The Rezillos Opera House Winter Gardens Blackpool 5th August 2023

 

The irrepressible Rezillos here, performing at 2023's Rebellion Festival and captured by Chatts. Cheers! A smattering of 'newer' material in this set.

FLAC: https://we.tl/t-Ch82DQFBCPFoGzQF

Artwork: https://we.tl/t-jDAreTgMMZRmWs3U

Atlantis Alkmaar Netherlands 24th February 1997

DomP has gifted the site another great recording to which he has applied some audio noodling to achieve a version of this Mk. II gig that is streets ahead of the previous version that I uploaded to the site both in terms of format (FLAC versus MP3) and quality. I have also now added artwork.

For enthusiasts of this era of the band this will be a gem. With Paul and John performing the majority of the song writing on 'Written In Red', this dynamic was logically translated into the live set. Never before or since has a Stranglers set deviated so much from the 'classic Stranglers' and for that reason this is a good recording to bag as some of the songs in the set are unlikely to make a reappearance. Did 'In A While' ever get played anywhere else?

As mentioned in the first posting of this gig, Alkmaar served as the forerunner of the Wonky Bus excursions. It is evident from Paul's comments during the gig that the UK travelling contingent took over the front of the gig.

Thanks for answering the call Dom, some more Roberts era material was what I was looking for to balance up the audio record somewhat.

FLAC: https://we.tl/t-tNaXOOJPe8Dy560L

Artwork: https://we.tl/t-46XudTkFrzjQNuOx

The March Violets 100 Club London 2026 - A Review

 

It was another day on which temperature records toppled in South East England and with the prospect of spending the evening in one of the most famed basements in London, try as I might I could not remember how good or how bad the A/C in the 100 Club is. This is despite the fact that I was only last there about three weeks ago. In the event it wasn't an issue at all as on arrival at the venue we discovered that the air con is indeed up to the job and the temperature noticeably dropped with each descending step into the venue.

We were late arriving due rail signal failure on the way into London so we entered part way through the support act's set. They were called Moth Slut. A new name on me, but Mo assured us that they, a Manchester band, have built up quite a following in the city. Visually, very striking to say the lest, musically they were quite good. They certainly made an impressive noise for a duo.

Moth Slut

100 Club London

26th June 2026

If I was ignorant of the band, the audience certainly weren't. They were very well received both on and off the stage as quite a gothic gaggle crowded their merch stand as the band completed their set.

This summer, as part of the annual Record Store Day event, The March Violets' 'Natural History' early singles compilation was reissued in remastered form. To mark this, the band were playing under a 'Natural History', or rather an 'Unnatural History' banner, playing the album in its entirety. The only downside to this is that when bands play album themed shows, additional room needs to be created in the set and songs must drop out. Material from the current album, 'Crocodile Promises' (the album that brought me back to the band) was cut down to one track, 'Hammer The Last Nail'. But that was OK because a 'Natural History' set would be faster and punkier than much of what followed.

So, the March Violets took to the stage and a metallic clatter announced the start of 'Long Pig' before the drum machine and Tom Ashton's guitar kicked in. Next came two tracks that bookend the band's career to date, the brilliant 'Religious As Hell' (1982) and 'Hammer The Last Nail' (2024). Then a leap back to the start with 'Children On Stun' and 'Fodder', two excellent work outs for drum (machine) and bass. Not sure what the thing was about Leeds and drummers... whatever it was, at the start of the 1980's they seemed to be very thin on the ground as a clutch of local post-punk bands (The Violets, The Sisters Of Mercy, Red Lorry, Yellow Lorry...) opted for a drum machine. In these early songs, Tom Ashton's guitar work really comes to the fore, angular and shimmery. Looking at on-line discussions on the band's back catalogue there are more than one comparison to the style of the late, great John McGeogh, which is in there, but I too can hear something along the lines of John McKay's playing on the early Banshees material.

Grooving in green!

Rosie explained that 'Radiant Boys' was the first song that the band wrote and it was dedicated to all in the audience... radiant irrespective of gender. And that is an important point. I have not been to see many bands that are so closely associated with the goth scene.... The Damned and The Banshees don't really count on that score. But I have to say that it's very refreshing to see people out for a gig night out being completely comfortable in that scene, amongst like minded people, with no fear of being singled out for being different. It's really healthy. As we become more polarised in the UK, I often think about Sophie Lancaster who was murdered for going her own thing (whilst doing no harm) by morons without the wit to understand a different outlook on life. Good for the people in the 100 Club last night for following their own path and ignoring the shit. That said, I am not about to turn goth, I have neither the cheekbones or hairline to carry it off these days and the eyeliner pencil was set aside some time back in the early '90s. I'm sticking to a black wardrobe though!

