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It is a tie between Bauhaus and Siouxsie and the Banshees. Although will have to give it to Bauhaus.More than pioneers. Both artists. They invented it.Bauhaus released their first recording in 1979, and Banshees, had begun recording in late 1977 and early 1978 with their first full album release in 1978. Both bands were genuinely Post-punk, although Bauhaus, are probably the band, with the most Gothic influence. It all happened naturally. Simply evolved.The other two relevant bands, The Sisters of Mercy and Fields of the Nephilim. Although these were essentially 80s bands, while exceptional talents, and true-to-formOf course, numerous other artists, are also worth a mention, plenty, along the way.Siouxsie and the Banshees - WikipediaSiouxsie and the Banshees were a British rock band, formed in London in 1976 by vocalist Siouxsie Sioux and bass guitarist Steven Severin.Bauhaus (band) - WikipediaBauhaus are an English rock band, formed in Northampton, England, in 1978.Bauhaus to Reissue 6 albums on Colored Vinyl for Their 40th Anniversary — Post-Punk.comIn pictures: Bauhaus do Bowie, Ziggy Stardust video shoot in pictures - Roundhouse - Celebrating 50 YearsIN PICTURES: BAUHAUS DO BOWIE, ZIGGY STARDUST VIDEO SHOOT IN PICTURES1 – 31 August 1982Many bands have covered David Bowie, but Bauhaus’ post-punk take on Ziggy Stardust has stood the test of time. The gloriously gothic video directed by Mick Calvert, was filmed at the Roundhouse under the Main Space, where the Hub now stands today. The shoot was captured by legendary music photographer Fin Costello.Peter Murphy in the Hub, underneath the Main Space.Credit: Fin Costello / Redferns.The video shoot was one of the few gigs that took place here in the 1980s.Credit: Fin Costello / Redferns.Credit: Fin Costello / Redferns.Credit: Fin Costello / Redferns.In pictures: Bauhaus do Bowie, Ziggy Stardust video shoot in pictures - Roundhouse - Celebrating 50 YearsBauhaus - Ziggy StardustPhoto of "BAUHAUS - Ziggy Stardust / Third Uncle" 7" RecordBAUHAUS - ZIGGY STARDUST / THIRD UNCLE ORIG UK 7" PS SINGLE VINYLZiggy Stardust / Third Uncle 7" Single Vinyl Album Cover Gallery & Information #vinylrecordsTracklist: Bauhaus, In the Flat Field (Bronze Vinyl)“Double Dare”“In The Flat Field”“A God In An Alcove”“Dive”“The Spy In The Cab”“Small Talk Stinks”“St.Vitus Dance”“Stigmata Martyr”“Nerves”Tracklist: Bauhaus, Mask (Yellow Vinyl)“Hair of the Dog”“The Passion of Lovers”“Of Lilies and Remains”“Dancing”“Hollow Hills”“Kick in the Eye”“In Fear of Fear”“Muscle in Plastic”“The Man with the X-Ray Eyes”“Mask”Tracklist: Bauhaus, The Sky’s Gone Out (Violet Vinyl)“Third Uncle”“Silent Hedges”“In the Night”“Swing the Heartache”“Spirit”“The Three Shadows, Part I”“The Three Shadows, Part II”“The Three Shadows, Part III”“All We Ever Wanted Was Everything”“Exquisite Corpse”Tracklist: Bauhaus, Burning From the Inside (Blue Vinyl)“She’s In Parties”“Antonin Artaud”“Wasp”“King Volcano”“Who Killed Mr. Moonlight”“Slice Of Life”“Honeymoon Croon”“Kingdom’s Coming”“Burning From The Inside”“Hope”“Lagartija Nick ”“Here’s The Dub”“Departure”“The Sanity Assassin”Tracklist: Bauhaus, Press Eject and Give Me the Tape (White Vinyl)“In the Flat Field” (February 1982 at The Old Vic, London)“Rose Garden Funeral of Sores” (February 1982 at The Old Vic, London)“Dancing” (October 1981 at The Royal Court Theatre, Liverpool)“The Man With X-Ray Eyes” – November 1981 at Hammersmith Palais, London“Bela Lugosi’s Dead” (February 1982 at The Old Vic, London)“The Spy in the Cab” (October 1981 at The Royal Court Theatre, Liverpool)“Kick in the Eye” (October 1981 at The Royal Court Theatre, Liverpool)“In Fear of Fear” (October 1981 at The Royal Court Theatre, Liverpool)“Hollow Hills” (February 1982 at The Old Vic, London)“Stigmata Martyr” (October 1981 at The Royal Court Theatre, Liverpool)“Dark Entries” (October 1981 at The Royal Court Theatre, Liverpool)“Terror Couple Kill Colonel” (December 1981 at Le Rose Bon Bon, Paris)“Double Dare” (December 1981 at Le Rose Bon Bon, Paris)“In the Flat Field” (December 1981 at Le Rose Bon Bon, Paris)“Hair of the Dog” (December 