All Souls Alive is the second studio album by The Blackeyed Susans, released in December 1993 on the independent record label and Frayed, distributed by Shock Records. The album features ten tracks, eight penned by Phil Kakulas and David McComb, as well as the Leonard Cohen/Phil Spector classic "Memories" and a version of the Johnny Paycheck song "Apartment No 9". All Souls Alive was released in America on Frontier Records in April 1994; the album was released in the UK, Germany, Belgium, Holland and Sweden in July 1994. The album got great reviews in airplay on Radio One. Two singles lifted off the album were released in Australia in July 1994, "Dirty Water" and "This One Eats Souls". Graham Lee said of the album, "You couldn't describe it as a sunny record, I don't think anyone would've been expecting that, but there's a willingness to experiment." All written tracks by Phil Kakulas and David McComb. "A Curse On You" – 3:34 "We Could’ve Been Someone" – 4:21 "Every Gentle Soul" – 3:31 "Memories" – 6:01 "Sheets of Rain" – 3:30 "Reveal Yourself" – 4:15 "I Can See Now" – 3:58 "Apartment No. 9" – 2:52 "Dirty Water" – 4:48 "This One Eats Souls" – 6:33 Rob Snarski – vocals, backing vocals, acoustic guitar, guiro Phil Kakulas – double bass, electric bass, fuzz bass, towbar, jingle bells, cymbals, backing vocals, sound effects, TV Graham Lee – pedal steel, lap steel, electric guitar, acoustic guitar, backing vocals, heavy breathing Warren Ellis – violin, Korg organ, Hammond organ, Fender Rhodes, cheesy organ, piano, harpsichord David McComb – vocals, electric guitar, cheesy organ Jim White – drums Marko Halstead – mandolin, backing vocals Andy Parsons – Grampian Ambiophonic Unit Type 666, harpsichord Metronome – metronome

Count Paris or County Paris is a fictional character in William Shakespeare's Romeo and Juliet. He is a suitor of Juliet, he is handsome, a kinsman to Prince Escalus. His name comes in Homer's Illiad. Luigi da Porto adapted the story as Giulietta e Romeo and included it in his Historia novellamente ritrovata di due Nobili Amanti published in 1530. Da Porto drew on Boccacio's Decameron, he gave it much of its modern form, including the lovers' names, the rival Montecchi and Capuleti families, the location in Verona. He introduces characters corresponding to Shakespeare's Mercutio and Paris. Da Porto presents his tale as true and claims it took place in the days of Bartolomeo II della Scala. Montecchi and Capuleti were actual 13th-century political factions, but the only connection between them is a mention in Dante's Purgatorio as an example of civil dissension. Paris makes his first appearance in Act I, Scene II, where he offers to make Juliet his wife and the mother of his children. Juliet's father, demurs, telling him to wait until she is older.

Capulet invites Paris to attend a family ball being held that evening, grants permission to woo Juliet. In the play, Juliet refuses to become Paris' "joyful bride" after her cousin, dies by Romeo's hand, proclaiming for the first time that she now despises Paris and wants nothing to do with him. Capulet threatens to disown and make Juliet a lowly street urchin if she does not marry Paris, hitting his daughter and shoving her to the ground. Juliet's mother, turns her back on Juliet shortly after Capulet storms out of the scene, as does the Nurse. While at Friar Lawrence's cell at the church, Paris tries to woo Juliet by saying she is his wife and they are to be married on Thursday, he kisses her and leaves the cell, prompting Juliet to threaten to kill herself. Paris' final appearance in the play is in the cemetery where Juliet, feigning death, is "laid to rest" in the Capulet family tomb. Believing her to be dead, Paris has come to mourn her in solitude and privacy and sends his manservant away.

He professes his love to Juliet. Shortly thereafter, deranged by grief himself goes to the Capulet's tomb and is confronted by Count Paris, who believes Romeo came to desecrate Juliet's tomb. A duel ensues and Paris is killed. Romeo drags Paris' body inside the Capulet tomb and lays him out on the floor beside Juliet's body, fulfilling Paris' final, dying wish; the earliest versions of the text all call him "Countie Paris". Some versions of the text call him "County Paris". "County" was in common usage at the time of writing, Shakespeare's choice was dictated by the needs of the metre. As a father, the chief role Capulet plays in Juliet's life is that of matchmaker, he has raised and cared for Juliet for nearly fourteen years, but he must find a suitable husband who will care for her for the remainder of her life. Juliet, as a young woman and as an aristocrat in general, cannot support herself in the society of her day, her only available career choices are either wife or nun, thus it falls upon her husband to support her.

Count Paris would be an excellent match for Juliet. He, too, is an aristocrat and of a higher social order, he is a well-established and wealthy business/government person who could support and provide for Juliet rather well. He is most well connected politically, making him a good family contact for Capulet and his wife; this means that he is quite mature being at least twenty-five years old, while Juliet has not yet turned fourteen. Within the historical context of the play, there is nothing peculiar in their age difference. Though the typical age of marriage for Italian men in this period was 29 and women was about 25, for the higher class, including the aristocracy and wealthy merchant class, arranged marriages were common during the teenage years. Although Paris is not as developed as other characters in the play, he stands as a complication in the development of Romeo and Juliet's relationship, his love of Juliet stands. In Act V, Scene III, Paris visits the crypt to and mourn the loss of his would-be fiancée, before approaching Romeo whom he thinks has returned to Verona to vandalise the Capulet tomb.

After refusing Romeo's pleas for him to leave and Romeo draw their swords and fight. Romeo kills him during the sword fight, his dying wish is for Romeo to lay him next to Juliet, which Romeo does; this scene is omitted from modern stage and screen performances as it complicates what would otherwise be a simple love story between the title characters. Men used Petrarchan sonnets to exaggerate the beauty of women who were impossible for them to attain, as in Romeo's situation with Rosaline. Capulet's wife uses this sonnet form to describe Count Paris to Juliet as a handsome man; when Romeo and Juliet meet, the poetic form changes from the Petrarchan to a more contemporary sonnet form, using "pilgrims" and "saints" as metaphors. When the two meet on the balcony, Romeo attempts to use the sonnet form to pledge his love, but Juliet breaks it by saying, "Dost thou love me?" By doing this, she searches for true expression, rather than a poetic exaggeration of their love. Juliet uses formal language with Paris.

Other forms in the play include an epithalamium by Juliet, a rhapsody in Mercutio's Queen