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

Wednesday 29 March 2023

Ombudsmen Hope And Anchor Islington London 26th March 2023


Having got over the disappointment of the cancellation of the scheduled gig at the Dublin Castle in Camden, Ombudsmen's London debut was upon us in the form of a Sunday matinee gig at the equally prestigious Hope & Anchor on Islington's Upper Street. A hallowed venue in my opinion having played host to pretty much every band that I have ever been into, including The Stranglers, The Damned, 999  and The Specials. To stand in that small subterranean space is to absorb something of London's musical heritage of the past 50 years! And lo and behold, that's Mo on the stage as one of Manchester's Ombudsmen.

'Shifting Sands' by Ombudsmen
Hope & Anchor, Islington, London
26th March 2023.

The band have been building up something of a live reputation in Manchester in particular (they supported Scott Lavene last week), but also in Liverpool and other towns in the North West (Huddersfield and Blackpool come to mind). 

They play a set of original material that draws in influences from Devo (just listen to 'Solon's Marble' and you will see where I am coming from to post punk (I can hear early Factory era Orchestral Manoeuvres in the Dark in the intro to 'Take Everything'. Other reviewers have likened the bands sound to kraut rock pioneers such as Neu!. I know that such comparisons are very pleasing for Mo, who is a big fan!

'Solon's Marble' by Ombudsmen.

The band are not afraid of experimentation in their songs with frequent tempo changes unexpected experimental breaks. Mo has adopted a static stance on stage which is a good counterpoint to her moments of let's say more aggressive vocals.

'Fake It' by Ombudsmen.

Many thanks to the taper who was happy to share this recording with me. Much appreciated!



The bands current E.P., 'Fizzy Milk' can be found on Spotify.

Friday 24 March 2023

Hugh Cornwell Inked 1978

'Don't care whereabouts they send me now
Send picture postcards to my old mother and father
And when I come home they'll have
Someone to be proud of
I can drive (drive)
My very own tank'.

Hugh Cornwell (The Stranglers)
15cm x 20cm linoprint
Black ink on cream card.


Jean Jacques Burnel Inked 978


'Bring me a piece of my mummy
She was quite close to me'.

Jean Jacques Burnel (The Stranglers)
15cm x 20cm linoprint
Blank ink on cream card.

Dve Greenfield Inked 1978


'Let out all the prisoners
Cause that's a jubilee'.

Dave Greenfield (The Stranglers)
15cm x 20cm linoprint
Black ink on cream card.

Jet Black 1978 Inked


'Communion's got a lot of grace
It's got style and bread and wine
But they're not mine!
You know what I like!'

Jet Black (The Stranglers)
15cm x 20cm linoprint
Black ink on cream card.

Saturday 18 March 2023

Hugh Cornwell O2 Academy Newcastle 13th November 2009


With Hugh on the road again in the UK and Europe throughout April and May, it's good to put something up from the man. Here in Newcastle back in 2009.



01. Wrong Side Of The Tracks
02. Going To The City
03. Delightful Nightmare
04. Within You Or Without You
05. Rain On A River
06. Beat Of My Heart
07. Philip K Ridiculous
08. The Pleasure Of Your Company
09. Please Don't Put Me On A Slow Boat To Trowbridge
10. Banging On At The Same Old Beat
11. Crowd

01. Sometimes
02. Goodbye Toulouse
03. London Lady
04. Princess Of The Streets
05. Hanging Around
06. Peaches
07. (Get A) Grip (On Yourself)
08. Ugly
09. Down In The Sewer
10. Encore Break
11. Golden Brown
12. Lay Back On Me Pal
13. 24-7
14. Straighten Out
15. No More Heroes

Sunday 5 March 2023

Heath Ledger Inked


Heath Ledger (The Joker)
Linorpint 15cm x 20cm
Black ink on cream card.

I admit my knowledge of Batman starts and stops with Adam West, Bert Ward and shark repellent bat spray. However from The Joker to The Adicts I love the visual imagery of this character.

Johnny Rotten Inked


'There's unlimited supply
And there is no reason why
I tell you it was all a frame
They only did it 'cos of fame

Johnny Rotten (Sex Pistols)
Linoprint 20cm x 15cm
Black ink on cream card.