1981 at Le Rose Bon Bon, Paris)“Of Lillies and Remains” (December 1981 at Le Rose Bon Bon, Paris)Waiting for the Man” (October 1981 at Fagins, Manchester)Bauhaus to Reissue 6 albums on Colored Vinyl for Their 40th Anniversary — Post-Punk.comFrom the Stacks: Bauhaus – Bela Legosi’s Dead (12″ Single)"Bela Lugosi's Dead" is a song by the English post-punk band Bauhaus. It was the band's first single, released on 6 August 1979 by record label Small Wonder. It is often considered the first gothic rock record. Bela Lugosi's Dead - WikipediaFrom the Stacks: Bauhaus – Bela Legosi’s Dead (12″ Single)History"Bela Lugosi's Dead" was recorded "live in the studio" in a single take during a six-hour session at Beck Studios in Wellingborough on 26 January 1979. It was the first thing they recorded together, six weeks after the band had formed. All four band members are credited as writers of the song: vocalist Peter Murphy, guitarist Daniel Ash, drummer Kevin Haskins and bassist David J (as David Haskins). David J has claimed that he wrote the lyrics. Alternate versions of "Bela Lugosi's Dead" also included a portion of the early demo recording of their next single, "Dark Entries".Four additional songs were also recorded during the same session: "Boys"; "Bite My Hip"; "Some Faces" and the ska-reggae tune "Harry", which was about Deborah Harry, the lead singer of Blondie. Regarding this session, Kevin Haskins said, "There’s power pop in there, and ska too. We were trying to find our voice."Of the songs recorded during that session (aside from "Bela Lugosi's Dead") only "Harry" found an official release; in 1982 as a B-side to the single "Kick in the Eye." A version of "Boys" recorded at Beck Studios later in 1979 was used as a B-side to the original release of the "Bela Lugosi's Dead" single. The remaining tracks, including the original recording of "Boys," remained unreleased until 2018 when "The Bela Session" was released on vinyl, CD and made available for digital download by the band.The song is over nine minutes long; the vocals start (in the studio version) several minutes into the track. The dub-influenced guitar sound was achieved by using partial barre chords and leaving the top E and B strings open.The song takes its name from the horror film star Bela Lugosi, who is known for his role as the title character in the 1931 film Dracula.The sleeve cover art was taken from the 1926 film The Sorrows of Satan, directed by D. W. Griffith."Bela Lugosi's Dead" is considered the harbinger of gothic rock music and has been immensely influential on contemporary goth culture.In an article by The Guardian titled ”Bauhaus invent goth”, the newspaper ranked the song number 19 on their list of the 50 key events in indie music history, stating;The Northampton band's debut single seemed an improbable template for other bands to follow: a gloomy descending bassline repeating for the best part of 10 minutes, with a drum pattern and a preponderance of echoing effects evidently derived from dub reggae, topped with jaggedly abstract guitar noise. “Bela Lugosi's Dead“ would have been just another piece of post-punk experimentation had it not been for the lyrics, which depicted the funeral of the Dracula star, with bats swooping and virgin brides marching past his coffin. The effect was so irresistibly theatrical that dozens of bands formed in its wake. So many, in fact, that goth quickly became a very codified musical genre“Bela Lugosi’s Dead” is roundly established by goth historians as the first true record in the genre. For comparison’s sake, goth icons the Cure and Siouxsie and the Banshees were certainly releasing records at the same time that Bauhaus delivered its premiere single, but the aforementioned bands didn’t go full-on goth until 1980-81. The song also precedes all the early recognized alt-rock masterworks.