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 June 2026

The Meffs Empress Ballroom Winter Gardens Blackpool 4th August 2023

 

I am slow on the uptake these days. I have been aware of the name 'The Meffs' for a while, but they have crept up on me a bit. In mid-2025 they seem to be everywhere. From the front cover of 'Vive Le Rock' to a very high rotation on my Facebook feed. I can also see they have hosted a couple of home town festivals under the banner of Meff-Fest with some great bands on the bills. Things do indeed appear to picking up in Colchester. My son Rudi spent there years there (University of Essex) and the only acts I think he saw whilst living in the town were Ian McCullough and Chuckle Brothers!

I have no idea whether there is much love for The Meffs on here... give them a listen. This is a good sounding recording of the bands early doors gig in the Empress Ballroom on the Thursday by Peter... many thanks to him as ever!

FLAC: https://we.tl/t-Xkj2YpVBqo6JNn9o

Artwork: https://we.tl/t-NuqXCO1WSVfbpHOW



The Slits (Rat's Palace San Francisco 25th November 1980) and Marvin Gaye (Market Square Arena Indianapolis 9th June 1983) Got It Covered #6

 


Here's another one for all of the detractors of punk as a valid musical genre. As with the previously shared 'Walk On By' post, The Slits' treatment of 'I Heard It Through The Grapevine' is yet more evidence that punk bands dared to cover songs that even back in the late '70s were considered to be classics. The status of such songs, particularly if the work of such influential labels such as Motown, effectively rendered them uncoverable. Record at your peril!

Such dogmatic thinking did not sit well with the original Riot Grrrl band, The Slits, who recorded and released 'I Heard It Through The Grapevine' as the B-side of their debut single 'Typical Girls'. Needless to say version by The Slits is very different from any of the versions that emerged from the Motown stable. This bass driven slice of British post-punk has become something of a classic in its own right. Yet another example of a band reshaping someone else's song to such a radical extent that they can rightly claim a degree of ownership of it.

FLAC: https://we.tl/t-Gb4CJ1SLr4nOwxCn

Artwork: https://we.tl/t-qBDQdsDrDj065DBK


As for the original version, well that is a little complicated, a case of who did what first. Motown had a number of writers who wrote the arrangements and lyrics to songs that were then provided to the label, at which point it was decided who or which group among the label's talented roster would record a given song. 

The song is a Norman Whitfield and Barrett Strong composition that they presented the Motown label with in 1966. The Miracles were the first act to record the song in the same year in which it was written but their version did not see the light of day until August 1968 when it was released on their second album, 'Special Occasion'. In the meantime, Gladys Knight and The Pips recorded the song in September 1967. Knight's version was released and reached number 2 in the Billboard chart, making it Motown's biggest selling single at that point. Marvin Gaye's version of the song was the second to be recorded in early 1967, but it became the third version to be released appearing as it did on Gaye's 'In the Groove' album of August 1968. Although the last version to see release, Marvin Gaye's version became the most successful, overtaking the Gladys Knight version to become Motown's biggest selling single at that time.

Marvin Gaye's 'I Heard It Through The Grapevine' is now the definitive version of a song that has become one of the best known songs ever written. The song (and specifically the Marvin Gaye version) was inducted into the Grammy Hall of Fame as a work having "historical, artistic and significant" value. In 2008, the song was ranked at No. 65 in a chart marking the 50th anniversary of the Billboards Hot 100.

The version presented here is not a patch on the 1968 'original'. This 1983 version had none of the subtle arrangements sitting behind it. It is rather brash and lacks the charm of the original. Recorded in the summer of 1983, in just nine months time Marvin Gaye would be dead having been shot by his father on 1st April 1984 - apparently someone once wrote a song about it!








Birmingham Academy 25th October 2008

 


A FortyTwo Forty set from Birmingham Academy here. A purely singles set with the exception of the inclusion of 'Hanging Around' (which itself can sneak in if you include the pink US E.P. release).










Thursday, 4 June 2026

The Adverts Maidstone College Of Art 30th June 1978

 


Sadly, The Adverts did not leave us with so much in the way of recorded material, be it from the studio, rehearsal room or stage. As far as I am aware, this recording of when the band played Maidstone College of Art in the summer of '78 has a fairly low circulation. The limitations and challenges of recording a gig back then have resulted in some tracks being cut, but nevertheless, the sound is not so bad and it serves as a really great snapshot of one of the largely unsung movers and shakers of the early UK punk movement.

What is also nice about being able to post this is that I have a review of the gig. The nerd in me always likes it when it is possible to post a recording along side a contemporary review of the gig as it appeared in the music press. It gives I think it provides something of an extra dimension to a post.

