Aural Sculptors - The Stranglers Live 1976 to the Present


Welcome to Aural Sculptors, a blog aimed at bringing the music of The Stranglers to as wide an audience as possible. Whilst all of the various members of the band that have passed through the ranks since 1974 are accomplished studio musicians, it is on stage where the band have for me had their biggest impact.

As a collector of their live recordings for many years I want to share some of the better quality material with other fans. By selecting the higher quality recordings I hope to present The Stranglers in the best possible light for the benefit of those less familiar with their material than the hardcore fan.

Needless to say, this site will steer well clear of any officially released material. As well as live gigs, I will post demos, radio interviews and anything else that I feel may be of interest.

In addition, occasionally I will post material by other bands, related or otherwise, that mean a lot to me.

Your comments and/or contributions are most welcome. Please email me at adrianandrews@myyahoo.com.


Tuesday, 12 August 2025

Top 30 Punk Albums #4 No Sleep 'Til Hammersmith - Motorhead

 


OK, I'm going a little off piste here but bear with me. Motorhead hated to be catagorised as a this band or that band. To Lemmy, his Motorhead were a rock 'n' roll band, no other label was warrented or welcome. They drew their influence from the blues and rock 'n' roll as opposed to the hard rock bands that preceded them like, Black Sabbath or Deep Purple. At the time they released the eponymous 'Motorhead' album in 1977 a new music blitzed London Town and whilst Lemmy and Fast Eddie Clarke had a few years on the capital's punk bands, the fact that they drank in the same pubs and frequented the same parties meant that this trio of two hippys and a punky drummer were accepting of and accepted by the punk bands and punk audiences too.

Nobody sounded like Motorhead, but if comparisons were to be made the noise that they made was not a million miles away from the early output of The Damned or the Pistols, the former in particular. Listen to 'The Hammer' or 'Motorhead' and decide which side of the fence that their music is on, punk or metal?

I have mentioned on these pages before that at the time that I started secondary school (1980), music was a tribal affair and whilst it wasn't really possible to be into all genres, there was no avoiding some familiarity with what your class mates were listening to. In my case quite a few were into Motorhead. Some of them were also well into the NWOBHM scene that was emerging at that time and whilst the likes of Saxon and Samson did nothing to me, I got the Motorhead thing. Then as now there is something both iconic and timeless about them.... especially the 'classic' line up of Lemmy, Fast Eddie and Philthy Animal Taylor. 

New Musical Express (6th June 1981)

In the forty year career that Motorhead enjoyed they did attain a hard-earned  legendary status, but like so many bands they only had a relatively short period during which they were really on fire and that was between 1979 and 1981. In that period, they released studio albums 'Overkill', 'Bomber' and 'Ace of Spades' and the live showstopper 'No Sleep 'Til Hammersmith'. Recorded mostly on the March 1981 'Short Sharp Pain in the Neck' tour, the album featured choice tracks from the three above mentioned studio albums plus early singles. 

The album reached No. 1 in the UK album charts, a rare feat for a live album. Dr Feelgood had achieved the same accolade back in 1976 with 'Stupidity'. The Feelgoods, like Motorhead, were considered to be 'live' band. The concensus was that 'Stupidity' and 'No Sleep' were able to capture the live experience of these two frenetic British bands in a way that a studio album could not... warts and all... in Lemmy's case at least.

'No Sleep 'Til Hammersmith' is a glorious noise and for my money can sit in a Top 30 punk chart if it wants to!

Next time I pass through Stoke on another family history mission I will be sure to stop by Lem's statue in Burslem.


Over to the critics.

Record Collector (6th June 1981)

Well, they certainly got it.


New Musical Express (6th June 1981)

Oh God... Paul Morley's picked up his pen again!




Saturday, 9 August 2025

Hugh Cornwell Monk Rome 29th April 2025

 


Here's a great recording from Hugh and band in Rome a few months back. Thanks to the original Dime uploader (todtap). The Stranglers material speaks for itself... great to hear a version of 'Dead Loss Angeles' in the set. Of the new material, 'Coming Out of the Wilderness', 'Moments of Madness' and 'When I Was A Young Man' come across well as live tracks, but 'Too Much Trash' (a continuation in verse of Hugh's long standing war on litter!) could be committed to the recycling along with 'Lasagna'... but then I guess.... 'When In Rome'!

Looking forward to the 'Nosferatu' gigs in November!

