Released between two phenomenal albums, Kaleidoscope and Juju, Israel, this one-off single, is a weird thing to release in the UK (end of November), in time for Christmas (“snow”, “Noel”, “red and green”). But the incredible Indie music scene of 1980, was the perfect setting for this jewel of a song. So instead of Silent Night, Winter Wonderland and Drummer Boy we get the spooky Israel – immediately evoking the nativity, but hazily. And certainly in an untraditional way; what exactly does it mean?

The track starts outstandingly with Budgie’s simple drum marking the beat, plus the magical bass. And of course for Christmas you need a choir of thirty to build up the tension (very “Omen”-like). But it is Siouxsie’s voice which holds it all together – demanding, plaintive, coruscating – making us stand to attention. This is not a typical Christmas song, it is better than that, it makes you think a bit more. And sonically it is mysterious and beautiful.

This little 7” is a prize single in its plain, undeclarative, gold metallic sleeve. The A-side record label is equally strong in design simplicity: bold, emblazoned with the six pointed star. Two superimposed triangles, representing many things, one of which is the union of God and humanity.

On and off the track would be banned from radio play during certain, more sensitive periods in our history (as if the song is more dangerous than the guns . . . ). The lyrics are provocative, but they are not racist or discriminatory. The lyrics do have enough clues to corner a subject, but are then used poetically to be widely, and wildly, open to opinion. I think Siouxsie said, the song is not just about religion, but about disillusionment in general. For me the song is about the meeting of hope and suffering. I have read a few people’s ‘readings’. It’s good to provoke the dialogue. I think it is best to interpret the song in a general way.

The B side continues the mesmerism. Budgie’s drums here are more central. I never tire of Budgie’s drumming. Siouxsie’s voice is less beseeching, a cloaked and prolonged enticement. “Red over white”, is haunting. I like this track on its own and do not see it as subordinate. But at the end Siouxsie clearly sings the word “Israel”, and then is abruptly cut off. The cut wakes you out of the stupor. I take it, with the regurgitated word you are supposed to link the two songs. It is a very neat twinning.

Twinning? The star of David’s two coned triangles can also represent the meeting / union of male and female. It is worth watching the Red over White video of the creaturette emerging from the seas to climb some drift wood, emerging to a long table coldly attended by some male officials, one male at the head of the table playing a game of chess. The video then continues – the female belittling the chess game, knocking the white king, flushing it and returning with it to the sea. The Ocean (water) is widely seen as representing the subconscious, imagination, emotion and the unknown. The chess game is its opposite: conscious, cunning, systematic. Whilst at first it can seem a strange video, there is meaning there. And what is its link to the song Israel? Or is it my imagination?

I have the bonus version from the US press of JuJu in my collection.

Weird that the US 7" version that was a bonus record included in the first US release of Juju is not listed here. Manuf. by JEM records and listed as PVC 1001.