Here's what Gareth Kershaw from Record Mirror maid of it. It is a positive review and unusually it is complementary about Gaye's playing, which it seems was the usual negative focus of  many reviewers. Refreshingly there are also no leering comments about the bass player in here either! I wonder whatever became of Those Helicopters or RAF?

Record Mirror (15th July 1978) 


FLAC: https://we.tl/t-uRqaE7wK90nkSKTh



Tuesday, 2 June 2026

Cyanide Pills Freak Show Essen 23rd May 2026

 

Thanks to our German music correspondent Peter for this one... Cyanide Pills in Essen.... he's very smitten with them! A Leeds band, I admit that they are new to me although I have seen the name around, but I like their sound. It's no insult coming from me when I say that they are old school punk. Listening through this high energy gig (their last date of a short German tour) I can here elements of The Lurkers, The Vibrators and the UK Subs amongst others... the song 'Apathy' brought The Adicts immediately to mind. Ramones are in there of course ('The Kids Can't Be Trusted With Rock 'N' Roll'). So this is a great capture of tuneful, good fun punk from 'God's own country'. (Band photo in Essen: David Devant).

As an aside, a Google search for 'Cyanide Pills' throws up a lot of support links in the first instance... a positive thing I guess. On a lighter note than suicide, this reminded me of a friend who studied for a  PhD in polymer degradation pathways and mechanisms. 'Adrian,' she said to me one day, try an internet search for 'PVC degradation' and see what you get!'

I digress, enjoy Cyanide Pills!


FLAC: https://we.tl/t-r6Y9e4RT2nec13tL

Artwork: https://we.tl/t-B9tBQREaPULRCpGn



Top Secret No 29 (May 1991)

 

Here's another issue of late '80s/early '90s Sussex based fanzine 'Top Secret'. This issue focuses on the response to the first post-Hugh club dates and full tour. Reviews are included from fans, local newspapers as well as the established music weeklies. All in all a valuable collection of opinion as such a tumultuous time in the band's history.

Issue 29 is here.

The Clash (Civic Hall Guildford 1st May 1977) and Junior Murvin (Sierra Nevada World Music Festival Angels Camp CA 24th June 2001) Got It Covered #5

 

FLAC: https://we.tl/t-KhbTaYAD4p64e2Ea

Artwork: https://we.tl/t-3Ex4mENquM01s4z5


As was the case with ‘Doesn’t Make It Alright’ (Got it Covered #2) this was another instance where cover version followed hot on the heels of an original. Jamaican born Junior Murvin recorded ‘Police and Thieves’ (or ‘Police and Thief’ in its original form) with Lee ‘Scratch’ Perry in the producer's ‘Black Ark’ studios in May 1976. The recording featured a veritable who’s who of Jamaican reggae  with Boris Gardiner, Ernest Ranglin and Sly Dunbar contributing to the recording. In typical Perry fashion, the track was recorded in on afternoon and the record was released in the same month. It was a hit upon release in Jamaica, but this success was eclipsed by the popularity of the song in the UK after Island Records issued the single in July of ’76. Murvin’s version was to become the musical back drop to the Notting Hill Carnival riots that occurred in August in which long standing tensions between the police and the black community culminated in running battles through the streets of Notting Hill, multiple arrests and the hospitalisation of a hundred police officers. The 1976 riots were subsequently woven into the fabric of The Clash story… providing as they did the inspiration for the debut single ‘White Riot’, the artwork on the reverse of ‘The Clash’ album and front cover of a later EP entitled ‘Black Market Clash’ which featured Clash collaborator Don Letts walking towards police lines on the day of the trouble.

‘Police and Thieves’ in the hands of The Clash was originally a rehearsal room workout that was never intended for release but ultimately the band recorded the track for inclusion on the first album where it provides a radical departure from the fire and fury of its companion tracks. Its inclusion also was the starting point of the band’s recorded association with reggae. Interestingly, according to the song’s entry in Wikipedia, neither Murvin or Perry were initially fans of The Clash’s interpretation of the song, with the singer stating "They have destroyed Jah work!" whilst Perry believed that The Clash had ‘ruined’ the song. Both men were to come around to Police and Thieves à la Clash in time.

The Clash’s interpretation is a significant revision of the original. At over six minutes long it is also an epic in comparison with the two minute punk roars that the band were known for at the time of its recording. The vocals are worlds apart too, with Murvin’s falsetto delivery being replaced by Strummer’s gravelly bark bourn of cigarettes and poor dentition! As such ‘Police and Thieves’ meets my stated criteria of a worthwhile cover version. It alters the song sufficiently and in such a way that the band made it their own. That is not to say that it is better but there are good grounds for an argument as to who did it best and in this there are arguments on both sides to be had. With ‘Police and Thieves’ and ‘(White Man) In Hammersmith Palais’ The Clash laid claim to a uniquely British fusion of punk and reggae which remains a huge part of their legacy.