Chords for Siouxsie Sioux & Steve Severin on CBS with Charlie Rose 1986
Tempo:
123.55 bpm
Chords used:
Eb
Bb
Bbm
Ab
B
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Eb] [Bb] A band that [Bbm] dares the crowd to throw it off the stage?
That's punk rock for you.
[Bb] Suzie and the Banshees did it when they played their first concert back in 1976.
No one threw them out.
Instead the group has stayed together for a decade.
These [Cm] musicians have had a big influence on other bands and have even made [Eb] their mark
on fashion here [Ab] and in England.
[B] With us now, the leader of the Banshees, Suzie Sue,
also with us, bass player Stephen Severin.
Welcome.
It's a pleasure to have you here.
Hello.
I thought you'd be in black though because everybody always talks about how
you wear black.
You've got black nails, black hair, black eyes, but no black costume.
No, I always add color when I feel like it.
So you're not always wearing black?
No, not as predictable as that.
Did you know, I mean, do you understand how much influence
you've had on fashion in terms of those people who look to you as a first sort of female star?
[Bbm] Um, [E] excuse me.
[G] Um, not really.
I suppose it's, um, hopefully if I have affected anyone with how
they look, it's a transitory phase and I suppose a rejection of the stereotype female, blonde.
You are, etc, etc.
You're clearly that.
Tell me about the new album, which is Tenderbox.
Mm-hmm.
Um, that was recorded in May last year in Berlin, Hansa by the Wall.
Yeah.
Um, it took a few
months, but it took about a year in the making because we sat the producer who was making it
with us.
And during a tour of Britain, um, I managed to dislocate the knee.
This is all flowery
stuff that goes on.
And, um, so when we finished the tour and I just got out of plaster, we were
able to finish the album with an engineer.
So there was no real production on it.
The lead
single from the album is Cities in Dust.
Mm-hmm.
Sort of the imagery is Pompeii.
Yeah.
And when
you were there and what you saw and what you felt and
Yeah, it was whilst on tour in Italy and we
were going south through to Toronto.
And the opportunity whilst traveling arose that we could
go visit Pompeii.
So of course we went and I don't know, the impression was so powerful and,
like, culminating in seeing the petrified bodies that had been left [Db] there, like, 2,000 years ago.
I want to come back and talk about that, but let's look at a music video of that [Bbm] single,
Cities in Dust.
[Bb] [Ab]
[Eb]
[Ab]
[Ebm]
[Ab]
[Bbm]
You're a city [Bb] in lies and love.
[Bbm]
Oh, you're a city [Ebm] in lies [Eb] and [Bb] love.
Steve Severin, you have been with the group from the beginning.
How have you survived?
Not you personally, but the group, and [G] maintain its popularity when others have just disappeared?
I guess a big ingredient to that is, uh, having so many sort of personal changes.
So we've had to,
virtually reinvent the group a lot of times.
Most of these, uh, personal changes have been
enforced upon [Gb] us as opposed to us throwing out [B] somebody because they weren't working [D] properly.
And, uh, I think just, um, not being too aware of, of what should be in fashion and basically
ignoring all the trends that come along and just doing what we feel like doing.
Which is what?
Um, just making our own kind of music that we've wanted to do from the start.
The themes, and you have, there's a piece in the Washington Post, it's about you,
but it's also about the group saying, emphasizing that, that the themes of your music are sex,
love, death, which are three subjects that people like and generally write about.
But it seems to interest the group a lot.
I think the, the main thing that differentiates our, our songs from other people is the fact that
we are sort of obsessed with things or, you know, overly interested in a lot of subjects.
Whereas most people tend to sort of not be too interested in anything and just write about sort
of like rock and roll or driving down the road, that kind of rubbish.
Um, we're fascinated by
lots of different things and it's not necessarily, um, dark or gloomy or anything like that.
It's just being interested in a lot of, uh, what life has to offer.
Have you changed a lot in that 10 years?
Well, in just in the respect that I'm 10 years older, I mean, but not really.
In a profound way, other than the fact that you're 10 years old and therefore, I mean.
Other than the fact I'm 10 years older, not really.
Yeah.
Either in terms of attitude.
I've sorted out more things, but the attitude I'd say is the same.
Richard Harrington writing about you said,
Banshee music is spellbinding, intoxicating.
You feel like you're awake in another world
between memories and fears of childhood and realization of being an adult.
That makes sense to you?
Yeah, it's like, it's something.
Kind of another world between childhood and maybe that's adolescence.
I don't know.
