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.


Saturday, 29 March 2025

Archive Interviews 1978 - 1980

 


Here's a great little collection of radio interviews conducted in the 1978 to 1980 period which covers the most interesting period of the Mk I career. Skipping through it prior to posting I noted two notable interviews were both conducted for Tommy Vance's 'Rock On' Radio 1 show. Hugh talks about Nosferatu, how Devo got involved and Robert's unique percussive contribution to the album. There is also an interview with Hugh and Jet on their Raven 'rebirth' prior to the Wembley gig, in which they also discuss the 'Rock Goes to College' incident. Seems to cast some doubt on the idea of a BBC blackout of the band post Top Of The Pops and RGTC.





Hugh Cornwell Kulturzentrum Schlachtof Kassel 28th March 2024

 


Here's one that I intended to post yesterday (on its birthday) but unfortunately work intervened. Hugh returned to this venue in this central German town to play the 'Totem & Taboo' almost on its entirity (9 of 11 tracks) along with a similar number of Stranglers' tracks (I wonder whether he s contractually obliged by promoters to include Stranglers' songs in the set these days?).

Anyway this one sounds great and Hugh enjoys a good report with the audience. An all round good gig I think.

FLAC: https://we.tl/t-af91WpHmQE

Artwork: https://we.tl/t-jHhJMpyacy



Tuesday, 25 March 2025

The Vapors Cruel World Pasadena CA 20th May 2023

 


Following on from last weekend's northern adventures with The Vapors here for your listening edification is a short festival set from 2023's 'Cruel World' event, a West Coast celebration of New Wave music, a type of festival that seems to be very popular at the moment in the US.

FLAC: https://we.tl/t-BcOxBz9Lp2

Artwork: https://we.tl/t-KOQwUg4wCK



Sunday, 23 March 2025

Spotlight on Andrew Lauder (New Musical Express 3rd March 1978)

Here's a brief insight into the world of Andrew Lauder, the record company executive, who when with United Artists signed The Stranglers, and along with the acquisition of Buzzcocks, made UA one of the big league independent labels behind punk.

This piece comes from the time when, having left United Artists, he was setting up Radar Records that really got behind Elvis Costello & The Attractions.

I found it interesting what he said of the punk scene as it existed in early 1978.

"In 1977," he theorises, "a new generation of kids discovered rock 'n' roll for the first time. This year many of them will learn how to play it and those who've already learned to play it are now learning how to write it".

He hit the nail on the head with that opinion I thought. Those bands that had survived the madness of punk could within 18 months play their instruments and were therefore free to produce some very exiting and totally diverse material... the reason why 1979 can be considered to be the best year for British misic ever!



Saturday, 22 March 2025

Ventura Theater Ventura CA 22nd March 1997

 


Another anniversary show, one a bit younger this time and as obnoxious as your average teenager! An adrift Stranglers entertain the Californians back in 1997. I still wince when I hear the band's version of 'Summer In The City'. A great song in the wrong hands.

MP3 (as received): https://we.tl/t-LZntk3Wuuv

Artwork: https://we.tl/t-3dyyxNudj9



Rotation Hannover 22nd March 1985

 

Sticking with all things Aural Sculpture for one more post. Here is a gig that celebrates its fortieth birthday today. A great gig with pretty good sound too. Please read the original uploader's notes. This is a matrixed version of two different recordings as the taper (the same person as the uploader) had mike issues with their own recording which affected several songs mid set.

Happy Birthday Hannover!

FLAC: https://we.tl/t-KIQqU8hqVD

Artwork: https://we.tl/t-3LcqDOId6i



UK Subs Deported (The Guardian 21st March 2025)

This story appeared on the Guardian online and in the newspaper this morning.

https://www.theguardian.com/us-news/2025/mar/21/uk-subs-band-detained-deported

Any organisation be it a government administration, a faith organisation or whatever that cannot deal with critisism without resorting to draconian measures to silence any dissenting opinions is weak. I hope that US and Canadian punk bands and whosoever in North America who can see this cohort of dangerous clowns for what they are keep up a spirit of resistance.

Members of British punk rock band UK Subs denied entry into the US.

Three members of the pioneering band were detained and returned to the UK after flying to Los Angeles for a gig.

Members of the punk rock band UK Subs have said they were denied entry and detained in the US, according to accounts from the band themselves.

Bassist Alvin Gibbs shared details of the incident in a Facebook post on Wednesday, which comes amid widespread reports of people being denied entry to the US, including a French scientist who said he was barred because of anti-Donald Trump comments he had made.

