 'New Skin'.
Easily the best tune they recorded with Cale is 'Forever', a glorious swan song of the band with Siouxsie lamenting 'We couldn't stay together / This couldn't last forever'. Not all songs from the Cale sessions excel quite as well, though. 'The Lonely One' would've made a good suitable B-side for 'O Baby', but on The Rapture ends up feeling pointless and fillerish. (Funnily enough, with its accordion and summery soundscape, it sounds like it could be taken from The Creatures BoomerangLP.
Siouxsie The Rapture
) Unfortunately, the same applies to 'Falling Down' even though it does sound edgier and has more going on.The biggest issue I've got with this LP is its length: clocking at 54 minutes, it could do with a track or two less. The previously mentioned two songs come to mind, but the main reason to its lengthiness is actually the title track that is eleven and a half minutes long. 'The Rapture' consists of three different parts that segue into one another, and is an artistically ambitious composition driven by McCarrick's cello arrangements. It is an exquisite piece per se and got the attention it deserved when it was used as an opening song for the second set of Siouxsie's Dreamshow live recording, backed by the Millennia Ensemble orchestra. It just doesn't fit in the middle of the album, surrounded by four-minute pop tunes. Either it should've been the album closer, or it could've been released as a stand-alone EP. Probably the latter, as the ferocious 'Love Out Me' serves as a powerful ending note for the record. Lyrically it describes a self-destructive person's desperate plea for help: 'Love me / Hate me / Help me / Save me from me / Hold me / Hurt me / Stop me / Take this love out me!'. Interestingly enough, the occasional saxophone sounds on the last song of their last album recall the use of the instrument on their debut The Scream. It is sad that this is where the Banshees' story comes to an end but with 'Love Out Me' they do bow out with a roar.
The Rapture is an interesting record. Considering it was written of their own accord, this is exactly as they wanted the album to turn out like. It's possibly the happiest-sounding record the Banshees ever wrote and along with Superstition, one of their most accessible ones. It still provides the listener with a broad soundscape from its initial poppiness to the thunderous 'Not Forgotten', the raging angst of 'Love Out Me' and the subtle melancholy of 'Sick Child'. During the '90s, Siouxsie's voice started to change with her pitch lowering, likely due the natural effect aging has on vocals although being a lifetime smoker surely contributed as well. And nowhere on the album can this new, more robust voice be heard as well as on the dramatic, partly spoken word number 'The Double Life'.
Personally I think that both Superstition and The Rapture are actually very nice pop albums that have received disproportionate criticism. No, they don't sound like Jujuor The Screambut that's exactly the thing: Siouxsie and the Banshees were a spectacular band in that sense that whenever they recorded a new album, they came up with a new sound - a sound that was distinctively Banshees-y but still something fresh that hadn't been heard from them before. How sad would it be if they still relied on same kind of pattern after 14 (as in Juju's case) or 17 (as with The Scream) years! The band evolved, but unfortunately not all of their fans did. In the end, The Rapture is a fine Banshees pop record and gives a worthy ending chapter to the story of one of the most important groups to emerge from the post-punk wave. Bravo.
4 / 5
Try at least: 'Stargazer', 'Sick Child', 'Forever', 'Not Forgotten'