It [Eb] makes sense when the music's playing rather than sitting in a cold studio reading it out.
Yeah.
Yeah.
You, you've been described as an icy diva.
As sort of aloof on stage.
Yeah.
[D] Is that accurate?
That's a bit lazy.
A lazy choice of words?
Yes.
I mean, the ice queen or the ice bitch has been around for a long time.
Aloof?
Yes.
Why aloof?
I mean, your music is loud and
Yes.
And I'd say it
Passionate?
It's passionate, but it's not, it's not bass in that it doesn't want to make the audience
partake by merely just jumping on the stage and making it a big hoedown or whatever.
It's the, I suppose it's more theatrical than most people and it does project outward.
And the, where the both work, the audience and us on stage, it's with the music and
Do you think you'll still be around in 1996?
I don't know.
We only knew we'd be around for 20 minutes and we're way off on that.
Much success.
Thank you for coming in, Steve.
Thank you.
Nice to have you.
Nightwatch continues.
Stay with us.
That's punk rock for you.
[Bb] Suzie and the Banshees did it when they played their first concert back in 1976.
No one threw them out.
Instead the group has stayed together for a decade.
These [Cm] musicians have had a big influence on other bands and have even made [Eb] their mark
on fashion here [Ab] and in England.
[B] With us now, the leader of the Banshees, Suzie Sue,
also with us, bass player Stephen Severin.
Welcome.
It's a pleasure to have you here.
Hello.
I thought you'd be in black though because everybody always talks about how
you wear black.
You've got black nails, black hair, black eyes, but no black costume.
No, I always add color when I feel like it.
So you're not always wearing black?
No, not as predictable as that.
Did you know, I mean, do you understand how much influence
you've had on fashion in terms of those people who look to you as a first sort of female star?
[Bbm] Um, [E] excuse me.
[G] Um, not really.
I suppose it's, um, hopefully if I have affected anyone with how
they look, it's a transitory phase and I suppose a rejection of the stereotype female, blonde.
You are, etc, etc.
You're clearly that.
Tell me about the new album, which is Tenderbox.
Mm-hmm.
Um, that was recorded in May last year in Berlin, Hansa by the Wall.
Yeah.
Um, it took a few
months, but it took about a year in the making because we sat the producer who was making it
with us.
And during a tour of Britain, um, I managed to dislocate the knee.
This is all flowery
stuff that goes on.
And, um, so when we finished the tour and I just got out of plaster, we were
able to finish the album with an engineer.
So there was no real production on it.
The lead
single from the album is Cities in Dust.
Mm-hmm.
Sort of the imagery is Pompeii.
Yeah.
And when
you were there and what you saw and what you felt and
Yeah, it was whilst on tour in Italy and we
were going south through to Toronto.
And the opportunity whilst traveling arose that we could
go visit Pompeii.
So of course we went and I don't know, the impression was so powerful and,
like, culminating in seeing the petrified bodies that had been left [Db] there, like, 2,000 years ago.
I want to come back and talk about that, but let's look at a music video of that [Bbm] single,
Cities in Dust.
[Bb] [Ab]
[Eb]
[Ab]
[Ebm]
[Ab]
[Bbm]
You're a city [Bb] in lies and love.
[Bbm]
Oh, you're a city [Ebm] in lies [Eb] and [Bb] love.
Steve Severin, you have been with the group from the beginning.
How have you survived?
Not you personally, but the group, and [G] maintain its popularity when others have just disappeared?
I guess a big ingredient to that is, uh, having so many sort of personal changes.
So we've had to,
virtually reinvent the group a lot of times.
Most of these, uh, personal changes have been
enforced upon [Gb] us as opposed to us throwing out [B] somebody because they weren't working [D] properly.
And, uh, I think just, um, not being too aware of, of what should be in fashion and basically
ignoring all the trends that come along and just doing what we feel like doing.
Which is what?
Um, just making our own kind of music that we've wanted to do from the start.
The themes, and you have, there's a piece in the Washington Post, it's about you,
but it's also about the group saying, emphasizing that, that the themes of your music are sex,
love, death, which are three subjects that people like and generally write about.
But it seems to interest the group a lot.
I think the, the main thing that differentiates our, our songs from other people is the fact that
we are sort of obsessed with things or, you know, overly interested in a lot of subjects.
Whereas most people tend to sort of not be too interested in anything and just write about sort
of like rock and roll or driving down the road, that kind of rubbish.
Um, we're fascinated by
lots of different things and it's not necessarily, um, dark or gloomy or anything like that.