Gibbs, along with bandmates Marc Carrey and Stefan Häublein, were deported back to the UK following their detainment. Only vocalist Charlie Harper had been allowed entry. Harper ended up playing the band’s scheduled show in Los Angeles with a group of stand-in musicians.

He recounted how after he landed at the LA airport with his partner, he was told he would be questioned after being flagged. He was informed the flagging was for two reasons: first, he was told he had an incorrect visa, but he was also told that there was another reason that the agents would not disclose to him.

“I can’t help but wonder whether my frequent, and less than flattering, public comments regarding their president and his administration played a role – or perhaps I’m simply succumbing to paranoia,” he said.

The band, considered pioneers in the genre of British punk rock, have been outspokenly critical of Trump and his policies in the past. They are known to often make political statements during live performances.

“What followed was far from pleasant,” Gibbs said. “Two police officers escorted me to another section of LAX, where I found Stefan and Marc already detained in a cold holding pen, along with a group of Colombian, Chinese, and Mexican detainees. My luggage, phone, and passport were confiscated.”

He explained how he was eventually called for a second interview at 4am, hours after he had initially landed at 7pm.

Gibbs says his partner waited 25 hours for him to finally be released from the detention. “By the time we were escorted on to the flight at 8pm the next day, I had gone without sleep for well over a day, surviving only on a pot noodle and a couple of cups of tea.”

Though he expressed relief that Harper had been able to enter the country and perform the scheduled show, Gibbs is not keen on trying to come back to the US again. “It seems my relationship with the country is over for the foreseeable future,” he said.

The experiences of the UK Subs members are the latest in a long line of people who have experienced long hours of detainment and deportation upon entering the US, with the incidents frequently credited to vague or unspecified visa issues.

In a similar situation to UK Subs, a French researcher was denied entry to the US earlier this month after immigration officers at an airport searched his phone and found messages in which he had expressed criticisms of the Trump administration.

In response to the news Philippe Baptiste, France’s minister of higher education and research, said: “This measure was apparently taken by the American authorities because the researcher’s phone contained exchanges with colleagues and friends in which he expressed a personal opinion on the Trump administration’s research policy.”

D.O.A.Canada needs you now!


The Vapors and Ombudsmen Manchester And Sheffield March 2025

Last weekend was a little different. The band our daughter Mo is in, Ombudsmen, had two gigs straddling the Pennines, with a Friday night in her adopted home city of Manchester and a Saturday gig over the county line in Sheffield. This opportunity was a part of The Vapors album launch tour for their fourth studio album, 'Wasp In A Jar'.

Gig No. 1 was at 33 Oldham, a bar venue in Oldham Street in the city's vibrant Northern Quarter. Myself and Gunta arrived at the venue at about the same time that The Vapors entourage drove up so we were alble to assist with the loading in, I ably assisted to the extent that a hernia and a first floor venue would allow! I am still amazed that a four piece band have so much stuff!

The only concern on the day was whether Mo, who issues vocals, would make it in time for a quick soundcheck, as she was working through to six o'clock and had to get back into Manchester from Stockport. Make it she did and there was some time for a sound check, although the sound from the stage would be a critisism of the night. 

Ombudsmen's set was comprised of material from the first two E.P.s plus two new songs, 'Sugar Fantasy' and 'Temporary Cemetery' from the forthcoming album. It's fair to say that a Vapors' crowd are not a natural audience for the punk/psych tinged material that the band play. This fact notwithstanding, each song was well received throughout the venue. One exception appeared to be one Vapors fan who positioned directly in Mo's eyeline who rolled his eyes throughout. Shame, he was the only dissenter really, perhaps at some point it will dawn on him that it is not 1980 anymore!

The Vapors put on a good show, with a set that offered all that the casual fan would have ever wanted plus a liberal helping of material lifted from the new album (but of course it was an album launch gig!). The gig ended with full paced versions of 'Letter From Hero' and 'Here Comes The Judge'.... and just for a moment it was 1980 again. The eyeroller would have approved.

After a breakfast in bed (sold on the website of the boutique hotel that we stayed in as a decadant luxury, but in reality an acknowledgement of the fact that there was not enough room available in the building to swing a cat, let alone serve food!), we drove across to Ombudamen HQ in Burnage to collect an amp and other random bits and pieces of stage equipment before driving over Snake Pass into White Rose territory for gig No. 2. 