She's behind you!

The crowd took some time to really warm up (in actual fact, so efficient were the air conditioning units in the place that it was bordering on being cold!), but all were up for it when Rosie announced two more songs. First came 'Made Glorious', a great song from the debut album of the same name. It is a debut despite being released in 2013... the 'Natural History' album being a compilation of earlier released material. That was followed by a spirited 'Snake Dance'. But of course there would be another encore as no one was going to leave before hearing 'Walk Into The Sun' which closed a highly enjoyable set.

It was a great gig once again... I just wish that I had got to see them on one of the occasions that they played Brighton back in the day.

Manchester Academy 9th November 1994

 

So, here we have a recording from 1994's 'Body Search' mini tour with the 'About Time' album on the horizon, but just out of sight for now. Many thanks to Yesican for sharing this one with the site!

FLAC: https://we.tl/t-HkBBm6D9Gtztx7N2

Artwork: https://we.tl/t-fuPrEGZ1LX83FwHG

The March Violets Coasters Brighton 13th November 1983

 

Tonight the 100 Club plays host to The March Violets. When we saw them last year at Oslo in Hackney, it also coincided with the hottest day of the year. I wonder what the interior of the 100 Club will be like!

This is a recording from my home turf that features Cleo Murray on vocals who took on vox duties from part way through 1983 to the initial demise of the band.

I recall Coasters, but not as a music venue. I went there once or twice in the mid-'80's. It was a dreadful night club and I was never one for such places as right from the beginning my preference would always be a gig in the back room of a pub. 

On this occasion they were touring as support to Danse Society.

FLAC: https://we.tl/t-XM7FsRmWBN7nVdkF

Artwork: https://we.tl/t-27EcsJRzvybwVmiD

Xmal Deutschland Heaven London 25th June 1984

 

An anniversary gig here, forty two years ago Xmal Deutschland played the Heaven Club in London. Today, as the we try to cope with sweltering temperatures (generally fairly ineptly), a few of Xmal's  goth-esque tunes bring with them a chill Hamburg wind.... if your imagination is up to it that is. It was also Anja's birthday a few days ago.

A nice recording of the band at what was probably their peak.

FLAC: https://we.tl/t-CjGhPhxVFV4DNg5q

Artwork: https://we.tl/t-aK4SkiwFvusOwKTV

The Stranglers - A Review by Chas de Whalley (Sounds 8th January 1977)

I chanced upon another early review of the band at The Nashville Rooms in Kensington. Appearing in the 8th January issue of Sounds, Chas de Whalley, a champion of the band right from the beginning, once again waxes lyrically about the appeal of their dark and dirty psychedelia.

Now, the Nashville was almost a second home to The Stranglers throughout 1976. Most notably they played the Kensington venue on 19th December 1976, a gig that was recorded with a view to release as the band's debut LP. In the event, as we all know, the album, 'Dead On Arrival', was effectively 'Dead Prior to Departure', its release being vetoed by the band on the grounds that they did not consider it to be sufficiently representative of the band live at that time. The gig was advertised without reference to the support on the night.

The Burning Up Time Forum indicates that support on the night of the live recording was TRB. 

In de Whalley's review the support is very evidently Chelsea. So when precisely did this gig take place? Appearing on 8th January, one can assume the gig occurred some time between 10th December 1976 and the first week of January 1977.

Another Nashville review published in Music Weekly on 18th December (here), assumed to be related to the gig on 10th (although the article refers to a Saturday, assumed to be an error as the gig occurred on a Friday) makes no reference to the support band.

The close of 1976 into 1977 saw the following Stranglers gigs (according to NME listings):

Saturday 11th December support to Deaf School (Friars Aylesbury)
Monday 13th December with Nobodaddy (Tiffany's Edinburgh)
Thursday 16th December headline Mags Head High Wycombe
Friday 17th December headline Peterborough Technical College
Sunday 2nd January 1977 Pink Faries/The Stranglers/Little Bob Story (Roundhouse)

The Burning Up Time Forum states  that the band appeared once more at the Nashville in a pre-Christmas gig (23rd December) supported by Racing Cars.

The ad as it appears in NME makes reference to Racing Cars only.

So my question is who supported The Stranglers at The Nashville on 10th December 1976? If it was TRB then when did this gig with support from Chelsea happen? 

There was another gig at the Nashville on 21st November 1976 (again with no reference to the support in the gig listing), but it seems unlikely that this would only get written up in a January 1977 issue.

Any ideas?

One thing seems certain... when Chas refers to JJ in eyeliner and ripped shirt... this would be his view of the stage!

