This week I had an email requesting the abovementioned gig from a guy called Droo.
'I was talking with friends earlier tonight about our 'first ever gigs' and was happy to have trumped the lot of them with my 35p entry to The Stranglers' Steel Workers Benefit Gig in Corby, back in 1980. Full of nostalgia, I've just been searching for any mention of the gig, and am delighted to have found your site. Please, please tell me that you have a copy or can point me in the right direction to where I might find it; it would be fantastic to have the chance to hear it again after all these years.'
Here's a link to a recording of the night, not from my collection. This version has been much cleaned up and again I want to thank Dom P for his work on this one.
During the week, I received an email from an outfit going by the name of Dot Dash (another Wire influence?). They opened for Hugh recently on one of his US dates.
They have asked if I would put up a couple of links to tracks from their new album. After hearing them I can confirm that they are sound very '80-'81 (and that's no bad thing in my book!).
If this bio had one of those “RIYL/Recommended If You Like” sections, it might drop names like THE JAM, JOY DIVISION, or THE BYRDS… or perhaps it would bring up an apparent appreciation by Dot Dash for the ancient sounds of the POSTCARD, WHAAM and early CREATION labels…
But those kinds of judgments can really only be made by you, the listener.
As is often the case, Dot Dash has a whole “they are ex-members of” thing going on:
Guitarist/singer Terry Banks and bassist Hunter Bennett were in punky power poppers JULIE OCEAN.
Before that, Terry was in a bunch of jangly guitar bands, including THE SATURDAY PEOPLE, TREE FORT ANGST, GLO-WORM and ST. CHRISTOPHER.
Guitarist Bill Crandall was in the mod/pop band MODEST PROPOSAL.
Drummer Danny Ingram began musical life in Dischord-label punks YOUTH BRIGADE before moving on to STRANGE BOUTIQUE and, later, U.K. guitar-wranglers SWERVEDRIVER.
Dot Dash plays shows, mostly around D.C., but occasionally out of town, whenever they can. In the recent past they’ve opened for Urge Overkill, The Godfathers, The Trash Can Sinatras, The Chameleons, Hugh Cornwell and The Capstan Shafts.
Go back to the early '90's and there was something of a buzz going on in the smaller venues of London Town and numerous other cities of the UK. A number of bands were emerging onto the scene that rejected the squeaky clean, polished pop of the late '80's. These were bands that were getting back to basics once more, bands with guitars and I'd say mod sensibilities (with a dash of new wave thrown in). The music press caught on and ever keen to label bands, 'Brit Pop' came into our consciousness.
I was 25 at the time and sad to say not very open to new music. Of course there was Blur and Oasis and a raft of there lesser bands whose flames burned brightly for the 12 months or so whilst the music press maintained their interest (Sleeper, Echobelly........ Menswear!). Some of the bands were great, others seemed to be bandwagoning (much the same as with the punk scene some 17/18 years before I suppose). One band however stood head and shoulders above the others for me and they were Elastica. For a while, they were the hottest property in the UK music scene. They offered something that had been lacking in music since punk i.e. a predominantly female band with more than enough attitude to send the boys running for cover.
Elastica also offered something else. In bass player Annie Holland they had someone who was once again bringing the bass back as a lead instrument. It was this dirty bass sound (very reminiscent of JJ's bass style that I and many other Stranglers fans found so appealing, other still were taken by the black leggings and Doctor Martens combination... you know who you are!). Then of course there were the songs. Now, it is fair comment that Elastica's musical influences were pretty accurately reflected in their own material. This led to out of court settlements with bands for plagarism (perhaps most notably Wire, although The Stranglers were themselves involved due to a more than passing resemblance between their 'Waking Up' and 'No More Heroes'). But all that stuff was best left to the lawyers. What Elastica gave us in this period was one classic album and a clutch of brilliant singles, some of which feature in this good quality festival set.
Unfortunately, Elastica did not follow up on the early success of their debut album and a full 5 years elapsed before the follow up was released. By that time, the momentum had all but peetered out to a crawl and the band split followed shortly after.
It was shortly after a gig in 1995 at the Shepherds Bush Empire that I bumped into Paul Roberts in Picadilly tube station on his way to meet John Ellis and SIS France for an interview. I was wearing an Elastica shirt and with the 'Waking Up' legal issue still a very recent memory, Paul made some comment on the shirt (he did say that he really liked them it is worth pointing out). He was rather taken aback that I knew who he was, at which point he asked for my opinion on the then recently released 'About Time' album. Sadly, I gave him my constructive but not exactly positive view on the album. He took it well, but the conversation ended shortly afterwards!