Ok, in recent years Mr Lydon may have become something of a marmite character but there can be no denying that between '76 and '80 he and his fellow musicians in his two bands produced some ground breaking stuff that inspired millions.

Limelight 1 Belfast 24th September 2022


Another gem from the 2022 European tour. Many thanks to the original uploader BBGrant. Cheers!



01. Intro/Toiler on the Sea
02. (Get a) Grip (on Yourself)
03. Sometimes
04. Duchess
05. Something Better Change
06. Nice 'N' Sleazy
07. Skin Deep
08. Don't Bring Harry
09. Water
10. Always the Sun
11. Golden Brown

01. Sweden
02. This Song
03. Walk On By
04. Peaches
05. Nuclear Device
06. White Stallion
07. Relentless
08. Hanging Around
09. Tank
10. Go Buddy Go
11. No More Heroes

Saturday 4 March 2023

20 From '81(9) A Flock Of Seagulls John Peel Session 12th May 1981


And whilst we are on the topic of wayward images here's another in the recently neglected '20 From' series. Liverpool's Flock Of Seagulls enjoyed some success in the UK in the early 1980's before decamping to the US. Perhaps too much attention to Mike Score's barnet detracted from the music, but I thought that they were alright. The first album had some great tracks on it.



01. (Talking) It's Not Me 
02. Messages
03. I Ran
04. Committed

Devo Bergamo Festival Italy 29th May 2007


Here those quirky Devo mutants bring de-evolution to Lombardy, plating at the Bergamo Festival in 2007.



01. Intro 
02. That's Good 
03. Going Under 
04. Peek-A-Boo 
05. Girl U Want 
06. Whip It 
07. Secret Agent Man 
08. Satisfaction 
09. Uncontrollable Urge 
10. Mongoloid 
11. Blockhead 
12. Jocko Homo 
13. Smart Patrol / Mr. Dna 
14. Gates Of Steel 
15. Encore Break 
16. Freedom Of Choice 
17. Gut Feeling / Slap Your Mammy 
18. Beautiful World

Devo Baffle and Confound (Record Mirror 1st July 1978)


"THERE IS no creativity without humour" Jerry Casale, between mouthfuls of taramasalata,23.6.78.

Which, as a general statement, is self-evident garbage. Jerry, guitarist with Devo - the "reverse evolution" band – peppers interviews with stuff like that, probably just for fun.

It opens this piece simply because it is very pertinent to Devo. Devo - though precious few seem to have noticed it - have their cybernetic tongues firmly in their android cheeks.

It's astonishing really, what with all that ideological crap they wheel out, that they've been taken so seriously up until now. A glance through their previous encounters with the media reveals a glut of gullible journalists swallowing every off the wall incomprehensibility Devo can sling at them.

Devo provoke several reactions in people. The most common is pomposity unbridled, but the most realistic is excitement and laughter.

It isn't that subtle a humour - formation dancing, Y-Fronts stuffed with cotton wool, prat falls - so frankly, why the dandruff-heads at Knebworth came to be so offended by them as to bombard them with lousy fruit and dirty bottles is a mystery.

I can only imagine that the audience have been brainwashed, by preconceptions that Devo are at least partly responsible for. All that pseudo-intellectualising about a highly questionable half-baked biological theory has provided them with a legacy of po-faces.

All that stuff came about because part of Devo is that people need mystique, and Devo provide it. That's OK. I admire Devo, I love spectacle.

But I'm not about to have my plonker pulled publicly by any bogus ideology toting robots. And with this precept very firmly in mind, we met in a very Devo Kensington eaterie (Devo is an all purpose adjective), the Akron combo out of place in zippy jump suits. Jerry speaks for the band, as is traditional. Clean, shaven and slippery, an accomplished politician.

To save space, ridiculous statements - though they aren't that difficult to spot - will be indicated by a (+).

Incidentally, nonsense is Devo, so don't think any of them will be offended by me mentioning it. They arranged it that way.

So here's a fulcrum for argument. Devo are a gimmick, a talented joke, but joke nevertheless.

"What 's the difference between serious and joking (+)," enquires Jerry, innocently. "We're serious. about our jokes. "

Meaning , assumedly, that Devo are a joke.

