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, 6 February 2021

Barry Cain Declares His Appreciation Of The Stranglers As People! Record Mirror 2nd August 1980

As an accompanying piece to the material posted on the Nice debacle, here is the interview that Barry Cain did with the band in Rome where they discuss the public and press perceptions of the band, the forthcoming 'Meninblack' album oh..... and their life as lags!

By the way, the gig Barry attended at the Castel St Angelo in Rome on 2nd July 1980, their first gig since Nice University can be found here along with Barry's review.

Record Mirror 2nd August 1980

Lasagne and Quips


BARRY CAIN (slimy toad) actually admits to liking THE STRANGLERS as people. Mind you he did get a free trip to Italy to see them.


DANGER lurks beneath the wall to wall shag pile of rock journalism. It -grows In silence, inordinately, in between every mouthful of free prawn vol-au-vents, In between every free album in between every free plane ride, in the unbearable heat of record company ,generosity.

It's called friendship.

Not the podgy kind plundered from the vaults of voracity - a ravenous desire to be liked by the right people - but a genuine, true blue nexus that grows stronger with each meeting.

Every rock writer has been guilty - if that's the right word - of cultivating such a relationship with particular artists. Immediately that happens the writer has compromised his position. Critical faculties are dulled as personality clashes with product presented. The pen is blunted. It maybe mighier than the sword but it's a veritable pin prick in the shadow of friendship.

No crime, merely a natural misdemeanor. You can't don a habit, shave half your barnet off and find some suitably bleak cell to write your reviews on illuminated manuscripts.

Like, hey, you gotta have suss, you gotta wash your hair in Supersoft and breeze with the sleaze and be seen.

Now, I could say I hate The Stranglers' guts, that their pose offends me. that I find it unbearable to be in their company but I adore their music. Then I would demonstrate my great ability of not allowing personal prejudices to interfere with my aural awareness.

On the other hand I could say I love The Stranglers to death, that I admire their intransigence, that I find their company both stimulating and rewarding but I think their music stinks. Again an admirable statement, professionally speaking.

Unfortunately neither would be correct - and I'm compromised. No, I don't hate them and their music. The opposite.

Pause for gasps all round from music journalists everywhere. Gasp, gasp, gasp, gulp, gasp.

How could you possibly like the pugnacious Burnel, the chair throwing Black, the infamously rude Cornwell, the tacit Greenfield? And all ex -cons too.

There is an inveterate fear within the media and the business of The Stranglers.

"People are frightened of all sorts of things - the dark, crossing the road, spiders." Jet Black, his customary drawl drill spiel slowly filling the room like an inflatable dinghy, sits on the edge of a Roman bed. Hugh Cornwell lounges on a pillow at the other end.

"Our black clothes are not meant to evoke fear. Have you ever been frightened by a priest walking down the street?" Says Hugh. No, but Joyce and Jung were - but that's another story.

The band have just finished their first show since the Nice incarceration. An untypical alfresco gig in a Roman park attended by 8000 lusty, slick spicks who didn't understand one word but loved them all the same.

Only the ignorant love The Stranglers. That's those who can't read English and those that can but who possess suss sieves and refuse to accept the hallowed printed word.

It's 3am. Dave Greenfield sits cross legged on the floor with his back against the bed. The Mephistophelean motor madmen of the Mediterranean are all asleep in the ancient city dreaming of hooters and scooters.

Next door Jean -Jacques Burnel sleeps. Earlier in the day the following 'interview', took place. He recumbent in his bedroom. Me, sitting on the edge of the bed. A tape machine whirring conspicuously preventing him from a pre -gig snooze which he so obviously wanted.

Why are The Stranglers always finding themselves in trouble?

"I don't think about it. Past caring why we go in nick all the time, why we have so much bother.

" Do you go looking for it as a lot of people assume?

"That's their problem." Laughs.

I can see this one's gonna be a good 'un. I’m only gonna keep you for half an hour. Er, aren't the band after the maximum amount of publicity.

"It really doesn't bother me if people think that or not." Pause.

So come on Jean, have you changed in any way over the last year, I haven't seen you for so long.

"No. I only see you when you want to get an interview done." Laughs.