This was only my second visit to Sheffield (back in 2008 I stayed with Doug Kerr prior to a Stranglers gig in Manchester). My understanding of the town was sadly limited to hills and The Human League! Unlike in Manchester, where the industrial heritage is still plain for all to see in the form of beautiful redbrick converted mills, Sheffield's considerable contribution to the Industrial Revolution is far less conspicuous (I guess that this is due to the differences in the industries that the cities excelled in). I only saw a couple of industrial units whose signage indicated that they were in the business of steel, oh and a pub called 'The Bessemer' (a vessel/process for converting iron into steel). I assume that the foundries and forges of old have long gone and what modern steel production happens somewhere away from the city centre. Happy to be educated on this.

Prior to heading to the venue, we looked for a drinking venue. At half past one, the pubs in the centre are heaving and we end up in an 'All Bar One' which happened to be occupied by multiple groups of women of our age, all glammed up and necking prosecco and gin like it's fast going out of fashion. It was likely to get lively in town tonight!

Back to the venue, 'Record Junkee', a music shop/record shop by day and venue by night looked very promising, albeit with a very small stage! More lugging gear and we were in. Tonight's soundman seemed to be more on the ball during Ombudsmen's soundcheck and this payed dividends at the gig. The crowd were visibly a carbon copy of the Manchester crowd, but with a difference. They appeared to be much more receptive to what Ombudsmen were trying to convey. As mentioned, I am sure that this was at least part due to better sound. The tunes weren't lost in an overall muddy sound like the previous night. Maybe it was just down to differences between a Manchester and Sheffield crowd. I have no idea, both are musical cities... it is not as though Sheffield is starved of bands, nothing could be further from the truth, but the difference was quite stark. At the end of the gig a few Fred Perry'd punters complemented the band on their set which was great to hear and maybe this will open up a few oppurtunities for them to come back to Sheffield.

On behalf of Ombudsmen, thanks to Mike, Owen and of course The Vapors for a great weekend!

The Vapors soundchecking in Sheffield.

Ombudsmen are back at 33 Oldham in Manchester on 29th March for the launch of their own album, 'Liquid Assets' which is released on 28th March.


Monday, 17 March 2025

It Was 40 Years Ago Today (Well 40 Years and 13 Days If I'm Being Pedantic!)

It was on 4th March 1985 that I saw The Stranglers for the first time (don't mention the Feline tour - missing that is still a painful recollection 42 years after the event!). The Aural Sculpture gig was rescheduled from 7th February and I was 16 days shy of my 16th birthday. In honour of the occasion, my parents gave me my birthday present early... a biker jacket.

I think I have mentioned it on here before, but as you can imagine, recollections are a bit hazy. One thing always stuck in my mind and that was that someone threw a shoe at JJ, prompting him to declare 'I don't want your fucking shoe!'

On this first occasion, I was not familiar with all of the back catalogue, my age and the cost of vinyl meant that as the time I was familiar with most of the singles, 'Feline' and 'Aural Sculpture', older album tracks were new to me. That was a double edged sword I guess. Coming away from that gig I was keenly aware that I had 7 or 8 years worth of the band's back catalogue to discover which in some respects is great but in another sense it means that you do not grow with the band. I missed out very much on that exitement and anticipation of a new release (and even in some cases the disappointment that came with it). I did not have to struggle with getting my head around 'The Gospel' or get to grips with the idea that the band 'had gone soft' with 'Feline' and I never knew The Stranglers Punk Band Without Compare. I did experience that anticipation between 1985 and 1990, but I would be deluded to think that first listen of anything from that period carried the same impact as hearing a '5 Minutes' or a 'Duchess' for the first time... 'Sweet Smell Of Success' anyone?

And of course with Aural Sculpture' came the brass, which whilst I understand was an integral part of the new material, however, working the brass into the old material in order to keep the boys with the brass angaged on stage didn't sit comfortably with me, then or now.

It is strange to think, looking back over a distance of 40 years that in early 1985, the band at that time were less than 10 years old and in fact had only been in the public eye for 8 years or so i.e. from today back to 2017. It's true, time plays tricks on you as you get older!

Notwithstanding the fact that I was not there at The Red Cow or the 100 Club, the time that I have had with the band has been a constant (almost) for 44 years, bringing with it long standing friendships, not to mention matrimony! My affiliation with the band has dictated how I have spent my money and where I have chosen to spend a significant portion of my annual leave. It has even had more than a little say in determining my wardrobe over the years, none of which I have regretted (and you can't often say that of fashion... especially if your teenage years spanned the 1980's).*


The Brighton gig recording can be found here.