"I think everything is. All the intellectualisation about Devo is beyond the realm of anything even to be argued. It's ridiculous. The claims made about Devo are totally ridiculous. "

And they should know, they make them. Sure the answer to "What is Devo" is different every time. Sure it makes no sense. That's the way they want. That, itself, is Devo.

"Everything is different and nothing makes any sense. That is the nature of being. If you realize that everybody contradicts themselves and that everything is ridiculous. People are Devo (+). Devo is a working verb.

"We don't pretend to make sense. Don't you see you cannot make sense and not have to say it for effect? You can say something ridiculous and not be putting somebody on? Why  does it have to be one or the other? What's wrong with ridiculous?

 "We're not TV commentators that tell everybody how to think about a piece of news. We're encouraging people to examine the Devo ideology and pull it apart. 

"Confusion is not a state to get out of (+). Everyone lives in confusion, and what causes problems is, they try and get out of it. Because you're not where you're at, you're always panicking and trying to be somewhere else. "

Despite this 'nothing really matters' approach, Jerry manages to drum up some mild annoyance when that emotive noun 'gimmick' gets pointed Devo's way.

"Maybe people shouldn't talk to people who play music, y' know.

"We never were taught that things shouldn't be fun. We're trying to make things fun.

"It's beautiful when people take us in a pompous way. The joke's on everyone. We're a joke. The joke's on anyone who isn't honest. Devo are honest (+).

"We make fools of ourselves for lots of people's enjoyment. How can the joke be on anybody but us?

"We represent people's lives to them (+). That's a very serious subject (+). If our movements are contorted and mechanical and painful and we break out and rip clothes and people feel they've gone through something after they've seen it, then that's absolutely serious, it's been a service. "

To try and get it straight. . .. just for the record . . . just for once... haven't you been indulging in some terrible leg pulling?

"I don't know what you're getting at. I think it's irrelevant. In fact it's irritating. It's real smutty to make those distinctions. "

Which is the perfectly correct Devo response. Not until sometime later does actuality creep any closer, following  a directly related question about media manipulation.

"The phrase 'media manipulation' conjures up a paranoid situation. It's bound to make people defensive and mad at you. It's bound to take the creativity and fun out of it.

"In a certain sense everybody maniplates the media and vice versa. And to even it is to make someone a special case when it's not true. "

Quite so. It's just that Devo are more adept at it than some.

" Hahaha. (Pause). I’m just saying what makes something good is that people's imagination needs something to feed on. That's what makes it good.

"People enjoy being put on or manipulated. But in Devo there's substance behind the entertainment.

And there, in black and white and bold type, is Devo's perceptive core. Devo are a superb, clever, funny, entertaining pack of bullshit.

Let's not labour the point too sorely. There are other premises to be contended. Like spuds. Inevitably we trip over this conceptual stumbling block, during one of Jerry's ' circumnavigations about the nature of Devo.

"People are biologically de-evolving (+). It's not just sociological. I think that diet is producing assymetrical spud bodies (+ +)."

A glance, through any other of Devo's encounter will reveal oblique conversational encounters with spuds. It’s a confusion tactic Devo throw in.

"Spuds, potatoes, y'know. They're always put down, yet they are IT (+ + + + +). They're like the working class of the vegetable family. Spuds should have their day."

Apoplexed by such profundity, I skip back to the starting point of the question, biological de-evolution.

We're all going to end up like little fishes again, right?

"If you accept the theory of evolution. We're not sure. We're very scientific, though. That's why we don't indulge in glitter and personality indulgence and things like that. We take the nonglorification of the body; the non-subjective; non-hippy approach to things."

It seems peculiar that Devo – for Jerry is Devo, a facet of a five-part organism (+) feel they don’t indulge in glitter.

It may be a type of glitter alien to Slade and T Rex, but it has its flashy, theatrical aspects. Jerry, needless to say, disagrees.

"We don't even feel what we do is  theatrical ( + ). Its not a rehearsed stage act. "So we walk down to an industrial supply house and we see these yellow suits and they're so hideous and we think, ha, ha, ha, let’s wear those because they’re so hideous.

“Then we play the pieces that occur to us and move our bodies to it… that’s theatrical?”