It's just being interested in a lot of, uh, what life has to offer.
Have you changed a lot in that 10 years?
Well, in just in the respect that I'm 10 years older, I mean, but not really.
In a profound way, other than the fact that you're 10 years old and therefore, I mean.
Other than the fact I'm 10 years older, not really.
Yeah.
Either in terms of attitude.
I've sorted out more things, but the attitude I'd say is the same.
Richard Harrington writing about you said,
Banshee music is spellbinding, intoxicating.
You feel like you're awake in another world
between memories and fears of childhood and realization of being an adult.
That makes sense to you?
Yeah, it's like, it's something.
Kind of another world between childhood and maybe that's adolescence.
I don't know.
It [Eb] makes sense when the music's playing rather than sitting in a cold studio reading it out.
Yeah.
Yeah.
You, you've been described as an icy diva.
As sort of aloof on stage.
Yeah.
[D] Is that accurate?
That's a bit lazy.
A lazy choice of words?
Yes.
I mean, the ice queen or the ice bitch has been around for a long time.
Aloof?
Yes.
Why aloof?
I mean, your music is loud and
Yes.
And I'd say it
Passionate?
It's passionate, but it's not, it's not bass in that it doesn't want to make the audience
partake by merely just jumping on the stage and making it a big hoedown or whatever.
It's the, I suppose it's more theatrical than most people and it does project outward.
And the, where the both work, the audience and us on stage, it's with the music and
Do you think you'll still be around in 1996?
I don't know.
We only knew we'd be around for 20 minutes and we're way off on that.
Much success.
Thank you for coming in, Steve.
Thank you.
Nice to have you.
Nightwatch continues.
Stay with us.
Key:
Eb
Bb
Bbm
Ab
B
Eb
Bb
Bbm
_ _ _ [Eb] _ _ [Bb] A band that [Bbm] dares the crowd to throw it off the stage?
That's punk rock for you.
[Bb] Suzie and the Banshees did it when they played their first concert back in 1976.
No one threw them out.
Instead the group has stayed together for a decade. _
These [Cm] musicians have had a big influence on other bands and have even made [Eb] their mark
on fashion here [Ab] and in England.
[B] With us now, the leader of the Banshees, Suzie Sue,
also with us, bass player Stephen Severin.
Welcome.
It's a pleasure to have you here.
Hello.
I thought you'd be in black though because everybody always talks about how
you wear black.
You've got black nails, black hair, black eyes, but no black costume.
No, I always add color when I feel like it.
So you're not always wearing black?
No, not as predictable as that.
Did you know, I mean, do you understand how much influence
you've had on fashion in terms of those people who look to you as a first sort of female star? _ _ _ _
_ [Bbm] _ Um, [E] excuse me. _
_ [G] _ _ _ Um, not really.
I suppose it's, um, _ hopefully if I have affected anyone with how
they look, it's a transitory phase and I suppose a rejection of the stereotype female, blonde.
_ _ You are, etc, etc.
You're clearly that.
Tell me about the new album, which is Tenderbox.
Mm-hmm.
_ Um, that was recorded in _ May last year in Berlin, Hansa by the Wall.
Yeah.
Um, _ _ it took a few
months, but it took about a year in the making because we sat the producer who was making it
with us. _
And during a tour of Britain, _ _ um, I managed to dislocate the knee. _
This is all flowery
stuff that goes on.
And, um, so when we finished the tour and I just got out of plaster, we were
able to finish the album with an engineer.
So there was no real production on it.
The lead
single from the album is Cities in Dust.
Mm-hmm.
Sort of the imagery is Pompeii.
Yeah.
And when
you were there and what you saw and what you felt and_
Yeah, it was whilst on tour in Italy and we
were going south through to Toronto.
_ And the opportunity whilst traveling arose that we could
go visit Pompeii.
So of course we went and I don't know, the impression was so powerful and,
like, culminating in seeing the petrified bodies that had been left [Db] there, like, 2,000 years ago.
I want to come back and talk about that, but let's look at a music video of that [Bbm] single,
Cities in Dust. _ _ _ _
[Bb] _ _ [Ab] _ _ _ _ _ _
_ _ _ _ _ _ _ [Eb] _
_ _ [Ab] _ _ _ _ _ _
_ _ _ _ [Ebm] _ _ _ _
_ _ _ _ _ _ [Ab] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [Bbm] _ _ _
_ _ You're a city [Bb] in lies and love.
_ _ _ _ [Bbm] _ _ _
_ Oh, you're a city [Ebm] in lies _ [Eb] _ _ and [Bb] love. _ _
_ _ _ _ _ _ _ _
Steve Severin, you have been with the group from the beginning.