That's crap.

"We've provided you with some good f- king gigs in the last few years."

True.. l hate The Stranglers really. I only made out I liked you so you'd take me to Japan, Iceland, France and now Italy. But em .. shit it's hard asking questions when I've asked so many in the past.

"So why are you bothering?" Laughs.

Look, what about this Record Mirror policy - of not mentioning your name. Has it annoyed you?

"Not at all. I thought about it when I realised they weren't printing my name or photograph. But I forgot about it pretty soon afterwards. It's very flattering to think that people can hold something against you for so long. I'm very flattered."

Recently the music press has avoided you

"Great. Maybe we're the plague. Maybe they're still scared of us. I really don't know and I really don't care to tell you the truth,' Laughs.

I bet you do really (In primary school tones).

"No, I don't."

I just don't believe that. You still must be concerned about ‘an image'.

"No, not at all. How can we be concerned about an image when everyone knows about us anyway?"

Do you think you're as popular as you were?

 "Course not."

 Why?

"Every band has fluctuations. We haven t had big hit singles but we still do well with albums. We don't get played on radio - mind you we never did get played on radio did we."

 It seems like you're not really concerned with the singles market. You're just putting them out for the sake of it. Not really serious.

"Well what else do you do with singles but put them out? That's your opinion anyway. I certainly wouldn't release something if didn't take it seriously, being serious young men that we are. Or rather serious old men that we are."

Do you worry about gelling old?

"Getting old?" Pause.

"I worry about my faculties diminishing. I think everyone does. How would you like to be senile?”

 I'm not talking about that old. Just a few years passing in this game. Reports In the paper say you're 38. Things like that.

"Yeah, that was a good one."

You look 38, that's why they said it.

"Well yeah. It's rock 'n' roll that does it. There's not much you can do about getting old is there?"

Getting back to my original question. Are you a different person than you were say a year ago?

"Yeah"

Why?

"I'm a year older."

Come on, that's no answer.

"It is. It'll do for now. Look, The Stranglers' music has mellowed out and Tie Stranglers' have gone the opposite way”.

Opposite way of what?

"Mellow. What's the opposite way to mellow .. , ? Rougher, Yeah."

 And you?

"I'm not really important." Laughs.

I feel as though I'm disturbing you. I tell you what, if there's anything to talk about alter the gig, er, you have a kip and if there is anything - I don't know what ...

"You've got nothing to talk to me about”.

 It's true.

And it is true. Imagine interviewing someone you've known for four years, someone you like, someone you enjoy talking to (when you get the chance to see them which ain't too often). Impossible.

And the lasagne was great.

Back in that bare, boiling bedroom I ask Hugh how he felt about his rapid rise to the position of prison veteran. What was it like when the door slammed behind you for a second time in a matter of months?

"I thought it was ironic. You appreciate everything that happens to you when you come out of nick simply because you were denied so much. I was just getting back into enjoying freedom and a really good work ethic when suddenly it all happens again.

"See, at first, when you're inside you have to adjust. It's hard but when you've got over that you're okay. But in that situation were you have to keep adjusting that lead to long term mental damage. I derived many benefits from that first spell inside. I got nothing out of it in Nice. “

People simply over -react to us because they expect us to continually do what we get charged with. We think we have a right to state our point of view and maybe to some people we overstep the mark. But either you’re free to say something or you're not."

Hugh raises his head from the pillow - "A of people gel to the point where they think 'Oh God, I know what I felt but it I stick my guns now something's really gonna happen'. The difference is, when we reach that point we still stick to ours. All those people end up compromising themselves just save the situation."

So will you keep your fingers off the trigger in future?

“No." maintains Jet. "The only thing that change now is we'll make sure we have a lawyer waiting for us in every city we visit from now on.”

But you have perpetrated some pretty nefarious deeds - dirty ones done dirt cheap in fact - in the past.

“Such as?"

Intimidation, violence, kidnapping and then there are the really naughty things ...

“Who can honestly stand up and say that at one point in their life they haven't intimidated someone." says Hugh, his film star face blurred through the heat and cigarette smoke.

“Sure,”  interrupts Jet, "we've got a reputation for violence and aggression. People are wary of us because of this nasty mage. But anybody who takes the trouble to get to know us will find out the truth for  themselves.