So it's coincidence, then, that they all keep precisely the same expressions onstage, and all rip off their suits at the same time, to reveal coincidentally placed boxer suits.

 "That's US. We're just a bunch of uptight middle class kids from the mid-west and this is what we do. We’re spuds,  if you want us to be honest.

"We're not theatrical In the sense that we think of jaded people making hip contrivances . We don't try and glorify our bodies and wear codpieces or whatever.

“It makes no difference to us. You could see it that way, and it makes no difference. No that's Devo. Wear gaudy colours or avoid display!

"It's just the embodiment of mutually exclusive things (+). We're just that. We are probably inhibited exhibitionists."

I don't want to appear to be sniping at Devo - I genuinely admire them - and I understand perfectly why they utilize, all this mumbo jumbo. But believe it at your own risk. Jerry doesn't like being pinned down about it . . . " An interview of this nature - you might as well be in court with the lawyer trying to trap the witness or something. We're not dealing with something that has applied yes or no answers.

"People need things that don't make sense. We do fill that need.

"Everything makes sense and everything doesn't (+)."

In other words, to understand where Devo are coming from, just abandon logic and hold on to your titfer.

"The logical references over the last couple of million years are accepted through habit. That whole frame of logic is a fake. It just doesn't work.

"Devo.only are nonsense when you try and make sense of them (+)."

Vainly, I have tried to do this, but must make do with one or two half admissions, which is probably all for the better if Devo are to remain fun. Perhaps the only way to approach the subject is to be a Devo journalist. But how? Now is the ideal time to find out.

"To be a Devo journalist I would let  the person I was interviewing submit a paragraph about me.

"Now there was that guy who got hit by some member of Black Sabbath. That's poetic justice. They respond in the way they could respond to how his words affected them.

“Unfortunately Devo couldn't bring itself to do that", but we'd sure like to have a couple of paragraphs on some journalists, some of whom are obviously frustrated and constipated."

And here's my paragraph – since I vowed to print it - composed by Mark Mothersbaugh, the lead singer.

"Tim Lott smokes, drinks, told Jerry three times he was confused - said he didn't understand our interviews, said they sounded like bullshit, but never told us what interviews by others he enjoyed or understood (they never asked - TL)."

So my first lesson in Devo journalism. As it is Devo, I shall ignore it or take notice of it.

To navigate less blurred, less philosophical areas - Bowie, it seems, still has an interest in Devo, or "maybe" as Jerry puts it. To plot that connection . . .

"Bowie wanted to produce our album and we wanted him to produce it . Then somehow it became seven albums and a production deal, and suddenly that got tied into a deal with Warner Brothers.

"We didn't like our deal with Warners,  Eno ended up doing the first one anyway because Bowie was busy with a film."

Devo, just like nearly all other aware humans admire Bowie for his chameleon-like qualities, an aspect they themselves would like to "ape".

"We have a vague idea of what we want to become. Become more like cellular structures (+) , more like amoebas (+) very electronic.

"But not electronic in the way you think about It, not spacey or in any way psychedelic. But if you can imagine people just making burps and grunts and buzzing noises. . . like really primitive, minimal sounds , but all electronically engendered. "

The change would affect their visuals but not by decking themselves with gadgetry.

“It would be a totally different view. We can do more with the way we move our bodies  than those people who get very elaborate can do with 50,000 dollars worth of props. Because" – Jerry  indicates himself  - "it's all here. They think It's in the  pocket book. It's bullshit western boy asshole mentality. "Machines  should be used, people get used by them."

This genial tete a tete is taking place the day before Knebworth.  As I've observed , they didn't go down too well, unless you count hundreds or people standing up and putting their thumbs down, well.

"I'm sure it will be maximally abstract (+). We hope to do a lot of formations " . . like the army drill team… show them the proper uses of a rifle.

"We're only quasi military. How we use it in Devo is really diametrically opposed to what the military has in mind. Rather than subtracting from the environment, it adds to it.”

But like the military, I venture, Devo use shock tactics.

"No, we just think that way. I find it hard to respond to that. It just has to happen. We're trying to actually give people something different from the old shit. All those asshole minds holding everything back – bankrupt burnt out minds.