–"Bela Lugosi's Dead": 30 Years of Goth, Gloom, and Post-Post-Punk, PopMatters, October 2009.9:36 Bauhaus - Bela Lugosi's Dead (Original)Lyrics:[Verse 1]White on white translucent black capesBack on the rackBela Lugosi's deadThe bats have left the bell towerThe victims have been bledRed velvet lines the black boxBela Lugosi's deadBela Lugosi's deadUndead undead undeadUndead undead undead[Verse 2]The virginal brides file past his tombStrewn with time's dead flowers Bereft in deathly bloomAlone in a darkened roomThe countBela Lugosi's deadBela Lugosi's deadBela Lugosi's dead Undead undead undeadUndead undead undeadUndeadOh BelaBela's undeadOh BelaBela's undeadBela's undeadOh BelaBela's undeadOh BelaUndeadBauhaus – Bela Lugosi's DeadBauhaus Archives - GENRE IS DEAD!Peter Murphy to Release a 5 Disc Boxset Collecting his Beggars Era Solo Albums — Post-Punk.comPeter John Joseph Murphy (born 11 July 1957) is an English singer, songwriter, and musician. He was the vocalist of the goth rock band Bauhaus and later went on to release a number of solo albums, including Love Hysteria, Deep, and Holy Smoke. Thin with prominent cheekbones, a baritone voice, and a penchant for gloomy poetics, he is often called the "Godfather of Goth".[He is of Irish descent]Early lifePeter John Joseph Murphy was born on 11 July 1957 in Northampton, Northamptonshire. He is of Irish descent. He was raised in Wellingborough, Northamptonshire, where he was a school friend of Daniel Ash. Murphy's first interest in music was due to his mother's habit of constantly humming tunes. He also grew into an artistically inclined teenager. He was regarded as introverted and somewhat anti-social and due to that, Murphy turned down the chance to go to art college, and instead worked as printer’s assistant, while pursuing his interests in painting, writing, and singing in his free time.According to Peter regarding his musical beginnings:"Well I was like the bookbinder printer-skilled chap, and Danny (Ash) had left school and he went to Art School four years or five years later and I got onto a course there with just one week’s worth of work that I’d just scraped together, but I didn’t want to go I felt very introverted and didn’t want that, it was more about going into that environment. So I internalised and listened to my music. After school everyone had split and gone their own ways, all the friends I had were artists but I was a kid who was interested in a multitude of things, I loved literature, all kinds of things, anything I turned my hand to, but there was no outlet for it. Which is typical because in that fertile earth of Britain where nothing happens a lot comes out you know. So I’d really been listening to music from being a baby, from 1st World War and 2nd World War songs through to Doris Day, then Simon and Garfunkel, Rolling Stones, The Beatles, to all the early Reggae stuff. It was a very musical family in terms of listening and singing, there was lots of music in the house and then in 1966 The Beatles explode and the radio is everywhere. Everywhere you go there’s music but on reflection now what’s happening is that there’s just this generic mush everywhere, you know what I mean? ...But I love to listen to vocal harmonies so there’s The Beatles and the Everly Brothers, and voices… Plus there was a very strong influence from Mass, you know the Catholic Mass at school where hymns were always really choral, and that was inspiring even from the first day when I was five. School itself was in this lovely little old building with this high ambient ceiling, a very ‘reverb’ place a where we sang ‘Ave Maria’ with this Spanish Teacher who was so inspired to get us to sing. So all this was going on in my head and I didn’t have any other context other than loving it, and I would sing all the time."Peter Murphy (musician) - Wikipedia3:48 Bauhaus - She's In Parties [1983]Lyrics:Learning lines in the rainSpecial effects by Loonatik and DrinksThe graveyard sceneThe golden years(She's in parties)It's in the can(She's in parties)It's in the canFreeze frame screen kissHot heads under silent wigsFall guys tumble on the cutting room floorLook-a-likes fall on the cutting room door(She's in parties)It's in the can(She's in parties)It's in the canLearning lines in the rainSpecial effects by Loonatik and DrinksFreeze frame, screen kiss, hot headlights, her powderIs patently obvious(She's in parties)It's in the can(She's in parties)It's in the canHot