The album was commercially successful in the UK. It was acclaimed by critics upon its release,with praise given particularly to John McGeoch's unconventional guitar playing and Siouxsie's vocal performances. It remains a critical favourite and is seen as a landmark album of post-punk.
Background
After the slightly electronic bent of their previous album,1980's Kaleidoscope,Siouxsie and the Banshees returned to a guitar-based sound for Juju,due to the presence of now-official guitarist McGeoch. The album also prominently featured the intricate percussion work of band member Budgie. According to Steven Severin:"Juju was the first time we'd made a "concept" album that drew on darker elements. It wasn't pre-planned,but,as we were writing,we saw a definite thread running through the songs;almost a narrative to the album as a whole".[2]
The album was recorded at co-producer Gray's Surrey Sound studio. There,McGeoch experimented with a rarely used guitar effects device called the Gizmo for the album track "Into the Light". Attached to the guitar's bridge,the Gizmo used keyed wheels to press the strings,giving a McGeoch's guitar the sound of a classical string instrument.[3] For "Arabian Knights",McGeoch transformed a tune by Siouxsie,initially in waltz rhythm,that she had composed on a Vox Teardrop guitar.[3] For "Sin in My Heart",McGeoch used an EBow while playing guitar.[4]
Juju is a post-punk album,and was listed solely as such by AllMusic.[5] The record was also qualified as "art rock" by The Guardian,which also dubbed the two singles as "pop marvels".[6] However,Juju has also been cited by certain critics as gothic rock,[7] though the band dispute such categorisation.[2]BBC Radio 4 called the album "hugely influential dark wave".[8]
Release
Juju reached No. 7 in the UK Albums Chart,remaining in the chart for 17 weeks.[9]
A 180g vinyl reissue of the album,remastered from the original ¼”tapes and cut half-speed at Abbey Road Studios by Miles Showell,was released in August 2018.
Sounds praised the album,observing that Siouxsie's voice "seems to have acquired a new fullness of melody" with "a rich,dark smoothness". Assessing the band's music,writer Betty Page commented:"The way this unit operates is impressively cohesive,like one brain the inventive musical talents of [guitarist] McGeoch,[drummer] Budgie and [bassist] Severin mesh perfectly with Siouxsie". She also hailed McGeoch as being "the only man who can make an acoustic guitar sound foreboding".[10]NME considered that "Juju,their fourth LP [might be] their second best",qualifying it as "a peak in entertainment". Critic Paul Morley wrote that Siouxsie "exult[ed] with priceless poise". He concluded,naming all the songs,saying:"Side one's highlights –'Spellbound','Into the Light','Arabian Knights','Halloween' and 'Monitor'. The most consistent side since The Scream. Side two's highlights –'Night Shift','Sin in My Heart','Head Cut' and 'Voodoo Dolly'. Juju is the first integrated and sparkling-complete Banshees since The Scream."[11]
In a retrospective review,AllMusic wrote,"The upfront intensity of Juju probably isn't matched anywhere else in the catalog of Siouxsie and the Banshees. Thanks to its killer singles,unrelenting force and invigorating dynamics,Juju is a post-punk classic."[5] The 2004 edition of The Rolling Stone Album Guide,gave a 3 ouf 5 rating while pairing Juju with Kaleidoscope as albums that,refined "the Banshees' attack,diversifying the sound without losing its swirling impact".[12] Rating the album three out of five in the MusicHound album guide book,Doug Pullen described Juju as "a dark sensual record that combined Sioux's pained lyrics with smartly evocative grooves".[13]
In 2007,The Guardian placed Juju on its "1000 Albums to Hear Before You Die" list,writing,"Perennial masters of brooding suspense,the Banshees honed their trademark aloof art rock to its hardest and darkest pitch on Juju."[6]Juju was also featured in the book 1001 Albums You Must Hear Before You Die.[14]
McGeoch's guitar playing in particular was singled out for praise by critics and musicians. In 2006 he was listed at number 89 on Mojo's list of the "100 greatest guitarists of all time" for his work on "Spellbound".[16]Johnny Marr of the Smiths said on BBC Radio 2 in February 2008 that he rated McGeoch highly for his work on "Spellbound". Marr qualified it as "clever",with a "really good picky thing going on which is very un-rock'n'roll".[3] In Uncut,Marr rated McGeoch as his 10th favourite guitarist for his work on Juju and Real Life by Magazine.[17] Another member of the Smiths,singer Morrissey,commented on "Spellbound" during an interview for the US KROQ-FM radio station in 1997:"Another great single. A hit in England. Certainly not here,I don't think. But they were one of the great groups of the late '70s,early '80s.... Siouxsie and the Banshees were excellent."[18] Morrissey later named Juju as a major album of the Banshees.[19]Robert Smith of the Cure cited McGeoch's contribution on "Head Cut" in his five favourite guitar tracks,saying:"This is really harsh funk in a weird way –clever choppy chords. There's no real form to it as such,but some interesting sequences".[20]
Radiohead cited Juju,with Thom Yorke,Ed O'Brien and Colin Greenwood all mentioning their liking for the album.[21] O'Brien remembered recording "Spellbound" on a tape recorder after listening to the charts,noting that "it was a great era of music".[22]John Frusciante of Red Hot Chili Peppers mentioned it as one of his influences for the album By the Way. He said:"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 Magazine and Siouxsie and the Banshees,Juju".[23]Billy Corgan of the Smashing Pumpkins selected "Arabian Knights" when he talked about some of his favourite music on BBC radio:[24] commenting the song,he said that "Siouxsie and the Banshees were able to unlock certain rhythms and feelings that are still in alt rock today".[25]Duane Denison of the Jesus Lizard chose McGeoch as his favorite guitarist for his playing,especially on Juju,saying:it was "atmospheric and aggressive" and "truly inspiring to me".[26]
↑ Deevoy, Adrian (October 2005). "Men of the Year". GQ.
↑ Sinclair, David (May 1984). "The Best Guitar Breaks In The World [Our six favourite guitarists choose their 30-odd favourite guitar tracks]". One Two Testing. [Robert Smith:] 1 Jimi Hendrix "Purple Haze" Jimi Hendrix Experience (1967), 2 Hugh Cornwell "Hanging Around" The Stranglers (1977), 3 John McGeoch "Headcut" Siouxsie And The Banshees (1981), 4 Joe Strummer/Mick Jones "White Riot" The Clash (1977), 5 Lou Reed "White Light/White Heat" Velvet Underground (1967). "Headcut": "This is really harsh funk in a weird way – clever choppy chords. There's no real form to it as such, but some interesting sequences."
↑ Ryan Dombal. "Radiohead interview". Pitchfork. 28 March 2008. Retrieved 16 May 2016. "Yeah. 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."
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