"What is misunderstood is the fact that we do possess a sense of humour. For us there’s a lot of humour in the way we express an idea behind a song for example. But very few People see the humour - and unfortunately the wrong conclusions are drawn. But that's just an occupational hazard."

It couldn't be construed as humorous to beat a journalist up.

"By the same token it wasn't very humorous to have a journalist writing a pack of lies about us. We're only human beings y'know. If somebody writes a load of lies about us then, from time to time, we act like human beings. We get angry - and we've paid a heavy price for it.”

Apart from the semi abortive tour, the band were in Rome mixing their new album 'Menlnblack'. "One of Its themes," says Jet, Disney starlight piercing the window and mingling with the smoke in a midnight cocktail, "is the Men In Black, mysterious people connected with interstellar travel,

“There have been in the past well documented reports from UFO witnesses who, a while after filing a sighting, have been visited by strange men dressed in black who issue very strong warnings not to  discuss what they've seen. Nobody knows it these Mibs are from outer space or the government.

"We've been planning this album for a long time. Look at the window on the cover of the Rattus album ..."

"The unknown," says Hugh, "is one of the fundamental points of interest of the band. We haven't revealed the Mib thing before simply because it wasn't the right time."

It may be the right time for a Mib,but It's a crucial time for a Strangler. Little airplay, singles that don't make the Top 20, a concerted antipathy within rock circles. No friends, no fun.

Yet despite the watershed the band are at the apex of their musical ability. The Rainbow concert on their return from the continent was a provocative display of indifference to their current situation. They played better than I have ever seen before, their innate talent for concise but complex construction being fully displayed especially on the new songs from 'Meninblack’ .

"Of course my writing has matured," says Hugh, his head heavier on the pillow. "It's dependent on the cells that become the thoughts that write down the words and those cells have matured. Logical connections. In the same way our playing has matured. The hands that play the instruments are older."

Jet begs for an audience. The bed vibrates.

"In our conceit we consider ourselves lo be artists and when we do something we do it for a reason that we understand. That really is all we want to do - explore our art form as we see it and it's great going round putting ideas in front of people and watching them get off on it.

"On the way we get the hazard of people either not understanding or misinterpreting what we are doing and we make no excuses for that.

"I hope we're not an average band, if we are then we're not artists. We are probably the most different band there is. Most groups are of a similar age group, are brought up together and have the same musical and lyrical ideas.

"We're just so different it's ridiculous - Hugh and Jean are academics, Dave is a statistical whizzkid, I'm just thick, no, I think I'm great. It simply shouldn't work, but luckily we happen to be four people who understand each other."

"We came," says Hugh, "from four different directions but we ended up in the same state of mind."

Jet continues - "At the beginning it was very confusing for us. We didn't understand each other's personality. But gradually we've grown up together and got into what we were all actually into in the first place but which was difficult to express so that the others understood it. Now we all express ideas in confidence. I think the only common denominator about The Stranglers is we were all brought up in England."

Do you expect to find yourselves in trouble again?

“We've been in so much trouble in the past I guess the odds are stacked against us. It's Iike with Hugh. If you look at the record books you have to draw the conclusion that they were trying to make an example of him when he was sent down on the drugs charge because he was a Strangler. Much worse things have been done and lighter sentences given. It's character assassination."

Dave responds - "You're charged, you're a Strangler, you're guilty - automatically."

"And," says Hugh, "It made it all the more despicable, in their eyes, the fact that I was intelligent. But if I'd have been one of the Kings Singers it wouldn't have happened:" Jet makes a large sweep with one arm then crosses his arms. "Your average Mr Bloggs never does anything more serious than getting a bit drunk, parking in the wrong place and occasionally try and rip something off. But they get away with it. A lot of people inside have done exactly the same things - but they got caught. Of course there are the obvious exceptions…”

Hugh - "But even the murderers are only the murderers that got caught."

Jet - "Most people don't experience prison - so whenever the subject of capital punishment comes up they say 'Yeah, hang the bastards' without any consideration. Always there's the assumption that somebody who is charged with murder is guilty.