lines under a rain of drumsCigarette props in actionDialogue dub, now here's the rubShe's acting her reaction(She's in parties)It's in the can(She's in parties)It's in the canLearning lines in the rainSpecial effects by Loonatik and DrinksFreeze frame, screen kiss, hot headlights, her powderIs patently obvious[Outro](She's in parties)It's in the can(She's in parties)It's in the can(She's in parties)(She's in parties)Bauhaus – She's in Parties3:13 BAUHAUS ~ Stigmata Martyr (Live in London - 24/2/82)Studio album byBauhausReleased3 November 1980RecordedDecember 1979 – July 1980StudioBBC Maida Vale and Southern, London3:33 BAUHAUS - Dark Entries (Live in London 24-02-1982) HD[Released: January 1980, as single, and appears on the album of 1980][Single]Bauhaus"Dark Entries" is a song by the English gothic rock band Bauhaus, released as a stand-alone single in January 1980 by Axis (an early name for 4AD) and later issued on 4AD and Beggars Banquet. It featured the 1944 painting "Venus Asleep" by Paul Delvaux as cover art.Dark Entries - Wikipedia3:22 Bauhaus - Lagartija Nick (1983)DiscogsBauhausDiscogsSiouxsie & The Banshees"Hong Kong Garden" is a song by English rock band Siouxsie and the Banshees. It was released as the band's debut single on 18 August 1978 by Polydor Records. The single reached number seven on the UK Singles Chart. Hong Kong Garden (song) - Wikipedia"Hong Kong Garden"Kenny Morris (born Kenneth Ian Morris; 1 February 1957) is an English drummer, songwriter and visual artist. He was the first studio drummer of Siouxsie and the Banshees. He joined the band in January 1977, he had attended their first live appearance at the 100 Club a few months earlier and had been impressed by their performance. Morris's first studio recording with the group was in November 1977 when they recorded their first John Peel session for BBC radio. Music journalist Kris Needs said : "Like as a rhythm machine for feet and guts Kenny Morris' drumming is unorthodox, primitive (in a tribal sense) and far removed from the clicking hi-hats of the fly-strength paradiddle merchants".He played mostly toms. He has been cited as a major influence by several drummers of the post-punk era including Stephen Morris of Joy Division, Kevin Haskins of Bauhaus, and Paul Ferguson of Killing Joke.During the recording of the band's debut single "Hong Kong Garden", producer Steve Lillywhite suggested to him to record the drums separately. Morris did the bass drum and the snare drum first. He did the cymbals and the tom-toms later. Lillywhite also added echo on the drums, adding significant space to the entire recording. NME wrote that this Lillywhite's work with Morris "revolutionis[ed] the post-punk band's sound with an innovative approach to laying down the drums".Morris played on the albums The Scream in 1978 and Join Hands and left the band in September 1979.Kenny Morris was born from Irish parents. He attended St Ignatius' College in Enfield, where he became a friend of future collaborator and film director John Maybury. Morris then attended Barnet College in London. He also studied fine art and film-making at North East London Polytechnic.Kenny Morris (musician) - WikipediaThe Scream (album) - WikipediaThe Scream is the debut studio album by British rock band Siouxsie and the Banshees. It was released in November 1978 on Polydor.Released13 November 1978RecordedAugust 1978The Scream has also been cited as a key influence on a number of succeeding post-punk, and alternative rock acts, including Joy Division, Killing Joke, Steve Albini, the Jesus and Mary Chain, Faith no More and Massive Attack.MirageJohn McKay is an English songwriter and guitarist. He is best known as the guitarist of Siouxsie and the Banshees. He was a member of the group from July 1977 until September 1979. He played a "jagged unorthodox chording", and created a "metal-shard roar" with his guitar. Q magazine included McKay's work on "Hong Kong Garden" in their list of the "100 Greatest Guitar Tracks Ever". He recorded two studio albums with the group, their debut album The Scream in 1978 and the sophomore album Join Hands in 1979.Siouxsie and the Banshees (1977–1979)His first studio recording with the band was a session for John Peel on BBC radio in November 1977. McKay composed the tune of their first hit single, "Hong Kong Garden" as well as much of the material found on the band's first two albums, 1978's The Scream and 1979's Join Hands.McKay has been cited as an influence by several guitarists including Geordie Walker of Killing Joke, Steve Albini of Big Black, Thurston Moore of Sonic Youth, Johnny Marr of the Smiths, Jim Reid of the Jesus and Mary Chain, Kevin Shields of My Bloody Valentine and Boz Boorer.LegacyHe has influenced several post-punk, noise, indie and alternative rock guitarists including Geordie Walker, Thurston Moore, Steve Albini, Jim Reid, Johnny Marr, Kevin Shields and Boz Boorer. Geordie Walker of Killing Joke said: "The guy's been ripped off so much, he started that flanged chord thing". Walker hailed McKay for his style on The Scream: "he came out with these chord structures that I found very refreshing".In an article published in Matter magazine in 1984, Steve Albini of Big Black wrote an "all-time non-comprehensive good guitar list", and included McKay in the section titled "Noise" saying : "The Scream is notable for a couple of things: only now people are trying to copy it, and even now nobody understands how that guitar player got all that pointless noise to stick together as songs". Jim Reid of the Jesus and Mary Chain praised The Scream - era, and Kevin Shields of My Bloody Valentine cited the Banshees-MkI as one of his early influences, and he "saw the Banshees in Ireland in 1979". Thurston Moore of Sonic Youth cited "Hong Kong Garden" as one of his 25 all-time favourite songs. McKay is also revered by other musicians such as Johnny Marr of the Smiths and Boz Boorer (Morrissey's guitarist and arranger). When asked "who do you regret not going to see live", Marr replied "Siouxsie and the Banshees mk 1". Boorer cited him as a "big influence on my playing [...] That first Siouxsie record was quite incredible sounding, and it started me in thinking that music didn’t have to be any certain way—that there could be many different influences in music and it didn’t have to be a single, strict avenue. That first Banshees album has a lot of jarring guitar that rubs against what you’d think was going to or maybe should happen over a part".In a live review, music historian Jon Savage likened Joy Division's guitarist Bernard Sumner to McKay in 1979, saying that Sumner "was using a lot of distortion and noise in quite a melodic way. The only other person I could think of who was doing that then was John McKay from Siouxsie and the Banshees". When journalist Simon Reynolds interviewed Lydia Lunch saying there was this starkness of sound on certain Teenage Jesus songs that reminded him Siouxsie and the Banshees' circa The Scream, she replied "I loved the guitar work on their records". John McKay (musician) - WikipediaSiouxsie and the Banshees in 1979.Kaleidoscope (Siouxsie and the Banshees album) - WikipediaKaleidoscope is the third studio album by British rock band Siouxsie and the Banshees, released in 1980 by record label Polydor.John McGeochJohn Alexander McGeoch (25 August 1955 – 4 March 2004) was a Scottish rock music guitarist who played with several bands of the post-punk era, including Magazine, Siouxsie and the Banshees, Visage, and Public Image Ltd.He has been described as one of the most influential guitarists of his generation. In 1996 he was listed by Mojo in their "100 Greatest Guitarists of All Time" for his work on the Siouxsie and the Banshees song "Spellbound". Signature characteristics of his playing style included an inventive arpeggios, string harmonics, the uses of flanger and an occasional disregard for conventional scales.Musician and producer Steve Albini praised McGeoch for his guitar playing with Magazine and Siouxsie and the Banshees, qualifying as "great choral swells, great scratches and buzzes, great dissonant noise and great squealy death noise What a guy" and further commenting: "anybody can make notes. There's no trick. What is a trick and a good one is to make a guitar do things that don't