26 February 1986 (and here)
— Dave Gahan
Yes, I know. The lead singer from Depeche Mode is all about sex — my mind is blown too. All that S & M gear and songs about nasty bedroom role play and taking your clothes off. Still, at least he's keeping clear of the hard drugs...for now.
Dave Gahan has returned to review the singles, having previously done so almost two years earlier. In that time much has changed: the blond streaks have been grown out, his band has become much darker and pervier and the magazine is much glossier and its assistant editor from a year earlier is now on the cover. There are also a lot fewer singles up for consideration this time round. Where Gahan gave his thoughts on no fewer than twenty-seven brand new records back in 1984, he's only had to deal with fourteen here in '86. Then again, he seems to have much more to say here, a contrast to the brief rundowns given last time.
While he was largely unfamiliar with previous pick Cocteau Twins, he has opted for a longtime favourite this time ("I used to go and see them quite a lot when I was younger, when I was a punk rocker"). In both cases, however, he's found himself going with something pretty run-of-the-mill. In my write-up on "Pearly-Dewdrops' Drops", I mention that there are better Twins numbers from around this time (including "Lorelei" which I am still shocked to discover was never a single); in Siouxsie's case it's even more apparent. "Candyman" was their thirteenth Top 40 hit and is from their seventh album so they'd been around a while. (And, you know, once a band is past their fourth or fifth album they've probably peaked creatively) In isolation, much of the material from Tinderbox seems first rate but it pales a bit alongside some of their earlier LPs. Similarly, "Candyman" is a strong enough single on its own (though not so strong that it couldn't get past number thirty-four on the charts) but doesn't really standout compared to the likes of "Hong Kong Garden", "Christine" and "Swimming Horses". This isn't to fault Gahan's taste since he had the records he had and picked what he liked and that's fair enough. It's just a pity that the best stuff isn't featured in this space. At least not yet.
But Gahan also acknowledges that they had a "formula" and it wasn't something they were about to abandon now. (You could argue that the Siouxsie-Budgie extracurricular project The Creatures was their attempt to stretch themselves out a bit) I think we tend to do mental word association with the term 'formulaic', picturing cookie-cutter pop acts, interchangeable Vegas lounge singers and Status Quo, but it may apply to even the coolest of indie groups. And why not? If you had a charismatic singer with a distinctive voice, a powerful drummer and an underrated guitarist with a sound all his own you might also want to keep dishing up the same intriguing and haunting post-punk goth rock that no one else is capable of. It's not exactly my kind of thing but I can definitely understand the appeal. Personally, though, I prefer when the formula is avoided or dispensed with. When Banshee allies The Cure began ditching goth in favour of a broader stylistic approach they came up with "The Lovecats" and "The Caterpillar" and The Top — and a poppier sound remained in much of their best work from then on. A shame Siouxie never bothered doing something similar but hats off to them for doing what they did best.
So, "Candyman" is a by-numbers Banshee track but a worthy one nonetheless. For Siouxsie to tackle the subject of child abuse is commendable and for her to do so with "a lot of sex" in her voice is particularly bold. Being a part of the "formula" this is nothing new for her but the clash with the song's subject matter is a decision not everyone would make. A year earlier The Smiths' "Suffer Little Children" had caused controversy by depicting the victims of the notorious Moors murders in a supposedly insensitive light — and Morrissey sang it in his typically glum fashion. Presumably, Siouxsie isn't recounting an actual tale of paedophilia and isn't naming anyone but her sensual voice (with childlike "na na-na, na na-na" that bring to mind Kate Bush) could easily have caused offense. It didn't and a good thing too since it was the right choice. I like to think that Siouxsie is trying to lure this disgusting loser: how about instead of going after some poor little kids you follow me and I'll show you something about sensuality. The woman who "sings with sex" really taking one for the team.
Dave Gahan has returned to review the singles, having previously done so almost two years earlier. In that time much has changed: the blond streaks have been grown out, his band has become much darker and pervier and the magazine is much glossier and its assistant editor from a year earlier is now on the cover. There are also a lot fewer singles up for consideration this time round. Where Gahan gave his thoughts on no fewer than twenty-seven brand new records back in 1984, he's only had to deal with fourteen here in '86. Then again, he seems to have much more to say here, a contrast to the brief rundowns given last time.