"A brief glance at the legal history in Britain alone shows that hasn't always been the case, despite the fact that the truth only came to light years after execution. I would argue that it's better a number of guilty people get off than one innocent person get executed.

"And it's like that in prison. Everyone should be treated as human beings inside because one or two of them may be innocent. The fact that those innocent are confined should be sufficient.

"It would be great If everyone could experience prison for a week. When people like us come out and talk about it, it gets written in the papers but people still don't really understand it. How strange it is to be put in a room and the door locked behind you. It's a real worthwhile experience.

"I felt comparatively easy there. It's funny, you expect to find all these tearaways and you discover they are just like eveybody else. I was in a cell with two blokes, one had been in a year.”

It seems The Stranglers too are guilty until proved innocent in the eyes of many. But they don't really give a damn about other people's opinions, a fact that should make them all the more attractive.

Jet again - "All the 'punk' bands have now been exposed for not being into what they said they were into. In our case we never said we were into anything. We have nothing to answer to. "We’ve seen very little in the press that's accurate - but they are simply in the business of selling papers. We play music, we're not in -the business of putting newspapers out of business. If they want to behave Iike a load of assholes let them get on with it."

It's not only newspapers . . . "Only one of our songs has ever been playlisted on Radio One. Everybody liked 'Who Wants The World' on the playlist panel apart from one or two who refused to play it because I think, Jean - Jacques supposedly kicked down a door at the Top Of The Pops studio a few years back.

“Our career is following similar lines to Elton John's. He never got airplay either, until he made it big in the States. Maybe somebody didn't like his glasses or gold lame piano.

"In fact, we know quite a few singles which have sold less than ours during the course of a week but still reached the top five while ours only scraped into the Top 30. There's something very strange gang on.

"There's definitely something very strange going an ..."

And that from a man in black. It must be very odd indeed.

Excuse me while I go sharpen my pen ...

Barry Cain with The Stranglers
Rome 2nd July 1980



Kraftwerk Paradiso Amsterdam 23rd January 2015

 


So here is the last installment of an extraordinary run of consecutive gigs, a tour of the Kraftwerk back-catalogue culminating with 2003's 'Tour De France Soundtracks'. This was the last tour that the band did with founding member Florian Schneider, who wanted to step back from touring. In addition to revisiting the title track, 'Tour De France' that the band originally released in 1983. 

Featuring some excellent new material such as 'Aéro Dynamik', and 'Electro-Kardiogramm' the album was a strong reassertion of Kraftwerk as a trendsetting band, a happy return to form after the disappointment of their studio album of new material, 1986's 'Electric Cafe'.

Sadly we lost Florian last year, but Ralf Hutter continues to play with the band. It is funny that on the first two occasions that I saw then in 1991 and 2004 getting my hands on a ticket was not an issue. It was a different story when I tried to get a ticket for one of the back-catalogue that Kraftwerk put on at the Tate Modern, itself a former power station (geddit?)....  I failed. It was a similar story in 2017 when Kraftwerk announced a 3D tour. I did eventually manage to get a ticket for my daughter and I but we had to travel to Belfast to see them.



01. [intro]
02. Tour De France 1983
03. Prologue
04. Tour De France Étape 1
05. Chrono
06. Tour De France Étape 2
07. Vitamin
08. Aéro Dynamik
09. Elektro Kardiogramm
10. La Forme
11. Régéneration
12. Intermission
13. News
14. Geiger Counter
15. Radioactivity
16. Spacelab
17. The Model
18. Neon Lights
19. The Man-Machine
20. Numbers
21. Computer World
22. Home Computer
23. Computer Love
24. [banter]
25. Trans-Europe Express
26. Abzug
27. Metal On Metal
28. [encore break]
29. The Robots
30. [encore break]
31. Planet Of Visions
32. Boing Boom Tschak
33. Techno Pop
34. Musique Non Stop
35. [encore break]
36. Autobahn

Wednesday, 3 February 2021

'Animal Now' by Ruts DC Review Sounds 9th May 1981

 


I cannot confess to know what the band or the creatives behind the album ad were thinking with the rather terrifying imagery that was used to advertise the first Ruts DC album..... Leigh? But creepy ads aside, 'Animal Now' is one of my favourite albums of all time.... true there are very many favourites, but still you have to go some to make the list!