FLAC: https://we.tl/t-YYRToHktY5

Artwork: https://we.tl/t-bXoFYXvCxh



Thursday, 7 August 2025

Rebellion 2025

 


To friends and all visitors of the Aural Sculptors pages who are descending upon Blackpool this weekend have fun and stay safe! Hopefully, a few choice sets from the coming days will appear on the site before too long.

Tuesday, 5 August 2025

Mit Den Jungs Aus Der Gang With 999 Germany 2025 Part 2

 


Our journey from Dusseldorf up to Hamburg was really quite pleasant, first class you see. We were in a compartment reminiscent of the old British Rail rolling stock, the ones with the corridor outside, only this one was modern and clean. Even better, nobody joined us on the 3 and a half hour stretch. 

Our place in the city for two nights was the Altona district and the Inter City Hotel which formed part of the station complex. I guess that you should never expect too much from hotels situated near to major railway stations, but this place was shite, no respecting travelling salesman would stop there... but if there was an upside it was close to the venue.

Night one meant trekking into town through the Reeperbahn in search of a decent restaurant. I have had cause to be in Reeperbahn area both through work (a company I used to deal with were located nearby in Fischmarkt) and for gigs. An initial visit can be titilating but it quickly becomes apparent that the whole set up is dreadfully grim and sordid, a thin veil over the misery and criminality that surrounds many of those involved in the sex industry. If the pissed up marrauding stag parties weren't reason enough to get past the area, Bavarian theme bars have sprung up in a few side streets. Close your eyes to the Ompah music and the singing coming from within and you could be witnessing a commemoration of the Old Fighters in Munich in the 30's. Thus ends the sermon. Walking away from St Pauli past the Alter Elbtunnel brought us to a vibrant area of bars and restaurants... Luigi's is highly recommended.

On these city break/gig excursions I always look for a history fix and this time it involved a journey out of town for a visit to the Neuengamme Concentration camp, a vile place, a place that with the assistance of its 85 satallite camps was responsible for the deaths of at least 42,900 prisoners between 1938 to 1945. After spending time in such an oppressive location a couple of hours of punk rock is just the ticket to clear the head.

Monkey's Music Club was a great venue hidden away on what looked like a small industrial estate. The atmosphere was friendly and the event was well attended. The punters seemed to be well acquainted with each other suggesting that the alternative music scene is tighter knit in Hamburg than in similar UK cities. That was my impression at least. Monkey's seemed to embrace football and punk in equal measure judgig by the scarves that adorned the walls of the club bar and the profusion of ultra's stickers that covered every inch of the gents toilet walls.

I cannot really comment on the supports as I was in an adjacent bar talking to Sid Wilson who had made the trip out for this gig and the two boat shows in Berlin scheduled for the following day. A handful of British fans were present including a couple that we met from deepest, darkest Devon, Jackie and her husband Clive... out for all five of the German dates.

Another thing that Monkey's had in its favour was the simple fact that it was air-conditioned which was most welcome after the trial by heat endured the night before in Dusseldorf. The stage layout was also much better meaning that it was possible to see the band.

Nick opened the show by saying that 999 had been playing in Hamburg since they first played at the Markthalle in 1978, then asking whether anyone was there... one guy in the crowd claimed the prize and he became a favourite for the audience participation songs that followed. 






The band were clearly more comfortable in the air-conditioned interior of the club. Stuart, by his own admission, said that the heat of the Pitcher the night before had completely drained him... and he's the 57 year old baby of the band! The audience responded to the action on the stage very enthusiastically which made for a fantastic gig all round.

A return flight to Stansted was not possible on the Sunday so instead we opted to stay away for another night and return from Denmark. Next stop Copenhagen.

It was a great weekend! Thanks to the people that we met up with, the lovely Mutti and most of all to 999 for another two great gigs.

Clockwise: Jackie, Gunta, Sid, Adrian and Clive

Adrian, Jackie, Guy and Sid
Monkey's Music Club, Hamburg
26th July 2025

Mutti & Stoo





Saturday, 2 August 2025

Hugh Cornwell Glastonbury Festival 27th June 2025

 


I have never been, so my view is not entirely the best informed I'll admit, but Glastonbury is my idea of hell! I just don't like events with that many people. Music-wise I think I could bear it if I focussed on the smaller stages. From an interest point of view, the there are bands that I would like to see that do not necessarily get the coverage and exposure... stand aside all when Rod Stewart is in the field! The Damned, Numan, Steve Drewett and Hugh and the likes would hold my attention for a few days.

