with much of the ingenuity of Tago Mago-era Can, if any parallel can be drawn". At the end of the article, he added this remark: "Certainly, the traditional three-piece sound has never been used in a more unorthodox fashion with such stunning results". The Banshees' second album, Join Hands, was released in 1979. In Melody Maker, Jon Savage described "Poppy Day" as "a short, powerful evocation of the Great War graveyards", and Record Mirror described the whole record as a dangerous work that "should be heard". The Banshees embarked on a major tour to promote the album. A few dates into the tour in September, Morris and McKay left an in-store signing after an argument and quit the band. In need of replacements to fulfil tour dates, the Banshees' manager called drummer Budgie, formerly with the Slits, and asked him to audition. Budgie was hired, but Siouxsie and Severin had no success auditioning guitarists. Robert Smith of the Cure offered his services in case they could not find a guitarist (his group were already the support band on the tour), so the band held him to it after seeing too many "rock virtuosos". The tour resumed in September and after the last concert, Smith returned to the Cure. Kaleidoscope, Juju and A Kiss in the Dreamhouse (1980–1982) Budgie became a permanent member, and the band entered the studios to record the single "Happy House" with guitarist John McGeoch, then still a member of Magazine. Their third album, Kaleidoscope, released in 1980, saw the Banshees exploring new musical territories with the use of other instruments like synthesizers, sitars and drum machines. The group initially had a concept of making each song sound completely different, without regard to whether or not the material could be performed in concert. Melody Maker described the result as "a kaleidoscope of sound and imagery, new forms, and content, flashing before our eyes". Kaleidoscope was a commercial success, peaking at number 5 in the UK albums chart. This line-up, featuring McGeoch on guitar, toured the United States for the first time in support of the album, playing their first shows in New York City in November 1980. For Juju (1981), the band took a different approach and practised the songs in concert first before recording them. Juju, according to Severin, became an unintentional concept album that "drew on darker elements". Sounds hailed it as "intriguing, intense, brooding