01. In The City
02. Never Here
03. Ba Ba Ba
04. S.O.F.T.
05. Stutter
06. Waking Up
07. Brighton Rock
08. 2:1 (Instrumental Version)
09. See That Animal
10. Hold Me Now
11. Blue
12. Vaseline
13. Presenter Outro
I have bought myself a new computer. My current desktop is six years old and has started to make noises that could pass for a UFO take-off. Whilst trying to clear the memory, I found this radio session from The Purple Helmets. I do not have any further information concerning date or source, but looking at the tracks it can be deduced that it is from 1989.
Just wanted to draw the attention of everyone to an excellent article on the Official Stranglers site which marks the 35th anniversary of the first professional live recording of the band. It can be found here.
With luck, one day someone will have the foresight to liberate this landmark recording from the E.M.I. vaults and release it for everyones enjoyment.
It is with great regret that I cannot spice this post up with a recording of this extraordinary night, but please read on.
I was dead exited about this one. A few years ago, when Paul Fox was sadly diagnosed with cancer his contemporaries rallied around and participated in a punk star-studded event to raise money for Foxy's ongoing treatment. The highlight of this night was a set of Rut's material played by Paul, Segs and Ruffy along with the formidable form of Henry Rollins stepping up to the mike for the occasion in place of Malcolm. The gig was blistering and for some inexplicable reason, I was not there!!
A few short weeks later Paul succumbed to his illness. What followed was a film premiere of the excellent DVD of the event (the only film premiere I have been to I might add!). On that occasion, prior to the screening there was more music. A few songs were played, I recall Captain and Henry doing 'It Was Cold' and Beki Bondage doing the sublime 'West One'. That night whilst Segs and Ruffy did appear on stage to introduce the film (resplendant in trilbies and looking every bit like The Untouchables of Uxbridge) they did not play.
So, a mini tour supporting Alabama 3 was going to be my first opportunity to see these two musicians whose music has meant so much to me over so many, many years. But here I have to make a confession. The tour was promoted as Ruts DC in Dub, marking the release of Rhythm Collision Volume 2 and whilst I can claim to know a bit about punk and ska, dub reggae is a little bit out of my comfort zone. That's not to say that I don't like it, but I'm a bit green, so on the night I didn't really know what to expect.
Of the material played, I knew 'Whatever We Do' and 'Fools' which were great, but what sent me into aural orbit was the treatments they gave to some Ruts classics, namely 'Babylon's Burning', 'Jah War', a bit of 'SUS' and 'In a Rut'. See for yourself.
'In A Rut' The Forum
2nd December 2011
New material from the Volume 2 album included 'Mighty Soldier' and 'One Step'. A sampler of the new album is availble for purchase through the official site, here.
It may have been my exitement, the beer or the effect of dub reggae bass frequencies on the brain or indeed a combination of all three, but I thought that Ruts DC were magnificent!
We need more of this stuff. What I want to see now is a full headlining set from the boys. I am up for being educated in dub reggae Ruts DC style, but I would also relish the chance to see more of the 'Animal Now' album live, not to mention more Ruts, 'West One', 'Love in Vein'.......
For Buzzcocks fans something extraordinary is happening in May next year. Dubbed 'Back to Front', the concept is quite self explanatory. The current line-up will kick off the evening's proceedings , followed by a set that will see the 'classic' line up of Messrs Maher and Garvey join Steve and Pete on stage for the first time since the early reunion days. The night is scheduled to draw to a close with the appearance of Howard Devoto for a run through of the seminal Times Up single. Boredom? I don't think so! Whether such a gig herald's the final dissolution of the band who can say, but whatever happens the night is sure to be memorable.
I first heard of plans of this event straight from the horse's mouth (make that Mr Shelley). In Prague for a 3 day work meeting I bumped into Pete at the toaster one breakfast time in the hotel. It turned out that he was on holiday for the same period as well. A few days later, I was with colleagues at Prague airport awaiting the evening BA flight into Heathrow. It soon became apparent that delays to this flight were anticipated. Overtime as the passenger numbers remaining in the terminal thinned out as other flights departed on schedule. On one of my frequent visits to the departure board to check the status of the flight, I looked down to see Pete standing next to me. 'Hello again' said he, 'the planes delayed until 12.15.' 'Oh Shit' said I, before inwardly cringing at the though that he would be thinking that I was quoting song titles to him! We went our separate ways to bars at opposite ends of the terminal. Our paths crossed again later in the evening as the now massively delayed Heathrow bound passengers wandered aimlessly trying to kill time. Poor Pete, there was no escaping me now, so he engaged me in conversation for want of something better to do!