To mark all things 'Aural Sculpture' I put together a DVD recently that was essentially an attempt to consolidate the video material that I had accumulated over the years. Of this the quality was highly variable... multiple generational copies from VHS machine to VHS machine, so I searched what was available on line. Thanks to all of those who take the time to put stuff online.

If 1984 was a year taken in recouperation, 1985 was a full on media assault. It is perhaps the best visually documented year in the career of the band, certainly for Mk. I. It seems that they had a pretty strict routine for the promtional work that they did with 'No Mercy', 'Uptown' and 'Let Me Down Easy' doing much of the legwork when it came to plugging the new album.

Anyway, I hope that it offers upgrades for some of the stuff that you have sitting in your own collections.

* Postscript: I did regret wearing deck shoes (Hugh c. 1987)... they really made my feet stink over one particularly hot summer!


DVD Image: https://we.tl/t-5tKjgbWmde

Artwork: https://we.tl/t-BrfTdfnftV



Sunday, 9 March 2025

The Damned Rebecca's Birmingham 17th February 1977 (TFTLTYTD#18)

 


Well, this one kind of fell into my lap. Last week it was another of those occassions where upon looking at my Facebook feed, I saw one or two posts with pictures of Brian James. Initially, I thought nothing of it and didn't read the posts because there is nothing unusual for me to see many photos of members of The Damned, The Stranglers or The Jam etc throughout the day, as that is just a reflection of the number of band related sites that I belong to. However, when checking again 30 minutes or so later and noting posts from the likes of Louder Than War and Vive Le Rock, the penny dropped.

I knew from the late 2022 reunion tour that his health was not good, nevertheless such facts does not diminish the sense of shock that someone from a band that you have been following for decades has gone. Brian James was not just the creative force behind the first incarnation of The Damned, he was one of a few idividuals that were the inspiration for the whole punk rock phenomenon. It was his 'New Rose' that opened punk up to a wider audience, for better or worse.

RIP Brian James.

Here's a reasonable sounding Birmingham club gig from early '77.

MP3 (as received): https://we.tl/t-be0K4AbNIC

Artwork: https://we.tl/t-RJUeTYjRv1



Saturday, 8 March 2025

Fancy a night out in Barnet?

 


Ad that appeared in the 11th February issue of New Musical Express. That'll fox the G.L.C.! Valetine's night too!

On Poland 1986

I read with interest Neil’s post on the Stranglers memorabilia Facebook page concerning the acquisition of a 1986 Polish gig mooted by CBS to have been an album release. No, I was not angling for a copy, although of course I would live to hear it. I just want to reiterate some of my thoughts on material that is languishing in record company vaults. The truth is The Stranglers are not The Beatles, rather than just stating the obvious, this point relates to the longevity of appeal that a band can expect. For sure, the band have enjoyed an extraordinarily long career and very much against the odds but how strong with the legacy be in 5 years or seven years when they have ceased to exist as a band. A large proportion of the band’s fan base are not in their 50’s and 60’s and whilst perhaps their children may have a fondness for the band (through enforced listening), sadly, I would expect their relevance within popular culture will tail off with the band’s demise. If you think this to be over pesimistic then consider this. My wife has recently addressed a lifelong regret and gone to university. She turns 60 later this year. However, she is not the only mature student on the course, there is a girl at the ripe old age of 24, younger than both of her children. One assignment required each student to identify a person who they saw as a role model and/or a significant figure within recent popular culture. Gunta chose Debbie Harry, and here’s the thing, not one of her fellow students had ever heard of Debbie Harry or Blondie. Now that is a person/a band that were dwarfed most contemporaries that came out of new wave and punk. Here’s was the face of the late 70’s and early 80’s that adorned the covers of thousands of magazines. She had a female iconic status that was perhaps only later rivalled by that of Diana. The point is she/Blondie were huge and yet a mention of her name and her photograph drew a great big black from Generation Z. I guess fame if more fleeting in the 21st century than even Warhol predicted. Perhaps it is social media that is to blame, platforms that create instant celebrities that have the longevity of a firework.

