This album catches Siouxsie and the Banshees in concert in 1983 London just before "Hyaena" came out. It's amazing to think that they at one time played in such large music halls. Don't expect to get to know Siouxsie at a concert since she really never talked to the audience. They were there simply to perform. The concert starts with a recorded intro of the violent classical piece "Rite of Spring" before the band comes out to play live favorites "Israel" and "Dear Prudence". Her voice is very unflexible and harsh at times but very effective - almost hypnotic. She pretty much makes any other female singer sound too girly. You almost wonder if her throat hurts. This show was recorded during the brief time that Robert Smith was guitarist. He was probably anxious to get back to fronting the Cure since his guitar playing was very accurate but could have been anybody playing. "Cascade" is excellent in it's urgency and "Nightshift" is droning blackness. After an earshattering "Eve white/Eve black" the band ends on the building climax of their most evil song ever "Voodoo Dolly". Budgies drumming is so intricate and the rhythm becomes so angst inducing that it has no choice but to all go up in a vortex. Which it does. And then the band leaves the stage without a goodbye.

I am a huge fan of live abums, because it tells me whether or not the band can really play, or if they're just manufactured by the studio. This live album is absolutely fantastic. It opens with an incredible version of "Israel", with this fabulous 2 minute beginning with drums and horns, then follows to an equally incredible version of The Beatles' "Dear Prudence." It continues on in this fashion until the end. Siouxsie picks you up with her enchanting voice, and doesn't let you down until the end.

I just got this after owning the LP for a decade and it still holds up after all these years. It was recorded in 1983 mind you! This live recording is extremely energetic and instantly atmospheric. Siouxsie's vocals chant and wail over driving drum beats, otherworldly guitars (with just the right ammount of feedback), and smooth-but-chunky bass lines. In my opinion it's the best thing that the banshees ever released because it collects the best early works without the sterility which was forced upon the studio versions of these same tunes. Although this will appeal to people who like music outside the goth genre it's most likely that you'll only dig this disc if you like a little darkness in your music. What amazes me about it in particular is the fact that it pre-dates grunge and everything since. To put it another way this recording is WAY ahead of its time. To put it yet another way this band could have easily shaken down the doors at Lilith Fair or Ozzfest circa 1999!

While this disc is worthy for just the covers of "Dear Prudence" and "Helter Skelter" it will appeal to anyone who likes a little edge to their rock-and-roll or enjoys listening to dreamy music in the dark. Save the money you were going to use to buy the latest "alternative" hit record from the hip band of the week and BUY THIS DISC!

When I was 14 years old, this was one of my favorite LPs. If early Lps of the Cure (Faith, 17 seconds, Pornography) had been my gateway drug to darker, grimier sounds as a teenager, this record by Siouxsie & the Banshees was my next step up the ladder. Budgie and Steve Severin were a tight rhythm section in those days, with booming drums and loud, clear, distinct bass lines that dominate the songs. Robert Smith, fresh off of the post-Pornography breakup of the Cure, plays a mangled, dark, out-of-tune monster guitar on this record. All for brilliant effect. Siouxsie even complains at one point during the concert to Smith "Can't we get out of tune any quicker?"

Looking back on this record 2 1/5 decades later, it still sounds fresh and takes me back to my teenage years in the early 80s. When people talk about the British post-punk goth rock sound, this is the sound they are referring to. Tough. Dark. Shocking. But strangely delightful at the same time. I don't own any other Siouxsie and the Banshees records other than this one any more. And I don't see why I would need to. This is the defining performance at the defining moment with the defining collection of musicians backing her up. This is what Siouxsie and the Banshees was all about. Their reputation as an early 1980s British post-punk band was built on concerts like this one. I don't doubt that even in another 26 years, it will still sound as tight and amazing as ever.

If my own children were to ask me "Who were Siouxsie and the Banshees and what were they all about?" this is the disc I would recommend to them. Nothing else. This says it all.

As good as all the Banshees' records are -- and I love them all more than anything -- this really is a good place to start, despite the other singles'/greatest hits collections and the reason is simple: The Banshees are one of the greatest live bands ever. Ever. Before I even heard "Israel" or "Painted Bird" as presented on their originally studio tracks (and this being almost 15-16 years ago, gosh, I feel old), I heard the live versions on "Nocturne" and they simply blew me away, and still do -- the studio versions just don't compare. I just dragged out my videocassette of Nocturne too, and it just is incredible. A bit dated maybe, but still packs quite a punch and reminds me why I love SATB so much. Make this CD part of your collection, you will not be sorry!