Once it became apparent that I knew my stuff with regards to Buzzcocks and Pete's post Buzzcocks work, conversation flowed quite easily. We talked of Heaven and the Sea, his short lived band Zip and even the Stranglers (the following day (or rather later the same day at this point) I was due to set out for Belgium and Holland for a trio of acoustic gigs). It was as a parting shot that Pete mentioned these two planned gigs that were then pencilled in for October of this year. He was very exited by the prospect I must say and rightly so. Like The Stranglers and The Damned, who amongst them would have contemplated the idea of such a gig 36 years on. Amazing stuff.
Before talking of the gig, I must say this. As a direct consequence of this gig, as an impressionable 18 year old I was lead down a fasion cul-de-sac by Mr Cornwell. On the basis that I thought that anything that the Stranglers chose to wear was by default cool, I swapped 10 hole docs for black deck shoes throughout the spring and summer of 1987. My feet as a consequence stank for 6 months before said footwear were consigned to the bin and the docs were reinstated! Fortunately, this slavish obsession with what the band were wearing subsided before 1990, so it is with joy that I never went for the jogging bottom look. Thanks Hugh!
Anyway, diversion aside, this was one of a great trio of gigs. I was there on the night of the 30th and unfortunately, to the best of my knowledge, no recording of the 30th exists (but I would be more than happy to be proved wrong on that point!). The shows on either side however were captured for posterity.
I don't know why, but on the night I was on the balcony, front row. In a break from tradition, the Waltz In Black intro tape was dropped and instead the band came on to 'Mars' (from the wonderful 'Planets Suite'). It was a good choice, but no substitute for The Waltz!
Having always favoured standing, I was on my feet from the point at which the band took the stage. This was the reason for my first warning from the bouncers. I think that the firm used by the Odeon at the time was Show Sec. Back then, London venues had a dreadful reputation concerning the conduct of bouncers at gigs and clubs. Few rules and constraints were placed on security staff that controlled the execution of their responsibilities. In the late '80's, in London, there were cases of gig-goes dying as a result of maltreatment in the hands of venue security personnel. These tragic events resulted in the introduction of stringent regulation of show security personnel and as a consequence, the relationship between audience and bouncer is nowadays much improved.
A second warning around the Sleazy point of the gig came when a nice chap told me 'If you don't sit down I'll break your fuckin' neck!'.... I sat down for a bit. But it was imposible to stay seated for the encore, Nuclear Device, Duchess, London Lady and Jesus Christ.... 5 MINUTES (for me the most raucous song that they did and forever a great favourite). The bouncers conceded defeat and resigned themselves to a fight on the way home instead.
That was my third Stranglers gig (money constraints meant that touring with bands was not an option and gigs to this point had been on a one gig per tour basis). The problem was that after the dates in early '87, future dates were to prove to be few and far between until the 10 tour of 1990. Such is life I suppose.
Back in the day, bands used to play in Cornwall! St Austell on the county's south coast played host to the Stranglers on several occasions over the years. Here's a show from the first leg of the Dreamtime tour, when bowler hats and headless basses were briefly in vogue.
At this stage in their career the enfants terrible of the consistently hostile weekly music press had become terrible old men in the eyes of the hacks. It is true to an extent, by the time that Dreamtime was released, much of what made The Stranglers such a potent live force on stage had dissipated . On record, they along with many other bands with a past suffered at the hands of no doubt well meaning producers who aspired to that punchy and polished mid-'80's sound. In that respect the bands corner wasn't strengthened by JJ's temporary ditching of the Fender Precision in favour of his new toy, the headless Steinberger bass.
On stage they were tight and professional..... and perhaps a little predictable.... to the extent that to many they appeared to be going through the motions. Nevertheless, to my 17 year old ears they sounded great and besides La Folie was in the set, which was and remains to be a favourite of mine.
If some of the shows from the first leg of the Dreamtime tour were a little pedestrian, for the second leg in March, I think the tempo was upped and culminated in the UK at least with three consecutive nights at the Hammersmith Odeon before the band took the tour Stateside.