It is the Pyramid Stage I think that would tip me over the edge. Hours spent in the company of Hedge Fund Managers 'kicking back' for a long weekend... and all those twats with oversize banners on 20 foot flag poles. Give me the back room of a bar and 200 people any day over that.

Anyway, needless to say I have not got my ticket for Glastonbury 2027!

Here is Hugh on an acoustic stage... some way removed from the madness of it all. Thanks to Dime uploader, hanoirocks.

FLAC: https://we.tl/t-5K941ombYu

Artwork: https://we.tl/t-pZKdP9zCor



Thursday, 31 July 2025

Five Nights in the English Towns (November 1975)

Anyone fancy a few nights out... take a look at this listing taken from the 22nd November 1975. Things are starting to stir, also out and about this week are Squeeze, the 101ers, Kilburn & The High Roads... Nazareth and Uriah Heep.

I'll be with you as soon as Basil Brush is finished!

Just out of interest I tried looking up these venues. The Cart & Horses in Stratford is still running as a music venue and sells itself quite significantly as the birthplace of Iron Maiden.

The Cart & Horses, Stratford

According to responses on Facebook, the site of Sundowners in Folkestone is now occupied by the F51 Skate Park.

F51 Skate Park, Folkestone

The Goodwill To All in Wealdstone was closed and demolished in 2011. From some of the reports and comments about the pub, goodwill was not always extended to all!

Goodwill To All, Wealdstone

Ockley in Surrey is quite close to the Sussex towns of Crawley and Horsham. The once Red Lion now goes by the name of the Inn on the Green and is still a functioning pub.

Inn on the Green, formerly the Red Lion, Ockley.

Of the Gaiety Bar in Aldershot I can find no information, other than the fact that The Jam played there back in late '74.




Wednesday, 30 July 2025

Mit Den Jungs Aus Der Gang With 999 Germany 2025 Part 1

 

I had been looking forward to this weekend for months now. A three city trip over a long weekend, taking in Dusseldorf, Hamburg and Copenhagen. I am familiar with all three cities, but the draw on this occasion was 999 who were on a European tour with four dates/5 gigs lined up in Germany. Mine and Gunta's schedule was such that we could only do two of the dates but that suited too.

The outbound travelling was always going to be a little tense since we were flying out on Thursday afternoon from Stansted on Ryanair into Cologne. From the airport, two train connections were required to get us to Dusseldorf Hauptbahnhof and our hotel and then to the gig venue. All this was perfectly managable, but the timelines were tight. The one hour flight delay was not the best of starts. Then came news that the gig was an early one with doors at 6pm.

The good news was that the flight was the only delayed leg and we made it to the venue as planned, on time to meet Peter, a friend from Dusseldorf and great supporter of this site. Sitting in the sun outside the venue, he was in conversation with Arturo and Gunta and I joined them for talk of touring, 999 and punk in general. Talk turned to The Stranglers and Arturo spoke of his early following of the band upto April '77. That's one thing about 999, they have multiple and varied connections with the band over a near 50 year period. The Stranglers, along with the Pistols, supported Kilburn & The High Roads at their last ever gig at Walthamstow Assembly Hall on 17th June 1976. The Kilburns had one Keith Lucas (Nick Cash) on guitar. After following The Stranglers in 1976/1977, Arturo Bassick's post-Lurkers band, Pinpoint, provided support for the band's 'secret' London club date at the Red Cow in Hammersmith in September 1978, whilst 999 supported The Stranglers across Europe in 1978. And the two bands have periodically shared the stage on numerous occasions since those early days. 999 will celebrate their 50th anniversary throughout 2026!

Even before a note was played, the club was stiffling to the extent that peope remained outside for as long as possible, with both Guy Days and Stuart Meadows joining in the conversation at different times. In no time, the 8.30 stage time was upon us and band and punters squeezed into the narrow confines of the club. The support band 'Clox' had raised the temperature in the room by about 10 degrees and 999 were set to raise the mercury by another 10 degrees over the next hour.

999 at the Pitcher, Dusseldorf
24th July 2025
(complete with obscuring wall!)