Preston Guild Hall 14th February 1985

 

I mentioned in my last post that on occasion Aural Sculptors is host to an exclusive and here is one courtesy of the master of the remaster, DomP. Many thanks my friend. This is a lively gig, probably on account of it being just the fourth gig of a sizable UK tour. By the time I got to see them in Brighton on the last night, they would have been knackered!

Here's Dom with his own words on the recording:

'An extraordinary Valentine’s Day audience tape of The Stranglers on day four of the Sculpture tour in the north of England.

A bad night for Dave’s synths, Hugh chunters away between songs and there is a kerfuffle in one of the tracks where JJ puts down his bass and sorts something, or someone, out. Some of the most violent versions of the "older" tracks you'll hear from this era. An angry wonky classic.

This took a while to master as I couldn't quite tune in, then it clicked that it was recorded from distance, so once I figured out the hall acoustics all was good. Imagine you're listening from up on high, looking down....'

FLAC: https://we.tl/t-pObJi7sJTFhahz3C

Artwork: https://we.tl/t-FWB1JPXfdBOebAU6

Subscription Time Again

 

Well perhaps not 'Penny for the Guy' but as sure as 5th November comes around once a year, so too does an email from WeTransfer to inform me that the annual subscription is due on 18th July. Just to recap, to support the site uploads I use the WeTransfer platform's 'Ultimate Plan'. The Ultimate Plan gives me an upload capacity of 5TB (of which the current total content of the site, as of today, takes up 859.9GB - so there is no risk of running out of upload capacity). In the past I, like many other blog owners with music content, used file storage platforms that were shut down. A great number of owners of such sites ceased to operate after this, leaving the internet littered with what initially look to be promising sites, but in fact all the links are broken and there is nothing to be shared. Aural Sculptors has weathered that particular storm. The available data for my WeTransfer account indicates that I have used the platform since 2019. In that time I have found it to be stable and very reliable. There was a brief period at the beginning of 2025 when they decided to place an expiry upon all uploads, but thankfully this policy was short lived, so that provided the subscription is up to date, the uploaded material will be available until such time that I either stop paying or remove it.

The good news is that the 2026 annual subscription (12 months from 18th July) cost is unchanged from 2025 at €228 (£198). Should you be so inclined, contributions towards this critical element of the Aural Sculptors site you can do so via the PayPal button located on the right hand side bar of the site, below the Aural Sculptors logo (see below). I don't think that I necessarily need to repeat this but I will. I make no money whatsoever in running this site. The subscription contributions, whilst very gratefully received, have never completely covered the total cost each year and I have made up the shortfall. The site is not monetised in any way - there are no ads. A shared joy of obtaining live recordings that filled in the gaps between official releases is the only reason wht this site exists. People who headed over to Camden market days after a gig to see whether the men with the cassette laden trestle tables had it on offer will understand this. How we loved those tapes, with their pastel coloured sleeves and badly typed track listings!

In terms of site usage, visits to the site have increased this year. I believe a typical daily tally of visitors runs to around 1,500-2,000. Site hits are becoming increasingly difficult to gauge though. For example, the total number of visits last month was in excess of 365,000! Clearly this is nonsense, a figure that I put down to bots harvesting data for AI purposes. For the first time I took a look at the downloads recorded for the WeTransfer account. I counted the download total for audio posts only (i.e. downloads of associated artwork were excluded) from today going back to the beginning of 2026 and I was surprised by the data. There have been 8,397 gigs (concerts not GB!) downloaded in that time. This means that in the last 12 month subscription period around 20,000 downloads of material from the site. I knew it was a lot, but didn't think that the figures were that large. 

So, my ask of visitors is to continue to enjoy the site. Interact in whichever way you can whether through comments or sharing recordings that may be of interest and/or make a contribution to the upkeep if you wish. I know that the way that blogger is set up does not make it easy for people to interact with the site through comments, but for those that do comment, I do read them. Overall, there is not a great deal of feedback or active engagement with visitors to be had so sometimes I feel a bit like a lonely lighthouse keeper posting stuff to a remote readership!

The site has some very good friends whose generosity both in terms of subscription contributions but more importantly in their willingness to share recordings, many of which appear on the Aural Sculptors site exclusively and I am sure that this will continue. 

I will use this opportunity once again to appeal for any Stranglers or Stranglers related material (preferably in lossless format - but beggars can't be choosers). It is still intended to be a site focused on the music and career of The Stranglers first and foremost. My thinking as punk marks its half century is let's get as much stuff our there as possible. Put it this way, my kids are not bowled over by the prospect of inheriting several thousand bootlegs of old punk bands... 'Listen Son, promise me that you'll take good care of this Johnny Moped bootleg when I'm gone'. We are the people who appreciate this stuff, so let's listen to it and enjoy it whilst we can.