1. No More Heroes
2. Was It You?
3. Down In The Sewer
4. Nice In Nice
5. Punch And Judy
6. Souls
7. Always The Sun
8. La Folie
9. Strange Little Girl
10. Nice N Sleazy
11. Who Wants The World
12. Big In America
13. Bring On The Nubiles
14. Shakin Like A Leaf
15. Uptown
16. Toiler On The Sea
17. Spain
18. Peaches
19. Tank
Back in the UK now and the first leg of the La Folie tour. I'll stick my neck out here and say that I would consider La Folie to be the last truely great Stranglers album and the five new tracks played at the Palais represent the best that that album has to offer. Golden Brown is in there, but to fresh ears at the time I suspect that it would have sounded strange and exotic.... I love the song, but these days as the perennial set staple it's harder to view the song with any objectivity.
The Man They Love to Hate, Let Me Introduce you to the Family, Non-Stop and Tramp... wonderful! If you download this gig (one of the best in terms of audio quality for an audience recording) listen to it whilst reading an excellent fan's account of this tour, here. Phil Coxon documented his round Britain trip in a tour diary (nice to meet you at the Convention by the way Phil!).
An interesting point to note was that this gig was filmed by a French TV crew. Will it ever see the light of day I wonder, we can live in hope.
Alternatively, whilst looking for a bit more background I note that Dom P has uploaded a version of this gig (and this is likely to be an upgrade), here. Thanks as always Dom.
Full artwork here (pdfs also in the download file): Front Back
Yeah yeah we know, The Clash played Bonds Casino 350 times in the summer of 1981, but the venue played host to other British bands at that time, not least The Stranglers. This brief incomplete set is from 20th June, in fact one week after the 17 show residency by Mr Strummer's boys.
On the eve of The Stranglers Convention, where an undoubted highlight will be the band running through 1978's Black and White album..... Here's the blueprint.
The Black & White tour was not huge and featured no conventional London date (Battersea excluded) for the reasons posted earlier and is not well documented. The best on offer (and again thanks to Dom P for his excellent clean up) is this from Manchester Apollo.
Featuring no fewer than seven songs from the new album, this must be the standard for how they should sound live.
Give this one a listen!
To my ear, B & W transitioned the band from the punk rock sensibilities of the first two albums to the dark, sophisticated arrangements of The Raven. This September 1978 recording is a late punk roar from the band (before Hugh dropped the Ray Winstone tone between songs!!).
To those going to the Convention, enjoy the set. Will Baz attempt Sverige!?
A couple of weeks ago on a very, very wet Thursday afternoon, I found myself in the prestigious company of a few Specials and a few hundred skinheads. The occasion? A pre-gig party marking the the last night of The Specials' UK tour at Ally Pally.
Now this was the thing. Members of the Specials forum could gain access to this pre-gig event which allowed fans and band to interact in a brilliant way. Photos taken, tickets signed, job done.
Amongst the 2 tone dignitaries in attendance was one John Sims, otherwise known as Teflon. Whilst you may not know his name, his work will be instantly recognisable to anyone over the age of 40 who ever bought a 7" single in Woolworths! I had met John previously at an earlier Specials gig in Margate. On that occasion, John had set up an exhibition of his 2 tone related design work in a local gallery, which warranted a visit on the morning after the gig.
John Sims a.k.a. Teflon and Me
Alexandra Palace 3rd November 2011
Teflon, in conjunction with Jerry (The General) Dammers was largely responsible for the look of 2 tone, a monochrome rash that infected half of the teenage population of Britain between 1979 and 1981.
Close associations between artists, bands and labels are nothing new, but with the exception of Jamie Reid's work with he Pistols, Teflon's artwork produced for The Specials and the 2 tone label have over the years become truly iconic.
Enter Walt Jabsco, label logo and undoubtedly the coolest guy in town!
Peter Tosh Inspired Walt Jabsco
From Walt their followed a series of stunning, yet simple black and white images that adorned record sleeves, billboards and the pages of the weekly music papers.
Bang up to date as they were, many of the pieces gave a nod to earlier times, thereby perhaps forging a link back to the '60's back to the time of those Blue Beat records, that when fused with punk, produced that unmistakable 2 tone sound.
From the pop art of the Rat Race single
To the tour promo posters based upon the ads for the package tours so popular in the '60's.
The graphic designs produced by Telflon and his associates has to my mind has transcended it's original function and now become part of social history. To see these images is to be thrown back in time to a period of mass unemployment, racial tension, urban decay and let's not forget some bloody good tunes!