Our position in the venue wasn't the greatest, kind of round a corner with a limited view of the stage. Nevertheless, despite the odd layout of the room, the sound was very good. The band opened with 'Black Flowers for the Bride', a long favourite of hours, the song being on the 'You Us It' album that was released shortly before we got married (romantic eh!?). Classic 999 followed, 'Hit Me'. 'Let's Face It', 'Boys In The Gang' and 'Inside Out' along with the 'new', 'Shoot' from 'Bish Bash Bosh'. In perhaps what was a 'Don't mention the war' moment, 'Don't You Know I Need You' was back in the set in favour of 'My Dad Trashed My Submarine'. From the crowd reaction it was evident that Germany loves 999 and in turn 999 loves Germany. Audience and band have a certain chemistry, the bonds of which formed way back in 1978 and have been strengthened by regular visits ever since. 

As the band entered the final straight with the evergreen 'Emergency', 'Nasty Nasty'and 'Homicide' the temperature in the room was very uncomfortable. Of course there was an encore, but at the Pitcher exiting the stage only to return was an imposibility so in no time the band launched into 'My Street Stinks' and 'I'm Alive'. And then it was done, 60 minutes of high octane punk rock at high heat and I am left in no doubt that these small venue, full on European gigs are the best way to see a band. 

Wednesday, 23 July 2025

999 Dirt Club Bloomfield New Jersey 14th June 1981

 

Exited tonight about the prospect of seeing our old friends 999 in Dusseldorf and Hamburg in the coming days. It will be the first time back in Dusseldorf for Gunta since her aunt died in 2007 I think it was, so no doubt we will visit some old haunts and I dare say we may have a beer in the Uerige.... ufortunately an alcohol-free one these days. And we are due to meet with another old friend, Peter, on the night.

So that seems to be as good an excuse as any to post a great sounding (soundboard) recoording off 999 in New Jersey at the time of the 'Concrete' LP. Many thanks to Phil Singleton for the share.

WAV: https://we.tl/t-qLI8PXp11n

Artwork: https://we.tl/t-v94HAf2lUN



Monday, 21 July 2025

The Wickerman Festival Dundrennan 22nd July 2005

 

On the eve of its 20th anniversary, here is the gig that the band played at the Wickerman Festival in Scotland in 2005. This I believe was the full set audience shot recording. Quite watchable and a nice snapshot of Mk III Stranglers. The disc has one extra, a TV promo appearance with 'Big Thing Coming' on GMTV in 2004.

DVD image: https://we.tl/t-58U2EzYrVW

Artwork: https://we.tl/t-Ke1ZKY5lHD



Friday, 18 July 2025

Badge of the Week #9

So I am listening to Dave going through his paces yesterday on the Classic Collection Southend gig prior to uploding it. He was having a bit of an off day, but that notwithstanding I had a bit of a Dave moment. So without further ado... (25mm).



Thursday, 17 July 2025

Annual WeTransfer Subscription

 


I cannot believe that Aural Sculptors has been up and running for 14 years now. In that time I have tried to provide a site with content that is of interest to people with my kind of taste in music, such as it is, with an obvious emphasis on the music and activities of The Stranglers. In these endeavours, my time comes free, but unfortunately, the storage space for the gig files, which are the raison d'être for the site in the first place, comes at a price, specifically €228 per year (due for payment on 18th July 2025). So those people who have followed the site for 12 months or more will know the score. Anyone who wishes to make a contribution towards covering the cost of this annual WeTransfer subscription is welcome to do so via the PayPal button on the right side bar on the site home page. As has always been the case there is no pressure from my side, as per my current intentions the site will continue for as long as I have relevant material to share and for as long as the project continues to hold my interest (and here my commitment to old punk bands is pretty long-standing!)

As ever, thanks is due to those of you  who have once again contributed to the site, be that monetarily or through sharing files. It is and always will be highly appreciated.

In the coming year, I will continue to post material from the best era of British music ever (a personal opinion of course). The recent 'Top 30' posts will I hope continue to be engaging, my intention being that the incorporation of contemporary music press articles (of which I have amassed a considerable collection) will provide some additional context that sits beside the audio content. I am at least enjoying reading (if not typing!) the interviews of the day - there is always some new insight to be gleaned from such articles even after the passage of 45 years or more.