Anyway back to the point, and it is a point that has been discussed over and over again for several years now. There are some gems by all accounts gathering dust in the EMI vaults, from memory there are the European gigs that provided the live B-side material, the 1976 Nashville ‘debut LP’ and the PROP gig from Leeds. When it comes to a potential release of any of this stuff it surprises me that record companies have not realised that if ever there was a time to release material it would be now. Surely a release would stand a better chance of success whilst the band are still active and there exists a fanbase infrastructure (social media groups and the like) in place to generate a ‘buzz’ around a significant new release. Each year there is a flurry of excitement around Record Store Day, something that is great for the ongoing wellbeing of independent record shops and something that I fully support (although not to the extent of queuing outside of Rough Trade form 5 o’clock in the morning). But, it seems to be so often the case that, not only concerning The Stranglers, that the RSD offerings are rather lazy. Take for example the re-release of ‘La Folie’. The double album had merit, no doubt, but what was the justification for a rerelease on coloured vinyl. In my opinion, people buy such releases because they are limited and will increase substantially in value. If something is going to be rereleased make it something old but new to the ears of the fan base. Who knows, in the current chart environment, if ‘Dead On Arrival’ were to be released for RSD 2026 it could possibly achieve the success that UEA hoped and become a chart topper just like Dr Feelgood’s ‘Stupidity’.

I have no idea how many pink ‘La Folie’s were pressed up but if ‘Dead On Arrival’ or the PROP gig or Paris ’85 or Poland ’86 were to see the light of day, at £30 a go, there has be a financial upside, no?

Saturday, 1 March 2025

Hugh Cornwell Vintage TV Sessions 20th November 2014

 


Here is something perhaps a little obscure or maybe just unseen by many by virtue of the fact that it was briefly out there amidst so much other stuff in the modern TV channel ocean. I think that the relatively short lived Vintage TV was somehow related to the Sky group of companies/channels. This edition, hosted by sixties icon, Petula Clark, featured an eclectic line up including Hugh, The South and Ralph McTell (best known for his cover of the Anti-Nowhere League's 'Streets of London' :)).

This edited DVD features Hugh's involvement only, whith two live tracks separated by the shorttest of interviews with the host.

DVD image: https://we.tl/t-JxJIFsIbqr

Artwork: https://we.tl/t-7tXk5YirSC



Hugh And JJ Inked

 


A lino print that I did recently, a relatively easy one as the contrast and resolution of the original image was not the best. I don't know the history of the original photograph, but it is clearly of a 1979/1980 vintage and from a time when Hugh and JJ were still close conspirators.

Linoprint in black ink on cream card
20cm x 30cm.

Sam's Minneapolis 20th May 1981

 


I am surprised that it has taken me 14 years to post this one! A soundboard recording and one of the best, if not the best of its era. There seems to be only one flaw, that being the cut off of 'Ice'. Hugh is on great form and Muffin the Mule makes several appearances in 'Nuclear Device'. This is a good example of the MIB set that I has promoting in the last '51' tour related post. Wouldn't it be good?

FLAC: https://we.tl/t-gPhVerAitM

Artwork: https://we.tl/t-g4mevMSgUC



The Stranglers '51' Tour

 


Here we go again then with something of a break in a now established tradition. An Autumn rather than a Spring tour. Some obvious gaps in the dates, most notably Glasgow and the middle of England, as a result of contractual restrictions arising from the Castle and Pistols gigs.

What would I like to see? Obviously the big anniversary was marked last year with suits and chandeliers, so I am not looking for that. It could be an opportunity to do something different. Sadly, the band have been rather reluctant to follow the example of some of their comtemporaries of comparable long standing in touring albums or notable sets. To date, The Stranglers have done this only twice, with the Roundhouse residency '77 ('Rattus Revisited') set in 2007 and the 'Black and White' tour of 2016. All other opportunities to mark a significant anniversary have gone well, unmarked.

Rather than being money for old rope affairs, these 'themed' shows can be an opportunity for a bit of creativity and fun. Look at the Damned's 'Night of a Thousand Vampires', now there was an event! And with such events comes different merchandising opportunities. Gary Numan has been a master of this since 2006. He has toured his three big albums from the '79 to '80 period on two separate occasions and far from being a case of relying on past glories, with the care and attention that he, his band and the entourage needed to take a show on the road inputed, the gigs were stunnning.

What about recreating the set of the 'Who Wants The World?' tour - the October dates would coincide with the 45th anniversary of American leg of that tour. The sets were pretty short back then, just 15 or 16 songs which would allow the other half of the set to include the 'Peaches' and 'Golden Brown' and other crowd pleasers beloved of the casual gig-goer. Just imagine the stark lighting of the MIB era. The band could add in another element of authenticity by using hastily hired equipment and Toby could battle with keyboards that are prone to make unexpected and random noises!

A pipedream I am sure, but I can at least imagine these things.

I do hope though that 'White Stallion' is dropped from the set as the tangerine fucker is now firmly back in the saddle and riding out as one of two horsemen of the apocalyse. I appreciate it that it is their big current anthem, but the lyrics have rather a hollow ring to them now...

'The white stallion's rule is over
The pain is all in the past'