Of all his work, perhaps none is more evocative of those times than the cover of Ghost Town, a song that was to become the soundtrack to some of the worst inner city riots ever seen in the UK.
Promo for Ghost Town 20th June 1981
It's re-release ten years later to the day drew on the unforgettable promo video, that saw the band driving a Vauxhall Cresta through a sinister, decaying urban landscape
Ghost Town (Revisited) 20th June 1991
Take a look at a BBC article written to mark the 30th anniversary of Ghost Town's original release, here.
John periodically displays his work and here is the real treat as the exhibition includes some of the original mock-ups that resulted in those familiar images. Remember, these works were produced at a time when the tools of the trade included a knife, inks and masking tape rather than an Apple Mac and Photoshop and it is this aspect of these works in-progress that to my untrained eye make them every bit as appealing as the finished, printed work.
30 years on and Walt is still going strong, even on the home furnishing front!!!
More information can be found on Telflon and the art of 2 tone on John's site.
I, like many other Stranglers fans have long carried a torch for The Damned. Both bands were viewed as outsiders of the London punk scene of '76/'77, this despite the Damned consistently racking up all of the punk firsts (first signed, first single release, first to tour America etc.). With influences more aligned to the demon progressive rock (admittedly hidden rather well by the Damned for a few years) than the front line reggae favoured by the Clash and the Pistols, it seemed that neither the Damned or the Stranglers really meant it maaan!!
As a frequent wearer of the tutu, even more frequently naked by the end of a gig and always an agent of the unpredictable at early Damned gigs, the good Captain was certainly one reason why the serious music journos of the day did not or would not take the Damned seriously. However, once the band rose above the Stooges/MC5 inspired thrash of the first album, it became clear that Sensible was a musician of considerable talent.
For many fans, the albums Machine Gun Etiquette, The Black Album and Strawberries represent the holy trinity in The Damned's body of work. For this reason, it is in some ways disappointing that on this tour they have chosen to couple complete run throughs of Damned Damned Damned (done before) and the Black Album. Maybe Strawberries is in the diary for 2012!!
This weekend sees the band play The Roundhouse in our own Camden Town. It promises to be a great night. 'Sensible's a Wanker!' parhaps, but he's also a great guitarist to boot.
From the American leg, I have uploaded this from Dime in the original lossy format (flac) at the request of the original uploader.
I'm not entirely sure when the bans really started, one of the earliest I suppose was the banning of punk from the London's prestige jazz venue, the 100 Club, after a glass throwing incident that resulted in a young female fan losing an eye (down to Sid according to most accounts). This was as early as September 1976, before a knowledge of punk was known outside the boundaries of the yet to be built M25. Other venues may well have become cautious about booking so called punk bands after the Punk Rock Festival.
But, the turning point would undoubtedly have been the Bill Grundy interview. Stepping as a late substitute for Queen, the Pistols appeared on this, a nationwide, early evening magazine show on the eve of the Anarchy Tour. Goaded and provoked by a drunk Grundy, the Pistols (especially Steve Jones) uttered a series of expletives that at that time were still very rarely heard on British TV, even post watershed.
The Pistols Bill Grundy Interview 1st December 1976
This appearance lit the touch paper and what a short fuse it was! The new phenomenon of punk rock and any one linked to its creation or proliferation was overnight elevated into the position of Public Ememy No. 1. With the popular media on the case, the bans soon ensued.
First casualty was the Anarchy Tour itself. The tour was decimated. Don't quote me on figures, but a rough count, of the 19 original advertised gigs only 3 or so were played. Incidentally, it was on this tour that some of the famed rivalries and feuds were born. The Damned were thrown off the tour for agreeing to play in front of city councillors (Derby) prior to a decision to allow the gig to go ahead.
The shock waves created by the Grundy interview passed through every venue in every provincial town in Britain. Then, as now, venues were operated by entertainment chains. The 1977 equivalents of O2 were Fortes and Top Rank (Mecca) organisations. Within these companies, boardroom decisions were being made that instantly punched massive holes into the touring plans of any band associated with punk ronk and the new wave.
The Stranglers were inevitably caught up in this wave of corporate mass hysteria.
Sounds 11th June 1977
UK Music Press June 1977
Record Mirror 13th August 1977
UK Music Press October 1977
Local authorities in many cases used pretty weak justifications for imposing the bans. Hugh Cornwell's decision to sport a barstardised version of the 'Ford' logo resulted in the plug being pulled at the band's support gig at The Rainbow in Finsbury Park on 30th January 1977 on the orders of the Tory lead Greater London Council (GLC).
