スージー・アンド・ザ・バンシーズ (英語: Siouxsie And The Banshees) は、イギリスのロックバンドである。1976年にスージー・スーを中心として結成。その音楽性は、活動時期によって多様性に富んでいる。初期のストレートなポストパンクから始まり、中期には呪術的とも評されたサイケデリック色を強めた独自のサウンドを構築したが、後期にはスージー・スーのボーカルがより重視されるようになった。
2025年、ジョン・マッケイはデビュー・ソロ・アルバム『Sixes And Sevens』をレコードとCDでリリースした[24]。このアルバムには1980年から1989年にかけて録音された曲が収録されている。1980年にケニー・モリスがドラムを担当して制作された曲の中には、マッケイがバンドに残っていたらバンシーズがどのような方向性を辿っていたかを垣間見ることができるものもあった。マッケイのウェブサイトでは限定版が販売されており、ボーナスCDには「People Phobia」が収録されている。これは「Hong Kong Garden」の制作開始前にマッケイがバンドに提示した最初のバージョンである[25]。
^McDonnell, Evelyn; Kelly, Karen, eds (1999). Stars Don't Stand Still in the Sky: Music and Myth. New York: NYU Press. p. 82. ISBN978-0-814-74727-8
^Williamson, Nigel (27 November 2004). “Siouxsie & the Banshees”. The Times. 2023年7月25日閲覧. ...with the Banshees she helped to invent a form of post-punk discord full of daring rhythmic and sonic experimentation... The Banshees stand proudly alongside PIL, Gang of Four and the Fall as the most audacious and uncompromising musical adventurers of the post-punk era.
^“Playlist – Peter Hook [Joy Division 's “Field recordings]”. Q magazine (2013年4月23日). 2017年1月10日閲覧。 “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” Morris, Stephen (2019). Record Play Pause: Confessions of a Post-Punk Percussionist: The Joy Division Years Volume I. Constable. ISBN978-1472126207. "[Stephen Morris]: It would be Siouxsie and the Banshees to whom I most felt some kind of affinity. [...] the bass-led rhythm, the way first drummer Kenny Morris played mostly toms. In interviews Siouxsie would claim the sound of cymbals was forbidden [...] The Banshees had that [...] foreboding sound, sketching out the future from the dark of the past. [...] hearing the sessions they'd done on John Peel's show and reading gigs write-ups, I had to admit they sounded interesting."
^Oldham, James (2004). “Siamese Twins - The Cure and the Banshees [Robert smith (The Cure) interview]”. Uncut (magazine): 60. "When we went on tour with [Siouxsie and the Banshees] at the end of 1979. They were a massive influence on me. [...] They were the group who led me towards doing Pornography. They drew something out of me" Fitzpatrick, Rob (August 2012). “Glass Half Empty [Robert smith (The Cure) interview]”. The Word. "It allowed me to think beyond what we were doing. I wanted to have a band that does what Steven Severin and Budgie do, where they just get a bassline and the drum part and Siouxsie wails"
^Dansby, Andrew (2018年10月4日). “Johnny Marr (The Smiths) talks about making his own music”. Houstonchronicle.com. 2018年11月1日閲覧。 “Really my generation was all about a guy called John McGeoch, from Siouxsie and the Banshees” Goddard, Simon. Mozipedia: The Encyclopaedia of Morrissey and the Smiths [Sioux, Siouxsie entry]. Ebury Press. p. 393. "(Johnny Marr:) there weren't many new guitar players who were interesting and of their time.[...] John McGeoch. [His work] was really innovative guitar music which was pretty hard to find back then. To a young guitar player like myself, those early Banshees singles were just class""
^Leng, Karen (2021年4月8日). “Double J Interview: Kevin Shields from My Bloody Valentine”. Abc.net.au. 2021年6月7日閲覧。 “[from 9 minutes 20 seconds] [Kevin Shields: The post-punk bands...] the best of all was Siouxsie and the Banshees, the Cure and Killing Joke”
^"Jeff Buckley interview - MuchMusic". MuchMusic Canadian TV. November 1994. Retrieved 2 February 2021. (Jeff Buckley:) "I grew up for the 1960s, early 1970s, 1980s, so I observed Joni Mitchell, I observed the Smiths and Siouxsie and the Banshees. That turns me on completely.
^Appleford, Steve (2000年10月29日). “Checking In With . . . PJ Harvey In a New York State of Mind”. Los Angeles Times. 2016年5月10日閲覧。 “Q: Was there any figure who connected with you when you were just a listener? A: It's hard to beat Siouxsie Sioux, in terms of live performance. She is so exciting to watch, so full of energy and human raw quality.”
^McCormick, Neil (2006). U2 by U2. HarperCollins Publishers. pp. 56, 58 and 96
^“An interview with Johnny Marr”. seattlepi.com (2014年12月17日). 2015年12月1日閲覧。 “I try to think about the guitar along the spectrum of James Williamson, who was in the Stooges during the Raw Power era, on the one hand to John McLaughlin and his solo record, My Goal's Beyond. I like all the spectrum in between, and that might be – and is – Richard Lloyd of Television, John McGeoch from Siouxsie and the Banshees, Nile Rodgers. To me these people are magicians and artists”
^Dombal, Ryan. “Radiohead interview”. Pitchfork.com. 2008年3月21日閲覧。 “Colin Greenwood: In rehearsals yesterday, Thom, Ed and I were running through a Siouxsie and the Banshees cover called "Happy House" and Jonny [Greenwood]-- the young one-- was like, "What the fuck is this?" And we're like, You know, Siouxsie and the Banshees! Check out Juju [ Siouxsie and the Banshees' 1981 album]”
^Casandra Scaroni, Samuel Dietz.. “You’ve got to find a voice [Radiohead Ed O'Brien interview]”. Alltuntun. 2018年9月2日時点のオリジナルよりアーカイブ。2018年9月3日閲覧。 “I was very lucky because I grew up in an era, a time from about 1979 onwards, and I was very aware of music in the charts in England . It was the post-punk era, so you had a lot of music like Siouxsie and the Banshees [...] it was a great era of music, you’d been listening to the charts or tape them on a cassette recorder so you’d have [...] "Spellbound" by Siouxsie And The Banshees,”
^Borjesson, Tore S (2003年3月23日). “Red Hots verkliga frontman”. Aftonbladet. 2015年7月2日閲覧。 “John McGeoch is a guitarist I want to be. He's got a new brilliant idea at each song. I generally listen to the records he recorded with [...] Siouxsie and the Banshees, Juju"”