sound like a guitar at all. The point here is stretching the boundaries".Early lifeMcGeoch was born on 25 August 1955 in Greenock, Renfrewshire, Scotland, where he spent his childhood years. He began to play the guitar at 12 years of age, first learning British blues music, being influenced by the work of Eric Clapton, and also that of Jimi Hendrix. In 1970 he played with a local band called the 'Slugband'. In 1971 his parents moved to London. In 1975 he went to Manchester Polytechnic where he received a degree in Fine Art. He maintained an interest in photography, painting and drawing throughout his life.CareerMagazine, and VisageIn April 1977 McGeoch's Manchester student flatmate Malcolm Garrett introduced him to Howard Devoto, who had recently left the Buzzcocks and was looking for a guitarist to form a band with. The pair formed a new act entitled Magazine, along with Barry Adamson, Bob Dickinson and Martin Jackson. The new band released its debut single, "Shot by Both Sides" in January 1978. The song's music was written by Pete Shelley with new Devoto lyrics (the Buzzcocks version was titled "Lipstick"); on release it reached #41 on the UK Singles Chart. (The same year McGeoch graduated from Manchester Polytechnic) .McGeoch went on to play on Magazine's first three albums, Real Life (1978), Secondhand Daylight (1979) and The Correct Use of Soap (1980). He left the band in 1980 shortly after the release of the latter album, frustrated with its lack of commercial success despite its recognition with music press critics.In 1979, while still a member of Magazine, McGeoch joined Steve Strange's electronic band Visage along with erstwhile Magazine bandmates Adamson and Dave Formula, recording songs for their first single "Tar" and later, in 1980, for their eponymous album Visage, McGeoch playing guitar and saxophone on the record. Although he saw Visage as something of a joke, the band provided McGeoch with early professional credibility and success. The band's single "Fade to Grey" went to #1 in a number of European countries. McGeoch did not record on the group's second album, The Anvil, as it was recorded in London and he was unable to participate.While still a member of Magazine and Visage, McGeoch also worked occasionally with other bands. In mid-1980 he recorded most of the guitar work on Gen X's album Kiss Me Deadly at AIR Studios in London. In September 1980 he guested with the Skids for a Peel Session, standing in for Stuart Adamson who was unwell. He also collaborated with ex-Magazine drummer John Doyle on Ken Lockie's album The Impossible (1981). Around this time, he left Magazine.Siouxsie and the BansheesAfter joining Siouxsie and the Banshees in late 1980, McGeoch entered a period of both creative and commercial success. During his first session with the Banshees he began a new style of playing. He later commented: "I was going through a picky phase, as opposed to strumming. "Happy House" was lighter and had more musicality in it. They invited me to join. I was sad leaving Magazine but the Banshees were so interesting and it felt like a good move".He recorded guitar on the Banshees' long-players Kaleidoscope (1980), Juju (1981) and A Kiss in the Dreamhouse (1982). The Banshees' hit singles of this era featured some of McGeoch's most acclaimed work, particularly 1980's "Happy House", "Christine" and "Israel", and 1981's "Spellbound" and "Arabian Knights". McGeoch's contribution to the band was important in terms of sounds and style. Singer Siouxsie Sioux later said:John McGeoch was my favourite guitarist of all time. He was into sound in an almost abstract way. I loved the fact that I could say, "I want this to sound like a horse falling off a cliff", and he would know exactly what I meant. He was easily, without a shadow of a doubt, the most creative guitarist the Banshees ever had".However, McGeoch suffered a nervous breakdown due to the stresses of touring and an increasing personal problem with alcohol, and after collapsing on stage during a performance at a gig in Madrid, left the band in 1982.Armoury Show, Public Image Ltd and other collaborationsIn 1983, during a break from