How have you survived?
_ Not you personally, but the group, and [G] maintain its popularity when others have just disappeared?
I guess a big ingredient to that is, uh, having so many sort of personal changes.
So we've had to,
virtually reinvent the group a lot of times.
Most of these, uh, personal changes have been
enforced upon [Gb] us as opposed to us throwing out [B] somebody because they weren't working [D] properly.
And, uh, _ I think just, um, not being _ too aware of, of _ what should be in fashion and basically
ignoring all the trends that come along and just doing what we feel like doing.
Which is what? _
Um, just making our own kind of music that we've wanted to do from the start.
The themes, and you have, there's a piece in the Washington Post, it's about you,
but it's also about the group saying, emphasizing that, that the themes of your music are sex,
love, death, _ _ which are three subjects that people like and generally write about.
But it seems to interest the group a lot.
I think the, the main thing that _ _ differentiates our, our songs from other people is the fact that
we are sort of obsessed with things or, you know, overly interested in a lot of subjects.
Whereas most people tend to sort of not be too interested in anything and just write about sort
of like rock and roll or driving down the road, that kind of rubbish.
Um, _ we're fascinated by
lots of different things and it's not necessarily, _ um, _ _ dark or gloomy or anything like that.
It's just being interested in a lot of, uh, what life has to offer.
Have you changed a lot _ in that 10 years? _
_ Well, in just in the respect that I'm 10 years older, I mean, but not really.
In a profound way, other than the fact that you're 10 years old and therefore, I mean.
Other than the fact I'm 10 years older, not really.
Yeah.
Either in terms of attitude.
I've sorted out more things, but the attitude I'd say is the same.
Richard Harrington writing about you said,
Banshee music is spellbinding, _ intoxicating.
You feel like you're awake in another world
between memories and fears of childhood and realization of being an adult.
_ _ That makes sense to you?
Yeah, it's like, it's something.
Kind of another world between childhood and maybe that's adolescence.
I don't know.
_ _ It _ [Eb] _ makes sense when the music's playing rather than sitting in a cold studio reading it out.
Yeah.
Yeah.
You, _ _ you've been described as an icy diva.
As sort of aloof on stage.
Yeah.
_ [D] Is that accurate?
_ _ _ _ That's a bit lazy.
A lazy choice of words?
Yes.
I mean, the ice queen or the ice bitch has been around for a long time.
Aloof?
Yes.
Why aloof?
I mean, your music is loud and_
_ Yes.
And I'd say it_
Passionate?
It's passionate, but it's not, _ _ _ it's not bass in that it doesn't want to make the audience _
partake by _ merely just jumping on the stage and making it a big hoedown or whatever.
It's the, I suppose it's more theatrical than most people and it does project outward.
And the, _ _ where the both work, the audience and us on stage, it's with the music and_
Do you think you'll still be around in 1996?
I don't know.
We only knew we'd be around for 20 minutes and we're way off on that.
_ _ Much success.
Thank you for coming in, Steve.
Thank you.
Nice to have you. _ _
Nightwatch continues.
Stay with us. _ _ _ _
That's punk rock for you.
[Bb] Suzie and the Banshees did it when they played their first concert back in 1976.
No one threw them out.
Instead the group has stayed together for a decade. _
These [Cm] musicians have had a big influence on other bands and have even made [Eb] their mark
on fashion here [Ab] and in England.
[B] With us now, the leader of the Banshees, Suzie Sue,
also with us, bass player Stephen Severin.
Welcome.
It's a pleasure to have you here.
Hello.
I thought you'd be in black though because everybody always talks about how
you wear black.
You've got black nails, black hair, black eyes, but no black costume.
No, I always add color when I feel like it.
So you're not always wearing black?
No, not as predictable as that.
Did you know, I mean, do you understand how much influence
you've had on fashion in terms of those people who look to you as a first sort of female star? _ _ _ _
_ [Bbm] _ Um, [E] excuse me. _
_ [G] _ _ _ Um, not really.
I suppose it's, um, _ hopefully if I have affected anyone with how
they look, it's a transitory phase and I suppose a rejection of the stereotype female, blonde.
_ _ You are, etc, etc.
You're clearly that.
Tell me about the new album, which is Tenderbox.
Mm-hmm.
_ Um, that was recorded in _ May last year in Berlin, Hansa by the Wall.
Yeah.