It is still my intention to run the site as a Stranglers related blog first and foremost, that being the area in which I am least likely to be found out to be talking shit! However, inevitably 14 years in, the well is starting to run a little dry. As such, contributions to the site of missing Stranglers gigs that may be lurking in your own collections are also most welcome. If you are willing to share files that can be uploaded on here, please drop me an email (address under the site banner at the top of the page). Gaps in my collection can be seen on the 'Live Recordings 1976 to Date' pages, again on the right side bar. As can be seen from this list, there are some substantial gaps between 1991 and 2005 and after about 2007 when my trading dried up.

Thanks for your attention and I hope that you continue to enjoy the site for the rest of the year and into 2026.

Cheers!

Adrian.

Cliffs Pavilion Southend 23rd March 2017

 


Southend plays host to The Stranglers back in 2017. Nice sounding recording... I think from Chatts (looking at the track labelling style). Cheers!

WAV: https://we.tl/t-ZDgjof7m4b

Artwork: https://we.tl/t-Q9ugVksveD



Saturday, 12 July 2025

Dead Kennedys Interview (Record Mirror 27th September 1980)

Here's an interview from the time of the album release and supporting UK dates that Jello did with Record Mirror. In it he sets out the band's plan to shake America out of its torpor and 'Me' mentality.

 Record Mirror 27th September 1980


IN the early, hours of the morning the packed dance floor of San Francisco's Fab Mab is a sweaty mess of jerking flesh. It's time for Jello Biafra's finest gesture and before you can say 'Two Out Of Three Ain't Bad', the Dead Kennedys' lead singer and strategist has taken a ' flying dive into the audience. Dirk Dirksen, the club's owner, strolls on stage and reels Biafra 'back by his mike cord. Before you know it, Jello's up again, gesturing manically to illustrate a lyric, singing in a punk whine that threatens to become a shriek.

This has been going on for two years. The Dead Kennedys have perfected their act 6,000 miles and four years away from the English punk explosion. Is San Francisco a cultural backwater or just a different battlefield? How come an American punk band are zooming up the charts in a land supposedly taken with 2 Tone and the new psychedelia, with an album recorded on a British label and unreleased in the States? Questions, questions.

A few nights after the Kennedys' farewell gig at the Mab and three days before he leaves for Britain , Biafra meditates on such topics before and after dancing his head off to Texan punkband Really Red. Biafra is an ex-hippie, something of an anarchist and ex-Mayoral candidate for San Francisco. He got over 7,000 votes because he's a good tactician and because he's got a sense of humour. When the Dead Kennedys toured in the sticks of California they called their visit to redheck territory the 'Turd Town' tour. Biafra's tactics are to be as tactless as possible.

When he explains why, Biafra sounds like he's issuing an official statement, pre-written and composed. He talks like an emphatic newsreader, laying emphasis on every other word: "Americans are governed by fads. They are kept together like rodents by their fear of failing to keep up with the Joneses. They are constantly on the watch for new products to be fed - but only ones that everybody else is buying too. They're very afraid of being weird which is what we've got to convince them is the best thing they can be in these circumstances.

"A lot of the people in this country are basically zombies. You must attack them, annoy them, get under their skin, make them as uncomfortable as possible. Our live shows are basically ways of torturing the audience so that they enjoy it but also go home.feeling different. Unglue the minds of the zombies. We re trying to combat the obedience training."

Now this is all very well, but does a band that specialises in head banging punk really liberate its audience or just create a bunch of media-mirror zombie punks? Punk . still has d very different status in the US however, still remaining firmly underground and thus retaining a vital part to play.

Biafra explains: "Americans are so conservative . They don't have the same access to the media. People in England are primed to be . interested in what's going on; America's a much larger country. News travels slowly and people are conditioned to stick with the old bands."

Biafra contends that "America's behind but it's very much alive. " He swears his allegiance to punk rock while saying the Kennedys are gradually moving from buzzsaw to more morbid, diseases rock, "a further descent into hell.

"Punk rock and garage rock never die, People are always going to like getting hit in the guts with rock and roll . I have since I was seven. Every time bands like SLF, Crass, Cockney Rejects or the Ruts come out they immediately catch on . because people don't care if they're dated, they like it. We' ll keep the . punk base but build on it. We don't want to wimp out and go pop or get so arty that you're basically playing to yourself in the mirror."