It is an album born out of anger, frustration and despair and each those emotions spill out from your speakers each time you play this album. It is the very rawness of those emotions that make this debut album so compelling. In 1979, The Ruts had it for the taking, the music press loved 'em, the kids love 'em, radio loved 'em! They were angry, yet fun, highly accomplished musically and just, well, generally a cut above most of the second wave of punk bands (along with Stiff Little Fingers). But that potential was lost to the heroin that took Malcolm Owen's life in the summer of 1980. It is primarily the genuine loss of a mate along with the loss of a golden opportunity to grow as a band of style and substance that shaped 'Animal Now'.

Segs and Ruffy have in the past spoken of how difficult it is to play some of those songs, a feeling compounded later by the loss of Paul Fox in 2007 no doubt. As I write this, I am listening to the track 'Despondency' and it makes me feel tense, it is brilliant and yet it jars, it is claustrophobic in a way that certainly qualifies its place in the 'Uneasy Listening' rack of your local record shop (if indeed you still have one!). Funnily enough, Killing Joke's music has the same effect on my wife, Gunta, her blood pressure actually increases if I play them!

I am in no way complaining about Ruts DC's industry since they reformed in 2011, far from it, but an inevitable consequence of new material is that the old must give way and this has happened for the songs from 'Animal Now'. I really do miss them as they are such a big part of the Ruts/Ruts DC story.

Perhaps some day, when this is all done and dusted (in the year 2525 as Zager and Evans would have it), the band could do a set (a convention set?) of this album.... I reckon I'll be ready for another gig by then!

Anyway, in the post title I mentioned a review and her it is, from Sounds, Garry Bushell's Oi! vehicle at the time. In contrast to Bushell's slating of 'Different View' in the same said publication Robbi Millar's review is positively glowing, he clearly being one of the 'fortunate few who have the ears to hear, the vision to see and the intelligence to comprehend' as Hugh Cornwell may have said once upon a time.


This just in from Segs... 

.... via Leigh.

'Isn’t that the advert for Nothing compares 2U ?   Yes -a bad period for artwork at virgin !  Inside cover shot by Gered Mankowitz though —I read this review the other day !  As you know —I’ve ALWAYS loved that album :). Great piece from Adrian though —thanks for sending ...We’ll be back ( hopefully) x '


Sunday, 31 January 2021

'There's A Riot Going On.....' - The Nice Incident 1980

 



The Stranglers cuffed in Nice June 1980

It was the tumultuous scenes on the 6th January in and around the Capitol Building in Washington D.C. that brought to mind another rumpus almost forty years ago. In the first instance I am talking about the riot that saw supporters of Donald Trump, a strange collective of Good 'Ole Boys and Q-Anon conspiracy theorists (or as some wag captioned them 'The Village Idiot People'), attack and enter the seat of US politics, and in the second, the 'riot' that ensued after an unsuccessful gig at Nice University on 20th June 1980.

The two events attracted widely differing levels of media attention unsurprisingly. The insurgency of Trump's militia set the world's media outlets ablaze, whilst reports of punk misdemeanors on the French Riviera were in large part confined to the pages of the music press of the day and the UK's sensation-seeking tabloid press. On the other hand similarities are to be found in terms of the issue of who was responsible for inciting a riot.

In both cases lawyers for and against poured over transcripts of what was said in the period immediately prior to the violence, with each side assigning legal significance to which ever comments carried most weight in favour of the case they were making.

In Washington, the outgoing President urged a crowd of his supporters to walk down to Capitol Building , two miles distant, where 'We're probably not going to be cheering so much for some of them because you'll never take back our country with weakness.  You have to show strength, and you have to be strong'.

In Nice, after the PA broke down for a third time in the band's set as a result of the inadequacy of the generator's provided by the University, the gig was abandoned. Jet Black explained the events that had occurred  throughout the day, including the University authority's refusal to allow a more powerful generator onto the site for fear that the heat produced would damage the concrete beneath. Jet's explanation was translated into French by Jean-Jacques and the band departed for a post (half) gig meal. Back at the abandoned gig, the riled and frustrated audience took the University to task for its failings by rearranging the campus somewhat.