Um, _ _ it took a few
months, but it took about a year in the making because we sat the producer who was making it
with us. _
And during a tour of Britain, _ _ um, I managed to dislocate the knee. _
This is all flowery
stuff that goes on.
And, um, so when we finished the tour and I just got out of plaster, we were
able to finish the album with an engineer.
So there was no real production on it.
The lead
single from the album is Cities in Dust.
Mm-hmm.
Sort of the imagery is Pompeii.
Yeah.
And when
you were there and what you saw and what you felt and_
Yeah, it was whilst on tour in Italy and we
were going south through to Toronto.
_ And the opportunity whilst traveling arose that we could
go visit Pompeii.
So of course we went and I don't know, the impression was so powerful and,
like, culminating in seeing the petrified bodies that had been left [Db] there, like, 2,000 years ago.
I want to come back and talk about that, but let's look at a music video of that [Bbm] single,
Cities in Dust. _ _ _ _
[Bb] _ _ [Ab] _ _ _ _ _ _
_ _ _ _ _ _ _ [Eb] _
_ _ [Ab] _ _ _ _ _ _
_ _ _ _ [Ebm] _ _ _ _
_ _ _ _ _ _ [Ab] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [Bbm] _ _ _
_ _ You're a city [Bb] in lies and love.
_ _ _ _ [Bbm] _ _ _
_ Oh, you're a city [Ebm] in lies _ [Eb] _ _ and [Bb] love. _ _
_ _ _ _ _ _ _ _
Steve Severin, you have been with the group from the beginning.
How have you survived?
_ Not you personally, but the group, and [G] maintain its popularity when others have just disappeared?
I guess a big ingredient to that is, uh, having so many sort of personal changes.
So we've had to,
virtually reinvent the group a lot of times.
Most of these, uh, personal changes have been
enforced upon [Gb] us as opposed to us throwing out [B] somebody because they weren't working [D] properly.
And, uh, _ I think just, um, not being _ too aware of, of _ what should be in fashion and basically
ignoring all the trends that come along and just doing what we feel like doing.
Which is what? _
Um, just making our own kind of music that we've wanted to do from the start.
The themes, and you have, there's a piece in the Washington Post, it's about you,
but it's also about the group saying, emphasizing that, that the themes of your music are sex,
love, death, _ _ which are three subjects that people like and generally write about.
But it seems to interest the group a lot.
I think the, the main thing that _ _ differentiates our, our songs from other people is the fact that
we are sort of obsessed with things or, you know, overly interested in a lot of subjects.
Whereas most people tend to sort of not be too interested in anything and just write about sort
of like rock and roll or driving down the road, that kind of rubbish.
Um, _ we're fascinated by
lots of different things and it's not necessarily, _ um, _ _ dark or gloomy or anything like that.
It's just being interested in a lot of, uh, what life has to offer.
Have you changed a lot _ in that 10 years? _
_ Well, in just in the respect that I'm 10 years older, I mean, but not really.
In a profound way, other than the fact that you're 10 years old and therefore, I mean.
Other than the fact I'm 10 years older, not really.
Yeah.
Either in terms of attitude.
I've sorted out more things, but the attitude I'd say is the same.
Richard Harrington writing about you said,
Banshee music is spellbinding, _ intoxicating.
You feel like you're awake in another world
between memories and fears of childhood and realization of being an adult.
_ _ That makes sense to you?
Yeah, it's like, it's something.
Kind of another world between childhood and maybe that's adolescence.
I don't know.
_ _ It _ [Eb] _ makes sense when the music's playing rather than sitting in a cold studio reading it out.
Yeah.
Yeah.
You, _ _ you've been described as an icy diva.
As sort of aloof on stage.
Yeah.
_ [D] Is that accurate?
_ _ _ _ That's a bit lazy.
A lazy choice of words?
Yes.
I mean, the ice queen or the ice bitch has been around for a long time.
Aloof?
Yes.
Why aloof?
I mean, your music is loud and_
_ Yes.
And I'd say it_
Passionate?
It's passionate, but it's not, _ _ _ it's not bass in that it doesn't want to make the audience _
partake by _ merely just jumping on the stage and making it a big hoedown or whatever.
It's the, I suppose it's more theatrical than most people and it does project outward.
And the, _ _ where the both work, the audience and us on stage, it's with the music and_
Do you think you'll still be around in 1996?
I don't know.
We only knew we'd be around for 20 minutes and we're way off on that.
_ _ Much success.
Thank you for coming in, Steve.
Thank you.
Nice to have you. _ _
Nightwatch continues.
Stay with us. _ _ _ _