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[[File:Siouxsie-sioux-thumb.jpg | 200px | right | thumb |Siouxsie Sioux]] ==Relevance== Morrissey dedicates several paragraphs in [[Mention::Autobiography]] to his meeting of Siouxsie and the subsequent recording of [[Mention::Interlude]]: <blockquote>Siouxsie chooses Timi Yuro’s Interlude, and she pulls up at Hook End Manor recording studio in a black Mercedes. She is carrying her own microphone and she wants to get on with it minus any familiar chit-chat. In the event, she is a seasoned professional of exact run-throughs and topnotch precision. There is only one crack in the alabaster as she listens to her final take and softly asks me, ‘Are you sure it’s OK?’ It is the solitary moment when the Soviet Statue breathes. One can suddenly imagine real blood in Siouxsie’s veins – and yet, perhaps not. Siouxsie’s manager calls me a few days later. ‘Sioux says I’m too soft on you,’ he begins – inexplicably. ‘S-soft?’ I stutter, ‘but you don’t know me, and I don’t know you, and she doesn’t know me, and I don’t ...’ and on I go, trailing away boring myself rigid. EMI are delighted with Interlude, and there are torturous mutterings of ‘a number 1 cert’. It certainly achieves its aim as a husky Bond theme, with the slipping-away wheeze of dentist-gas. Suddenly a legal letter arrives at EMI from Siouxsie’s label, Polydor, who insist that ‘at very least this is a Siouxsie recording’, and they would like 100 per cent ownership, which should be released with Siouxsie’s name only. Am I to be spared nothing? Although I had paid for the recording, Polydor do not insist on covering any costs! It is all so typically, typically, typically convoluted crap. </blockquote>
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