Songs That Changed Music: Hong Kong Garden - Siouxsie and the Banshees

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In July of 1978, New Music Express’s Nick Kent found the punk attitude alive and well with a Siouxsie and the Banshees performance at the Roundhouse. Kent pressed: “If Punks are currently being brushed off by “official sources” as a speedily-becoming-extinct species, why then is it damn near impossible to find a comfortable location here in the Roundhouse on a blisteringly humid Sunday night in order to watch billtoppers Siouxsie & The Banshees rising victorious before a capacity crowd?” Like many other new British bands of the late seventies, Siouxsie and the Banshees found their roots in the punk movement – their first drummer, Sid Vicious, even went on to play with the movement’s reigning leaders, The Sex Pistols, before the band’s abrupt end. While Kent found their attitude evoking the riches of punk, Siouxsie and the Banshees have since been heralded as leaders of the emerging Postpunk aesthetic. In 2012, The Times declared: “The Banshees stand proudly [… as] one of the most audacious and uncompromising musical adventurers of the post-punk era.”

The band was first formed in response to an opening in the lineup for the 100 Club Punk Festival, organized by Sex Pistols manager Malcolm McLaren. Susan Janet Ballion, aka Siouxsie Sioux, teamed up with bassist Steve Severin, whom she had met at a Roxy Music concert in 1975. Together, they created a band for the event, pulling in Marco Pirroni on guitar and Sid Vicious on drums. The result was a 20-minute set of improvisations. The intention to disband was quickly dispelled when the band was invited to play additional gigs, retaining Siouxsie and Severine as the only original members. The lineup settled with John McKay on guitar and Kenny Morris on drums by the time the band was signed to Polydor in June of 1978.

As Kent’s observation for NME attests, the band was already a local London hit, selling out venues throughout the city. However they struggled to find a record deal they could live with. In the wake of the Sex Pistol’s notoriety, many record labels hesitated to sign punk bands, often limiting themselves to one such band on their roster. Additionally, Siouxsie and the Banshees wanted to retain a certain amount of artistic autonomy, while also working within the major label sphere – a feat which would have been much easier within an independent label framework. Severin explained the confound saying, “It would be pointless to have that freedom and not be heard. I mean, the important thing is to get into a big record company and do the damage there.”

The band’s first single with Polydor, “Hong Kong Garden,” was not new to the band when they entered Olympic Studios to record the track with American soul producer Bruce Albertine. The song had first been recorded in the band’s 1977 sessions with BBC Radio One DJ Robert Peele, and had been featured by the band on their self-financed tour at the end of March in 1978. The song evolved from a guitar riff from a song McKay had previously written, called “People Phobia,” and the title came from the name of a Chistlehurst Chinese food restaurant which Siouxsie had frequented with a friend and bore witness to the racist harassment the workers faced at the hands of local skinheads. She reflected:
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