The Show-stopping Shirt
In London, from the outset of 1977 the band ran into regular problems with the GLC, which by 1978 culminated in a blanket ban on the band performing anywhere in the capital. The rug was pulled under the band's feet in their home town.
Melody Maker 15th April 1978
UK Music Press 20th May 1978
As a consequence of this ban, the band and their following in London were deprived of live performances from, at that time, one of the biggest bands in the country. Secret gigs became a necessity if the band wanted any opportunity to play in London, but these were difficult affairs and in some ways added to the frustration of fans who had no chance to get in. Further information on the handful of secret pub gigs the band played in this period is available in an excellent article on the official site.
Here's a contemporary piece on these gigs (thanks to Deadeye63 for the scan).
Sounds 9th September 1978
Efforts to get the band a suitable London date continued without sucess until September 1978, when the band eventually played an open air gig in Battersea Park. This gig was surely a pinnacle gig in the band's early career, effectively bringing the 'punk chapter' to a close.
UK Music Press 2nd September 1978
It was at Battersea that the band pulled off a very punk coup. The appearance of strippers on stage during 'Nice 'n' Sleazy' left the GLC themselves facing prosecution for allowing such a public spectacle if a case were to be made. A stroke of genius!!
Post Battersea, the band's problems in the capital were by no means at an end. Paranoia still abounded and securing Stranglers and solo gigs continued to be problematic in 1979. This, over 2 years since Grundy.
Poor old JJ seemed to be singled out for attention, seen as the most belligerant of the four band members, his name alone was sufficient for bookings to be cancelled! Attempts to promote his solo 'Euroman Cometh' ran into big problems in London.
Melody Maker April 1979
NME April 1979
UK Music Press 14th April 1979
NME April 1979
As the 1980's dawned, attitudes shifted and long standing bans were lifted and normal service was resumed.
Here's a great sounding recording of Ruts DC at the Marquee Club in Wardour Street, London. Now sadly without Malcolm Owen, Segs does a stirling job handling the vocals (couldn't have been an easy task as Malcolm's were big DM's to step into!). The set is a mix of new material from the excellent 'Animal Now' album and Ruts songs. Whilst the instrumentation on those Ruts songs was impecable (why wouldn't it be), it must have been so hard performing them only a matter of a few months after Malcolm's demise.
Is anyone is able to share any more Ruts DC live shows, I'd love to hear from you.
As promised here's some old Ruts material, albeit, the Ruts incognito. Backing the Godfather of Ska, the Ruts here are palying out and out ska beats (with the accasional shout from Malcolm!).
Pick of the crop for me here (perhaps with more than a little bias*) is 'Rudi Got Married' which, should my son get married, will make the reception play list for sure.
* his name is Rudi
Here's a slightly shortened festival set coming off the back of the Decades Apart tour. The Stranglers teamed up with Triumph for this celebration of our bass player's favourite mode and make of transport. Full sets from the Spring tour will be uploaded before too long, but even here it is notable that this tour saw a much needed rethink of the band's set. On this recording, Go Buddy Go, Curfew, Genetix and Down in the Sewer make a welcome return, whilst a new song in the shape of Retro Rockets appeared.
This was the first night of the first rerun of the '80s style coach excursion to the continent. For reasons well known to most, this became known as The Wonky Bus Tour, two nights of (mostly) men behaving badly.
The venue booked for the showcase Paris gig was a grand step up from 2007's Parisienne date at La Cigale. For obvious reasons, France has always been a big draw for the Stranglers and French fans have always received them well. Nevertheless, L'Olympia was an ambitious venue for them at this point in their career.
Something of the history of one of Paris's most glamourous venues can be found here. Apparently, JJ was very exited to be treading the same boards as once trodden by the great Edith Piaf.
When the yet to be Wonky Bus spewed out it's human cargo, the British contingent of the night's audience was swelled considerably. Many had already travelled out independently for this gig. We walked into one of the plushest venues I have ever seen any band in. This gig was a presetige date and the band rose to the occasion admirably.This was one of the best post Hugh gigs that I have seen them play.
I hope that you enjoy this cracking boot of that night's performance.
'Take My Hand Disco Man Are You Just A One Night Stand?'
On paper another 'Greatest Hits' tour, that created much debate in fan circles along the lines of please , please vary the set. Nevertheless, the 'FortyTwoForty' tour was excellent. Here's the penultimate night of the tour from London.