'Fresh Fruit For Rotting Vegetables' was the statement of the Kennedy's a year to six months ago. While musically and sometimes thematically derivative of the Pistols and Co. it has manic tinny tranny quality of its own, particularly on such speedy little operas as 'Kill The Poor', which dances as merrily and hysterically as a drowning rat towards the apocalypse. Satire has always been the strength of Californians like the Tubes and Zappa,and Biafra's commitment and love of psychosis takes the satire one step further, towards the mania of Napoleon V's ‘They're Coming ToTake Me Away'.

Jello's favourite scenario, one that is repeated in such songs as 'Chemical Warfare', 'I Kill Children', and 'Stealing People's Mail', is the trashing of the normal, fat, complacent white consumer by a psychotic on the loose. Biafra takes as much delight in portraying psychotics, red-neck and otherwise, as does John Cale, whose 'Sabotage' Jello admires. Don’t you get a little carried away there Jello? Are you criticising the culture that produces such warpoes or becoming one yourself? And why don't you go out and literally eat the rich if it fascinates you so much?

"In a sense it's more effective to put these things across in a song than do them in real life. Son of Sam never got to make a record, he got put away instead. I think it helps people who are stuck in ruts but have violence bubbling inside them in their daydreams, to find that/there are people who think the same as they do."

Somehow I don't feel Jello's real interest is in comforting the psychotic in everyone. As America boringly drifts towards a neo-fascist President like Reagan, Jello is more concerned to see the slumbering anger released. In any form.

"A vacant stranger is someone who may seem perfectly quiet and normal for decades on end and then suddenly breaks out and performs some violent act that forever brands his name in the history books. Vacant strangers are the creative criminals, there's one in all of us, and it's about time he came out.

"Vacant strangers' do good things as well as bad things," Jello adds as an unconvincing afterthought, fact is, like any decent satarist or home loving boy, Jello is half in love with the monsters that his country produces and thus the diseased state of the country itself: "I think in order to expose something completely you have to immerse yourself in it. I learned, as a method actor, to immerse myself in other characters. Some of the characters in the songs are characters, some are parts of me."

There's a part of 'Jello that wants revenge, that wants the blood of his complacent compatriates. It's a nasty, giggling, bullying side and Biafra indulges it - in his songs at least: "Evil fascinates me. In order to expose situations rather than just say 'I hate it' I prefer to immerse myself in it and expose it from within. "

Yes sir, there's a vacant stranger in all of us and as far as Jello is concerned it takes a band as tactless and tasteless as the Dead K's to put us in touch with him: "Americans have very thick sugarcoated skulls and they have to be beaten over the head." Jello admits the dangers of being misunderstood by his audience as encouraging the monsters the band's attacking through immersion and, for once, is stumped: "The irony worries me and I haven't really thought of a solution to it yet."

There probably isn't one. Because Jello belongs in that great old American tradition, the trash syndrome. He loves and hates the trash, the sheer godawful tastelessness that is so much a part of America. So he attacks it in his songs, particularly the normal white middle-class version that eats polyester and wears popcorn (spot the deliberate mistake!) while championing it in the band's name and elsewhere.

Oh yes, about that name which still works a lot more powerfully than, your average mega-chord: "The Kennedy assassinations torpedoed the American dream. In the fifties there was nothing but talk of big cars and better this, life here was supposedly getting better everyday. Nobody believes that any more. The assassinations were the end of the American Dream and the beginning of the 'Me' generation.

Jello Blafra lives-in a melodramatic world of B Movie . scenarios .. America is a lot sicker than he is and he's a dab hand at diagnosing it, even if, as he perhaps worries, he's a part of that sickness. He's part patient, part doctor, part mutant, part moralist. He hates the 'ME' spirit of America most of all.

"We're coming from a tradition that is no tradition, a culture that has no soul unless you count lust and greed. That's the Protestant work ethic, 'God helps those who help themselves' Americans have twisted this so they believe, 'I must help myself above all so I don't care whose back I stab'. I want everything right now for free. The American empire is crumbling right now due to the same sort of mental laziness and corruption that brought down the Romans and the English.”

I enjoy it when Biafra says these things. Shock and confrontation are not in fashion right now, probably never are in California. Serious as he sounds, the Dead Kennedys are above all humourists with trash comics as an inspiration, B Movie camp and garageland .They are second generation punks putting out the first San Francisco punk album because only England would put up the money. There's still no one doing that here, though maybe the arrival of.Rough Trade will change that.