Thanks for you attention. End of public service broadcast.

The Hexagon Reading 18th March 1990 - Major Upgrade

 

DomP has come up trumps again. This '10 Tour' gig from Reading's Hexagon Theatre is already posted on the site, but the difference in sound quality between that version and this one is like the difference between day and night. As such it is really the definitive full set record from the tour. I should have gone to this gig... it was two days before my 21st birthday. Instead I had tickets for the London dates, Poole, Crawley (awful!) and Leicester (the less said about that one the better!)... that is a far as my finances would stretch at that time. The gigs on this tour were great (although I still question why Hugh felt the need for a second guitarist to be on stage) and world's apart from the disappointment of Ally Pally a few months later.

Thanks Dom. Great work!

FLAC: https://we.tl/t-YhGDt7Jw9OagF6Eh

Artwork: https://we.tl/t-21dt03OVEUn9p6D0

Kid Kapichi Empress Ballroom Winter Gardens Blackpool 6th August 2023

 

This was a band I did watch at 2023's 'Rebellion' and damn fine they were too. I was expecting really big things from them but either they fell off the radar a bit or I was losing tough (the latter probably). Looking at their discography, they have released albums in 2024 and 2025 and they are on the festival circuit in the UK and Europe from next month with indoor dates from November. 

In this recording they perform as a four piece, but since that time it would appear that two members of the band departed leaving the current line up as a duo.

Good sounding angry punk from Sussex (Hastings). Thanks to Chatts for this one.

Empress Ballroom, Blackpool

6th August 2023

FLAC: https://we.tl/t-FuE9ABXfzg71geMG

Artwork: https://we.tl/t-FRu0EEgo6Sj4Okoy

Brixton Academy London 12th June 1989

 

The culmination of a great Strangling weekend with consecutive gigs in Livingston, Newport and London (didn't get across the Irish Sea for gigs in Belfast, Dublin and Cork). Set included a couple of '10' teasers in the form of 'Someone Like You' and 'Where I Live'.

Back in London Town (Finchley Road?)

12th June 1989

FLAC: https://we.tl/t-DGfFHBhsZ77mvWAo

Artwork: https://we.tl/t-cv3zsMxVGSheJVzy

The Ramonas Rebellion Blackpool 3rd August 2023

 

In response to my posting of The Meffs recently, Krisinblack requested that I continue to post more music by new bands. This I am happy to do and courtesy of good friends of Aural Sculptors I have a clutch of lesser known bands, if not necessarily new bands, from Rebellion 2023 and 2025.

Here's another set from the wonderful Ramonas (thanks Chatts), this time 'Almost Acoustically'. Their electric set from the following Day (4th August) in the Empress Ballroom is on here and can be located from the right hand side bar of the site.

Good to see original material in amongst the Ramones songs.

FLAC: https://we.tl/t-u7JPnqTncrykKE5N

Artwork: https://we.tl/t-wGEsbyp87dLZfjAu

Dominion Theatre London 25th February 1985

 

Very pleased to see this one pop up on Dime over the weekend. The version that I had was inferior and as usual DomP has made it sound great by means I do not begin understand. The opening night of a five night residency at the Dominion Theatre in London towards the end of the UK leg of the Aural Sculpture tour. Cheers Dom!

FLAC: https://we.tl/t-Tea6OPkARt1hEtyO

Artwork: https://we.tl/t-wL2Qa4SbcsSuU6hr

Chelsea Con Club Lewes 13th April 2019

 

It still amuses me to think that in the early '80s I was sitting in classrooms in a funny little school in Lewes High Street, two doors up from the Con Club, decorating the back pages of my exercise books with band logos. At that time, nothing ever happened in Lewes, the sleepy county town of East Sussex. In 1264, rebel baron, Simon de Montfort clipped Henry III's kingly wings and forced constitutional reform, oh and each 5th November Lewes hosts a famous Bonfire Society parade through the town. Other than that nothing ever happened. However, a few short years ago, the Con Club in the High Street started putting on the very same bands that we were all talking about in class 45 years ago!

Here we have one such band, Chelsea in a recording courtesy of the Acid Drops blog site (see 'Other Blog Sites of Distinction' section in the right hand panel of the site.

Chelsea are currently doing the rounds marking the 50th anniversary of the band and punk rock - Chelsea were there are the beginning. However, it is a Gene October-less band on the road right now as the singer recuperates from major surgery.

Gene October at the Con Club, Lewes

13th April 2019)

(Photo:  Nick Tutt / Captivitas Photography)

FLAC: https://we.tl/t-XavkuHDOLJ2CrG3h

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

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!

FLAC: https://we.tl/t-P8sNJ18Zx1BXdM6i

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