‘Helter Skelter’ by The Beatles, covered by Siouxsie & The Banshees – Magnificent Cover Version No.20

Helter Skelter is obviously not The Banshees’ most famous Beatles cover, but I’ve always preferred it to their version of Dear Prudence. Whereas the band’s Prudence, is quite a faithful rendition of the original, their Helter Skelter turns The Fab Four’s heaviest recording into something delightfully weird.

In Ian MacDonald’s wonderful book about The Beatles, Revolution in the Head, he utterly slams Helter Skelter. According to MacDonald, in attempting to emulate the heavy rock of The Who, Cream and Jimi Hendrix, The Beatles, “comically overreach themselves”, “reproducing the requisite bulldozer design but on a Dinky Toy scale”. He calls the result “ridiculous” and “a literally drunken mess”. This is coming from a fan who has written extensively about their brilliance and cultural impact and who elsewhere in the book refers to them as “far and away the best-ever pop group”. I agree with most of what MacDonald writes in Revolution in the Head, but not his assessment of Helter Skelter; it’s thrilling and I love it.

Siouxsie and the Banshees’ are clearly also fans of Helter Skelter. Their version doesn’t attempt to replicate the frantic, metal of the original, instead instilling it with an unsettling, post-punk threat. While the original kicks off out of nowhere, like an ambush, the cover couldn’t start slower. Four, long-held bass notes are played before a sparse, atonal guitar chimes in and it’s nearly a minute before Siouxsie begins to sing – “As I get to the bottom” – and a drum beat, of sorts, starts up – “I go back to the top of the slide”. The tempo is almost painfully slow, until she sings “see you again”, and it accelerates and becomes recognisable.

Neither the singing nor the guitars closely follow the original melodies – Siouxsie stamps her own charisma on the vocals and the guitars seem to fuse Paul McCartney’s riff with The Stooges’ I Wanna Be Your Dog. The descending guitar part on the chorus is replaced by a vocal part, “Helter Skelter, na, na, na, na, na, na, na, na,” and while the original has a false finish, this one cuts off with a cymbal crash midway through a line. For something so confrontational, from a band with such an unsmiling persona, there’s a lot humour in the song and it’s got an uplifting feel about it.

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There’s a great 1983 live version of it here. This is from the time that Robert Smith was in the band, and the YouTube comments quickly descend – as YouTube comments do – into offensive stuff about him and The Cure. At least that’s better than the comments on the video to their Dear Prudence cover. Bob’s in that video too, arsing about, badly portraying vertigo in Venice with the rest of The Banshees, but 90% of the commenters are far more concerned with Siouxsie’s armpit hair. Sorry, I know I shouldn’t read the comments. Incidentally, Robert Smith and Banshees’ bassist Steven Severin, had a side-project at this time called The Glove, which is well worth checking out https://youtu.be/xJ9BNGl5yOs.

Siouxsie and the Banshees also released an excellent live cover of The Velvet Undergrounds’ All Tomorrow’s Parties, as a B-side to their 1994 single O Baby. I guess Dear Prudence will always be the cover version that defines them, but their Helter Skelter is the one that does it for me, especially when you consider the terrible things that have happened to that song since at the hands of Motley Crue, Oasis and U2 – I urge you NOT to click on any of these links!

 

‘Happiness Is A Warm Gun’ by The Beatles, Covered by The Breeders – Magnificent Cover Version No. 2

‘Just Like Heaven’ by The Cure covered by Dinosaur Jr – Magnificent Cover Version No.10

Action Time Vision – UK Independent Punk 1976 – 1979

Punk was a watershed moment for UK music, one which shook the mainstream, enlivened the underground and influenced everything that followed. Everyone’s aware of this but if you weren’t there at the time, how much do you know about the scene beyond its epochal acts – punk’s acceptable face, The Buzzcocks, its unacceptable face, The Sex Pistols and its conscience, The Clash? Maybe The Damned, X-Ray Spex, Stiff Little Fingers and a few others have entered your consciousness but even then the musical legacy doesn’t seem to match the cultural legacy. Action Time Vision is a just-released, four-CD set featuring punk records released on a variety of independent labels in the late-’70s which helps give an idea of the breadth of the scene beyond the main players.

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Cherry Red Records have developed a formula for this sort of thing – taking an underground musical subgenre, collecting together the best examples of tracks from that scene and sticking them on CD compilations, lovingly packaged with illustrations, photos and writings from journalists who covered the scene at its height. Just this year the label has released collections covering the early-’90s shoegaze scene, 1980s neo-psychedelia, early British electronica and the developing C86/indie scene. These collections provide a nostalgia trip for those who were part of these scenes and a rare insight for those who weren’t. Cherry Red’s punk collection, covering a scene that everyone’s aware of but not so many really know, is probably overdue.

In the case of Action Time Vision, the foreword is written by Kris Needs, editor of Zigzag magazine during the punk era. By his estimation, the songs collected here “wrench up the paving slabs to reveal what was really going on underneath street level during that seminal time”. And so it is that the collection starts off with The Damned’s debut single on Stiff Records, New Rose – which reached the dizzying heights of number 81 in the 1976 charts – before unearthing lost treasures that never got that close to rubbing shoulders with ABBA, like Lockjaw’s Radio Call Sign, New Religion by Some Chicken and the Poison Girls’ Under The Doctor.

There are 111 songs on the four discs of Action Time Vision, ranging from really great stuff, like Stiff Little Fingers’s classic Suspect Device, Little Miss Perfect by Demon Preacher, Blank Generation by Xtraverts and Teenage Treats by The Wasps, to energetic triers like Steroid Kiddies, whose 1979 effort Dumb Dumb,  sounds a lot like something by Bad News. There are also rarities like the previously unreleased I Hate The Whole Human Race by Newcastle band Big G and curios like a cover of Nancy Sinatra’s These Boots Were Made For Walking, released on the UK label Golden Sphinx by Philadelphia’s Pure Hell.

Early incarnations of The Fall (with Psycho Mafia), Joy Division (Failures) and a pre-nose-plaster Adam and The Ants (Zerox), are all featured and sounding great along with a whole load of other musicians who really made their mark in the next decade. Kevin Rowland of The Killjoys became the lead singer of Dexys Midnight Runners, Shane McGowan, Billy Bragg and Gary Numan started their singing careers with The Nipple Erectors, Riff Raff and Tuebeway army respectively, while Johnny & The Self Abusers had the audacity to evolve into Simple Minds.

Action Time Vision gives a real sense of what UK punk was about, showcasing dozens of bands who bought into its DIY ethos and helped give the scene weight. Listening to it is like being handed a crate full of obscure punk 7″s collected by a fan – and who wouldn’t want that? – it’s a compilation to live inside for a long time and really absorb. Everything included was released by independent record labels, and whether the bands featured went on to greater successes or disappeared after one single, they all got their opportunities and audiences from the same musical revolution.

 

A quick (unfunny) Devo joke

Every time I see a golf ball, I think of Devo’s first album, Q: Are We Not Men? A: We Are Devo!  True story…

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That wasn’t the joke, don’t worry, but it’s not much better than that, to be honest. Apologies in advance. Here goes.

This is my dog;

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His name’s Devo, because he’s a whippet!

You know, because of their most famous song, Whip It? Yeah? Ah, if you have to explain it it’s never funny. Which I did warn you about.

Sorry.

Superchunk’s version of Devo’s awesome Girl U Want is the subject of this Noisecrumbs blog post. You should read one and listen to the other. It’s up to you which way round.

Whippet, ha!