While he was largely unfamiliar with previous pick Cocteau Twins, he has opted for a longtime favourite this time ("I used to go and see them quite a lot when I was younger, when I was a punk rocker"). In both cases, however, he's found himself going with something pretty run-of-the-mill. In my write-up on "Pearly-Dewdrops' Drops", I mention that there are better Twins numbers from around this time (including "Lorelei" which I am still shocked to discover was never a single); in Siouxsie's case it's even more apparent. "Candyman" was their thirteenth Top 40 hit and is from their seventh album so they'd been around a while. (And, you know, once a band is past their fourth or fifth album they've probably peaked creatively) In isolation, much of the material from Tinderbox seems first rate but it pales a bit alongside some of their earlier LPs. Similarly, "Candyman" is a strong enough single on its own (though not so strong that it couldn't get past number thirty-four on the charts) but doesn't really standout compared to the likes of "Hong Kong Garden", "Christine" and "Swimming Horses". This isn't to fault Gahan's taste since he had the records he had and picked what he liked and that's fair enough. It's just a pity that the best stuff isn't featured in this space. At least not yet.
But Gahan also acknowledges that they had a "formula" and it wasn't something they were about to abandon now. (You could argue that the Siouxsie-Budgie extracurricular project The Creatures was their attempt to stretch themselves out a bit) I think we tend to do mental word association with the term 'formulaic', picturing cookie-cutter pop acts, interchangeable Vegas lounge singers and Status Quo, but it may apply to even the coolest of indie groups. And why not? If you had a charismatic singer with a distinctive voice, a powerful drummer and an underrated guitarist with a sound all his own you might also want to keep dishing up the same intriguing and haunting post-punk goth rock that no one else is capable of. It's not exactly my kind of thing but I can definitely understand the appeal. Personally, though, I prefer when the formula is avoided or dispensed with. When Banshee allies The Cure began ditching goth in favour of a broader stylistic approach they came up with "The Lovecats" and "The Caterpillar" and The Top — and a poppier sound remained in much of their best work from then on. A shame Siouxie never bothered doing something similar but hats off to them for doing what they did best.
So, "Candyman" is a by-numbers Banshee track but a worthy one nonetheless. For Siouxsie to tackle the subject of child abuse is commendable and for her to do so with "a lot of sex" in her voice is particularly bold. Being a part of the "formula" this is nothing new for her but the clash with the song's subject matter is a decision not everyone would make. A year earlier The Smiths' "Suffer Little Children" had caused controversy by depicting the victims of the notorious Moors murders in a supposedly insensitive light — and Morrissey sang it in his typically glum fashion. Presumably, Siouxsie isn't recounting an actual tale of paedophilia and isn't naming anyone but her sensual voice (with childlike "na na-na, na na-na" that bring to mind Kate Bush) could easily have caused offense. It didn't and a good thing too since it was the right choice. I like to think that Siouxsie is trying to lure this disgusting loser: how about instead of going after some poor little kids you follow me and I'll show you something about sensuality. The woman who "sings with sex" really taking one for the team.
~~~~~
Also Reviewed This Fortnight
Kate Bush: "Hounds of Love"
For such an all-conquering album of the decade, the Hounds of Love album never managed to deliver the truck-load of giant hit singles that it deserved to. This, the title track, did manage to outperform its better-remembered predecessor "Cloudbusting" but even so its Top 20 placing seems disappointing. Oh well, I'm not one of those 'buy the single and the album' types so why should I retroactively lecture the punters on their consumer choices. Managing to get more out of a cello than Jeff Lynne ever did, this song sneaks up on the listener with poignant lyrics and subtle musical touches that grab one's attention and grows into an epic sound experience — and all in a very swift three minutes. Even alongside the eleven other great songs on her peerless masterpiece, "Hounds of Love" is an extraordinary work.
For such an all-conquering album of the decade, the Hounds of Love album never managed to deliver the truck-load of giant hit singles that it deserved to. This, the title track, did manage to outperform its better-remembered predecessor "Cloudbusting" but even so its Top 20 placing seems disappointing. Oh well, I'm not one of those 'buy the single and the album' types so why should I retroactively lecture the punters on their consumer choices. Managing to get more out of a cello than Jeff Lynne ever did, this song sneaks up on the listener with poignant lyrics and subtle musical touches that grab one's attention and grows into an epic sound experience — and all in a very swift three minutes. Even alongside the eleven other great songs on her peerless masterpiece, "Hounds of Love" is an extraordinary work.