The Kennedys are proud of their San Franciso scene roots: "We come out of a scene that's been thriving for three years and we' re very thankful to finally get an album out when so few bands have been able to do so. It's kind of a sick joke when you think of the people over here like the Dils or the Avengers who didn't get an album out when they deserved to and were slagged off in the European press for being clones of bands that had started off with influences from American bands. There's a lot more where we come from."

Well , there you have it, the arrival of another spokesman and another band from San Francisco with 'Dead' in their name. There's not much that's grateful about this lot however. Thank God someone's treading on a few toes in America today.

Sure the Kennedys are dated, headbangers in style and music, trash anarchists in Iyrics. Sure there's a nasty adolescent bully in Jello's lyrics just bursting to get out and get violent with a few innocent bystanders (innocent bystanders and vacant strangers, what a . combination!) but Jello's right, punk is here to stay and the Kennedys . are saying the unsaid, being loud and obnoxious, in California at least.

Maybe Jello, East Bay Ray, Klaus Flouride and Ted will upset a few city councils on the English tour. About time too. California Uber Alles.



Dead Kennedys Music Machine London 8th October 1980

 


On their first UK tour, promoting the debut album, 'Fresh Fruit For Rotting Vegetables', here are the Dead Kennedys in London on 8th October 1980. The set on this night features ten of the fourteen tracks that appear on the album.











Top 30 Punk Albums #3 Fresh Fruit For Rotting Vegetables - Dead Kennedys

 


Thinking now of an album from beyond our island shores. For sheer balls, this album released in September 1980 can lay a reasonable claim to be America's answer to 'Never Mind The Bollocks'. Jello Biafra and Co. set out their stall in 1978 in a way that conservative America was not ready for. Without even considering the music the very name, 'Dead Kennedys' was incendiary! Remember this was just a short 15 years after a sniper's bullet took out the nation's presidential golden boy and ten years after JFK's brother, Robert, shared a similar fate in 1968.

Biafra's stage presence during DKs gigs balanced the role of lead singer with that of performance artist. Like Rotten before him, Biafra would provoke a reaction from his audience. Moreover, the band's antagonistic relationship with local law enforcement was such that the members of the San Francisco Police Department often attended their home turf gigs and not with a view to enjoyment.

With their debut album, 'Fresh Fruit For Rotting Vegetables', Dead Kennedys declared war on the American Dream, systematically attacking corruption and hypocracy observed both internally and in US foreign policies being followed by the US Government at that time. These attacks set Jello Biafra's razor sharp lyrics to East Bay Ray's killer surf guitar riffs and Klaus Fluoride's pounding bass. And all this was achieved with a large dose of vicious humour... surely the element that would have enraged the targets of the band's songs the most!

It's funny that I read a BBC review of the album when thinking whether to use this album in the list. The point of that review was that like 'pre-distressed Ramones T-shirts' now avalable in Next that effectively lay waste to a band's legacy, Dead Kennedy's have suffered the same fate and the potency of this first album has been lost. On this point, I think that it is important to consider those reviews that were contemporary to the album's release, such reviews suggest the opposite of the BBC position. The two that I have found are not full of superlatives at all. The music press were very critical of such music at the time, as they were tired of punk and to them 'Fresh Fruit' was more of the same 'punk by numbers'. In contrast, more recent reviews associated with various rereleased formats of the album cannot get away from the fact that Dead Kennedy's were the band around which a whole new punk rock scene coalesced, namely US hardcore. Nor can they escape the fact that the band subsequently influenced some of the US bands that formed in their wake that have gone on to be some of the biggeest bands in the world. In short, Dead Kennedy's have attained a status within punk that they never really enjoyed whilst they were together (with Jello).

The thing that keeps this album so vibrant is that the subject matter of the songs is (sadly) as relevant now as it was in 1980... even more so I would say. Ronald Reagan was a worthy adversary... but up against Trump he was a pussy cat (or should that be a chimpanzee?)

Here's a couple of UK reviews:

New Musical Express 27th September 1980


Record Mirror 27th September 1980





Monday, 7 July 2025

O2 Academy Glasgow 29th January 2022

 

Apologies, I have no idea how I came into posession of this one from 2022. It would appear that it originated from a sale on eBay. The notes with it indicates that on this, the second of two nights in Glasgow, 'Sometimes' was played but is missing from this recording for some reason. Anyway, other than a missing track this is quite a good recording of the night's proceedings.


FLAC: https://we.tl/t-ro19RkX478

Artwork: https://we.tl/t-0uJ38FOzB2