"Those people who just go out there and stick a cigarette in the neck of their guitar, play, walk off and get the money, they're not doing anything for anybody (+). They're irresponsible (+)."

All that's left of this interview - unless you want to cross the rhetoric minefield again, and if you haven't got the gist yet then there isn't much point - is erratum, which, at least is interesting, if contentious.

Erratum no 1: Devo and The Tubes.

"What the Tubes do I consider really limited, because it was just adding something to the music - there's no integration. It's not organically connected to the music, like in Devo. All it is, is some Las Vegas show. Theirs is a veneer, an attachment.

"Everyone's visual. But the reasons we do what we do are not connected with their reasons. It's just a question of deciding what visual you want to be."

Erratum 2: Modern society is based on psychotic brain eating apes.

"The reason there are all sorts of species of say , birds and fish and only one species of man is because of the brain eating apes.

"Carnivorous brain eating apes took over early. Their brains got bigger and bigger. The apes found out - not on a conscious level – that they were eating the other ape's knowledge. It increased their sexual drive enormously and it also wiped out all the other species.

"We're not allowed to kill someone and eat their brains now, so it's all done through corporations. Those corporate guys, none of them are less than 6 ft 2 in with great big heads (+). They all look alike (+)."

Erratum 3: The mutants are getting organised.

"There was a mutants' march in America against the Neutron bomb. Bring us your disenfranchalsed (+). Bring us your mutants (+). Mutants are getting organised and we're helping. "

Erratum 3: The perfect organism.

"Marie Osmond is the perfect organism" - Mark Mothersbaugh.

Erratum 4: Making money in large quantities if not necessarily Devo.

"Our purpose was never to make money. Money is a by-product of the fact that we're doing what is needed. Money changes what we're doing now. As long as the money keeps coming in, that's perfect as long as we're still doing what's needed.

"As our original purpose was not to make money, we're not compromising what we do to make it.”

Erratum 5: More hedging.

"The answer to all your questions could be no and the answer to all of them could be yes and both of them would be true."

. Erratum 6: It's just wind in sails.

"It's just wind in sail (+). "

Friday 3 March 2023

Are We Not Men? We Are Devo


Finally I get to see Devo. Last minute or what! It's not that I didn't have the chance before... Smooth Noodle Maps back in 1990 and then a small foray into the UK in 2007. On that occasion I baulked at the price of a ticket to see the band at the Dome in Brighton. So here we are with the last opportunity, men down I know but it's Devo!

Gotta get myself an Energy Dome!

Thursday 2 March 2023

Phil Lynott (Thin Lizzy) Inked


'Tonight there's gonna be a jailbreak
Somewhere in this town
See me and the boys we don't like it
So were getting up and going down.'

Phil Lynott (Thin Lizzy)
Linoprint 30cm x 21cm (A4)
Black ink on cream card.

I cannot in all honesty profess to be the biggest fan of Thin Lizzy, but Phil Lynott, like Lemmy, was very well respected by metal fans and punks alike. He was certainly very much at ease with the original London punk scene.

L'Olympia Paris 7th April 2014 ARTE Broadcast


Another Parisian event is almost upon us. L'Olympia beckons again. One of the plushest venues I have been to in long years of gigging.

The occasion brings this offering to mind. A pro-shot full gig video (probably not the correct word to use in 2023) of the band on the European leg of the Ruby tour. And what a fantastic set. 'La Folie' (it seems that to hear this one France is the only option), 'Midnight Summer Dream' and 'Dave's finest moment, 'Peasant In The Big Shitty'.

DVD Disc image:


Wednesday 1 March 2023

Ramones Vogue Theatre Indianapolis 6th December 1979


It's clear from the previous post, a public row between the two heavyweights of the New York punk scene (over the purloining of the early Ramones composition 'Chinese Rocks' by The Heartbreakers), that band rivalries are fierce affairs, especially in relatively young scenes. Within punk it wasn't just The Clash and The Jam bad mouthing each other!

In the article, Thunders does seem to make a reasonable point that seemingly songs about sniffing glue and/or a particular brand of oven cleaner can pass Ramones quality control whereas, a song about heroin crosses the line...