playing music, he produced Swedish punk-funk band Zzzang Tumb's debut long-player.He joined the band the Armoury Show which included Doyle as well as ex-Skids members Richard Jobson and Russell Webb. Their album Waiting for the Floods released in 1985, features some of McGeoch's best guitar work. He contributed to former Bauhaus singer Peter Murphy's debut solo long-player Should the World Fail to Fall Apart.In 1986, McGeoch joined John Lydon's Public Image Ltd, a decision which may have been partly motivated by financial difficulties he was in at this time. He had been an admirer of PiL, particularly of Lydon's song-lyrics, yet reportedly had previously turned down an offer from him to join the band in 1984. Despite being struck in the face with a bottle thrown from the crowd during one of his first gigs with the band, McGeoch remained with PiL until it disbanded in 1992, making him the longest-serving member apart from Lydon. He recorded on its long-players: Happy?, 9 and That What Is Not. McGeoch left PiL's line-up in 1992.In 1992 he was invited by the Icelandic band The Sugarcubes to play the guitar track on the song "Gold" for their Stick Around for Joy long-player. In early 1990s, without a band, he ended his career seeking to form one via a variety of short-lived ventures, including working with Glenn Gregory and the songwriter/producer Keith Lowndes. With John Keeble of Spandau Ballet and vocalist Clive Farrington of When in Rome, he formed a line-up provisionally titled 'Pacific', but no commercial material came of it.In the mid-1990s McGeoch retired from professional music and trained mid-life as a nurse/carer. In the early 2000s he was reported as attempting to re-enter professional music by working on musical scores for television productions.LegacyMcGeoch has been cited by many artists as a major influence. Johnny Marr from the Smiths hailed him, saying: "Really my generation was all about a guy called John McGeoch, from Siouxsie and the Banshees". "When I was in my teens, 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". Simon Goddard wrote that McGeoch was a "significant inspiration" on Marr.Radiohead's Ed O'Brien cited him as a "big influence", citing him as one of the "great guitarists, but they weren’t lead guitarists". Radiohead were also inspired by McGeoch to record "There There". They explained that they were "in heaven" when their producer Nigel Godrich made Jonny Greenwood sound like Siouxsie and the Banshees-era McGeoch for that session. U2's "The Edge" has cited McGeoch as an influence, and chose the Siouxsie and the Banshees song "Christine" for a compilation made for Mojo.Other guitarists also mentioned him. Dave Navarro of Jane's Addiction said that he learned guitar by listening to the albums McGeoch recorded with Siouxsie and the Banshees. John Frusciante of Red Hot Chili Peppers named McGeoch in his primary influences: "[McGeoch] is such a guitarist I aspire to be. He has a new brilliant idea for each song. I usually play on the stuff he does on Magazine's albums and Siouxsie & the Banshees's like Juju".In 2008, the BBC aired an hour-long radio documentary on McGeoch's life and work, titled Spellbound: The John McGeoch Story.Siouxsie and the Banshees in 1981, left to right: Budgie, Siouxsie, Steven Severin and John McGeochOnce Upon a Time: The Singles - WikipediaOnce Upon a Time: The Singles is Siouxsie and the Banshees's 1981 compilation album featuring the band's UK single releases to date. The album featured several songs that had been released as singles yet had not appeared on any of the Banshees' four albums.Siouxsie Sioux of Siouxsie And The Banshees by Sheila Rock, taken in London, February 1982.John Valentine Carruthers (born 1958 in Wortley, South Yorkshire) is an English musician, guitarist, and composer. He played with Clock DVA in the early 1980s, then became the guitarist of Siouxsie and the Banshees in May 1984.With the Banshees, he recorded the albums: The Thorn EP (1984), Tinderbox (1986), and Through the Looking Glass (1987). He left the band in January 1987.John Valentine Carruthers - WikipediaBudgie, Steve Severin and Siouxsie Sioux.