In Washington, by the time the riot was quelled, five people were dead, including a Capitol police officer, more than 60 people were arrested and critically the political systems of the United States were on their knees.

In Nice, the outcome was less dramatic admittedly, with damage caused that, according to the University, amounted to £10,000 (approximately £40,000 worth today). Plate glass windows were smashed and trees set alight within the campus grounds.

In The Stranglers' situation, the damage to the fabric of the University could be quickly and simply reversed. The damage to the band's career was potentially devastating, the statuary penalty for incitement to cause riot was 1 year to a maximum of 5 years and there was real concern within the band camp that our gallic bass player could be looking at some manner of custodian sentence.

If incitement to riot under French Law carries such a harsh sentence, is there any chance that Trump could be extradited to France to answer charges for what occurred in Washington in a Nice courtroom?

Here, I have pulled together the contemporary reports of the Nice incident for your reading pleasure.


The decisions on the fate if The members of The Stranglers were decided largely on the unlicensed recording of the gig made by Radio Monte Carlo.... I want ! I want! I want!

Arrested

UK Tabloid (Daily Mirror/News of the World?) June 1980


The Sun 21st June 1980

From Peter Stephens in Paris

Punk rock stars The Stranglers were behind bars last night after a riot at a concert.

The four-man British group were accused of deliberately urging their audience to wreck the concert hall.

They are likely to spend the weekend in a French jail before a court hearing tomorrow.

The group were arrested at their French Riviera hotel after walking out of the show at Nice University because of a power failure.

Students threw metal barriers through floor to ceiling windows when the band complained about the uni.

Police allege that one member of the group said to the audience “I urge you to break everything”.

The controversial foursome are Hugh Cornwell, Jet Black, Dave Greenfield and Jean Jacques Burnel.

The Stranglers’ manager, Ian Grant, said in London last night “We have been trying to get a lawyer to see them but it appears that there is no obligation on the police to let them have representation until 48 hours after arrest.”

Charged

The Sun June 1980

POLICE ACCUSE PUNK STARS

Three members of The Stranglers punk rock group were charged by French police last night with inciting a riot.

The three, Jet Black, 40, Hugh Cornwell, 31, and French guitarist Jean-Jacques Burnel were accused after appearing before an examining magistrate in the Riviera resort of Nice.

The fourth member of the group, 31 year old Dave Greenfield, was freed by the court.

Their London manager will fly to Nice today and lodge £30,000 bail so that the three can be freed on bail.

Otherwise they could spend months in jail awaiting trial.


Wrecking

The band were arrested and held in Jail for 36 hours after a riot during a concert at Nice University. Fans went on the rampage, smashing windows, wrecking furniture and setting fire to trees in the campus gardens.

Their manager Andy Dunkley said late last night that “The police have told us nothing. Dave Greenfield is back at the hotel exhausted".

He added “None of them got much sleep on Saturday night, they were four in a cell.”

Mystery

“Most of today they were taken from the cell for questioning then dragged back again.”

Mr Dunkley said Dave Greenfied may have been released because he said little on stage.

But mystery surrounds the reason Hugh Cornwell was charged.

Several witnesses claimed he was not on stage when the riot began.

Andy Dunkley was tour manager at the time.


Melody Maker June 1980


Record Mirror 28th June 1980




 

Unknown

Stranglers in jail on ‘riot’ charge

The Stranglers found themselves on the wrong end of the law yet again at the weekend when they were all arrested in Nice after a gig at the University turned into a riot. Keyboard player Dave Greenfield was later released but the other three – Hugh Cornwell, Jet Black and Jean-Jacques Burnel, were all charged with inciting a riot and held in prison.

The band’s manager, Ian Grant, was flying to France at the beginning of this week to arrange bail but at press time it was still not clear whether the band would have to remain in France until the trial came up and whether their upcoming British tour would have to be postponed.

The trouble started last Friday when the Stranglers arrived to play the gig at Nice University and claimed that both the power supply and the PA were inadequate for them. They decided to carry on with the gig but the power supply failed three times and the third time it happened the band left the stage for good. Jet Black was alleged to have told the angry audience to “take it out on the University, not us, and ask for your money back” which Jean Jacques Burnel kindly translated into French.