Johnny's contention that they did not want to sing about heroin since "You gotta draw the line somewhere", was short lived as 'Chinese Rocks' was back in the band's set just a couple of years later, as in this show from Indianapolis.

Sadly, the comment too about Dee Dee being clean wasn't a forever deal either...



01. Drum Intro
02. Blitzkrieg Bop
03. Teenage Lobotomy
04. Rockaway Beach
05. I Don't Want You
06. Go Mental
07. Gimme Gimme Shock Treatment
08. Rock 'N' Roll High School
09. I Wanna Be Sedated
10. I Just Want To Have Something To Do
11. Bad Brain
12. I'm Against It
13. Sheena Is A Punk Rocker
14. Havana Affair
15. Commando
16. Needles & Pins
17. I'm Affected
18. Surfin' Bird
19. Cretin Hop
20. All The Way
21. California Sun
22. I Don't Wanna Walk Around With You
23. Today Your Love, Tomorrow The World
24. Pinhead
25. Do You Wanna Dance?
26. Suzy Is A Headbanger
27. Let's Dance
28. Chinese Rocks
29. Beat On The Brat
30. We're A Happy Family

Too Much Junky Business - Ramones And The Heartbreakers Trade Insults (New Musical Express 18th June 1977)


JOHNNY RAMONE is quite definitely pissed off.

"Hey, lookit they ripped us off I mean, how can they do that? You just don't do dat sorta thing to another group, huh."

Even Dee Dee Ramone, who was democratically mumbling his belief that The Heartbreakers had really ... uh done y'know... a real fine job on his song "Chinese Rocks" just a few minutes before is nodding dutifully in mute agreement with his guitarist brother.

But J. Ramone isn't finished. Not by half.

"'Chinese Rocks' was one of the first songs we ever worked out. It's our song --- lookit, it's a straight cross between '53rd and 3rd' and 'Commando' with Dee Dee's lyrics.

What The Heartbreakers did ... well, it just ain't on is all."

"I'm afraid to see Johnny (Thunders)" adds Dec Dee "I won't be looking him up."

All four of the Ramones however did meet Thunders and the rest of The Heartbreakers when the latter blithely trotted down to reacquaint themselves with their old cronies at a Phonogram reception last Sunday in King's Road.

"I gotta better reception from da Talking Heads" muttered Johnny Thunders dourly. "The Ramones just told me they're gonna sue us."

The bone of contention, if you hadn't already guessed, is The Heartbreakers' use of "Chinese Rocks" a four-way-credited song about the dubious virtues of being addicted to heroin - "I'm living on a Chinese Rock/All my best things are in hock!"

Already a fairly controversial choice for any group's first single (though this sort of publicity never worried Thunders' conglomerate who were even thinking seriously of changing their name to Johnny and The Junkies if Tom Petty's bunch had made their mark before them), things get touchier by the minute as the New York grapevine sent back flashes noting The Ramones' corporate dread of the song being openly recorded and thus blemishing the reputation of bassist Dee Dee who is mentioned by name in the lyrics as being involved in narcotics purchasing.

Dee Dee, a reformed user, is extremely 'tetchy' about it all, particularly now. Thunders' side of the story is that The Heartbreakers picked up on the song when The Ramones dropped it like a hot brick from their repertoire.

"Yeah they were too chicken to play it" he sneers 'Course it's O.K. to sing about glue an' all that shit."

Dee Dee Ramone's name, however, fronts the list of credits alongside Johnny Thunders, drummer Jerry Nolan and ex-Heartbreaker Richard Hell, two of whom, it turns out, added a line each to the second  verse.

"Yeah," Thunders continues "mine was 'I still dig this Chinese ditch' and Hell's was (here he smirks perceptibly) 'I should have been rich.'

The actual terms of the pending law-suit have yet to be fully stated but the basically ludicrous slant to this conflict can only be noted too clearly in Johnny Ramone's final impassioned tirade as to the reasons for The Ramones not performing the song "Hey, lookit, we don't wanna do no songs 'bout heroin. I mean, there's too much ugliness going around in the world and it's bad enough us singin' 'bout killin' people and beating 'em up.

"I mean, heroin kills people. You gotta draw the line somewhere."

And just who said there was no morality left in punk rock?