The audience did demand their money back and proceeded to wreck the theatre causing damage estimated by university authorities at £10,000.

The band meanwhile had already left the university and gone for a meal. When they returned to their hotel the police swooped and took them all into custody.

The following day they were brought before an examining magistrate to determine if there was a case for them to answer. A tape of the gig was playing to the magistrate who confessed he wasn’t able to understand any of it and demanded a translation.

The band were then taken back to the police cells for a second night and brought before the magistrate again on Sunday. He freed Dave Greenfield who had said nothing throughout the gig but charged the remaining three and sent them back into police custody. A trial date has not yet been fixed.

The tape containing the ‘evidence’ of the gig was made by Radio Monte Carlo without the permission of the band and the band’s management will be suing the radio station for unauthorized taping at the as well as the organisers for failing to supply adequate power or PA.


Melody Maker June 1980



In Court


Unknown

Stranglers face the French music

The Stranglers, currently working on final details for a British tour in February, returned to France last week for the first stage of their court case in Nice.

Hugh Cornwell, Jean Jacques Burnel and Jet Black heard the court prosecutor demand that Burnel should be jailed for a year, and Cornwell and Black six months each on charges that they incited fans at Nice University to damage the hall after protesting about the poor quality of sound equipment at the gig in June.

They have paid more than £9,000 in compensation for smashed windows , damaged furniture and burnt trees. If found guilty they could get either suspended sentences or a fine when the verdict is delivered on January 13.

Meanwhile the band have their new album, “The Meninblack” for release in January, and will be touring Britain in February.


New Musical Express 5th July 1980

Stranglers out

The Stranglers’ British tour goes ahead next week on schedule – and its likely than more dates will be added to those already announced.

The tour was salvaged last Friday when the three members who’d been in a French jail for almost a week on a charge of inciting violence – Hugh Cornwell, Jet Black and Jean Jacques Burnel – were released, the first two unconditionally and Burnel on a bail of 100,000 francs (about £10,000). 

The accused are now required to report back to the court when summoned – probably in October – either to face trial, have the charges dropped or be re-bailed. They are hoping that by that time the court will be prepared to settle for a fine rather than a jail sentence.

Speaking from his Nice hotel on Friday, manager Ian Grant told NME: “Even our lawyer was surprised when the boys were freed so quickly. At best, we thought they’d be held until Monday. At worst they could have been in custody until October.

Naughty boys bailed, so UK tour is on

“The prosecution pulled all the usual strokes. They even raised the age-old issue of Jean Jacues’ national service in France, but fortunately we had the documents with us to prove he was exempt. Apparently they also contacted Interpol to get details of the band’s record in other countries, but the telex didn’t come through with the information in time for the court hearing – which is just as well!”

There is no question of The Stranglers not surrendering to their bail in October, though it seems that, if found guilty, the least they can expect is a fine of the same amount, which allegedly is the extent of the damage caused at Nice University where the trouble occurred.

The main worry, said Grant, is over Burnel – because it was he who spoke to the audience in French, and is therefore regarded by the police as the main culprit. But the band still insist that they in no way incited the riot, and hope to prove that this was not an isolated instance (British band Screen Idols had a similar experience with under-power generators when they played Nice University at the end of last year, though there were no riots or police involved).

The question of The Stranglers’ finances is also causing concern. The present hassles come on top of Cornwell’s jail sentence in March and the civil action in which the band have been involved, But Grant insisted that The Stranglers will continue come what may – even if their company is forced into liquidation.

The band cancelled their Athens concert, because they weren’t freed in time to make the necessary ferry bookings. But they were playing in Italy yesterday and tonight (Thursday) – then it’s a how in Palma on Friday, back to Italy on Saturday and home for their UK tour starting at the London Rainbow next Tuesday.

Record Mirror 5th July 1980


Aftermath

The band were released, only  couple of dates were lost and the British tour went ahead as planned. But the Nice experience had a profound effect on the band. The years 1979 to 1980 represent a low for the band and yet for many a fan these two years saw the band at the top of their creative game. At one time, the band attributed the misfortunes experienced in these years to an over-active interest in the Men In Black phenomena. On the other hand, pharmaceuticals may have made a contribution too!

In the wake of the Nice incident, the S.I.S. jailbird library was supplemented to the tune of one, with Jet's account entitled 'Much Ado About Nothing' which he subsequently updated in the 2011 account 'Seven Days in Nice'. 











Kraftwerk Paradiso Amsterdam 22nd January 2015

 

This is the first occasion that I had the chance to see Kraftwerk, on the original 'The Mix' tour in 1991 at the Brixton Academy and rather good it was too.

As mentioned in an earlier post, with 'The Mix' the band took the opportunity to spruce up some of their classic material with the idea I guess that here was a chance to really add something to the original versions. In Kraftwerk's case this would have been relatively straight forward as especially in the case the oldest material such as 'Autobahn' and 'Radioactivity' where studio capability and equipment had advanced tremendously in the 15 years or so since the originals were recorded. The songs do not replace or supersede the originals, rather they complement the originals and offer an alternative to which contrasts can be made. To my ears, the additions made to 'Radioactivity (one of my all time favourite KW songs) take the track to a new level. The stark, tinny, almost ethereal quality of the 1976 version is made to so huge and menacing, qualities that are lacking in the original version. I remember, at around the time that 'The Mix' was released, being parked up on a hill in Cumbria that directly overlooked the Sellafield plant. 'Radioactivity' was cranked up on the car stereo and it all made for something of an otherworld experience... just thought I'd throw that into 'The Mix'!



01. [intro]
02. Numbers
03. Computer World
04. Home Computer
05. Computer Love
06. Airwaves
07. Intermission
08. News
09. Geiger Counter
10. Radioactivity
11. Autobahn
12. Pocket Calculator
13. Dentaku
14. Spacelab
15. The Model
16. The Man-Machine
17. Tour De France 1983
18. Prologue
19. Tour De France Étape 1
20. Chrono
21. Tour De France Étape 2
22. Trans-Europe Express
23. Abzug
24. Metal On Metal
25. [encore break]
26. The Robots
27. [encore break]
28. Expo 2000
29. Planet Of Visions
30. Boing Boom Tschak
31. Techno Pop
32. Musique Non Stop



Friday, 29 January 2021

'I Just Can't Be Happy Today!' - Vanian in ink

 


Dave Vanian hand printed linocut 15cm x 20cm in black ink over A4 dreadnaught grey art card and printed over the '79 summer tour ad with The Ruts.

Well you've gotta have something to do when the pubs are shut and the bands are all at home.

Wednesday, 27 January 2021

Kraftwerk Paradiso Amsterdam 21st January 2015

 

So here to my ear and in my personal opinion only is Kraftwerk's weakest album. Tensions existed within the Kraftwerk organisation at this point in time. Karl Bartos cited Ralf and Florian's perfectionist approach to music making as a reason for his departure. Whether this perfectionism was responsible for the near 5 year band hiatus between 'Computer World' and 'Electric Cafe' or whether it was due to the cycling obsession is known only to them, but this career break, if such it was, came at a crucial time. Instead of leading the early '80's synth brigade to bigger and brighter things, they were somewhat left in their slipstream as those bands took their ideas and ran with them. It took Kraftwerk many years to recover I think.

FLAC: https://we.tl/t-0bSQLM26Dy

Artwork: https://we.tl/t-sED3bDHr9C

01.[intro]
02.Electric Cafe
03.The Telephone Call
04.House Phone
05.Sex Object
06.Autobahn
07.Intermission
08.News
09.Geiger Counter
10.Radioactivity
11.Spacelab
12.The Model
13.The Man-Machine
14.Numbers
15.Computer World
16.Home Computer
17.Computer Love
18.Vitamin
19.Tour De France 1983
20.Prologue
21.Tour De France Étape 1
22.Chrono
23.Tour De France Étape 2
24.Trans-Europe Express
25.Abzug
26.Metal On Metal
27.[encore break]
28.The Robots
29.[encore break]
30.Elektro Kardiogramm
31.Boing Boom Tschak
32.Techno Pop
33.Musique Non Stop