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.


Friday, 31 July 2026

Donation Update - 31st July 2026

 


Pete says 'Thanks for the cash!'

Just wanted to say another heartfelt thanks to those that have donated so far towards to cost of the annual subscription to WeTransfer, the platform that stores all of the music files that appear on Aural Sculptors. As of today (31st July) £135 has been raised which represents 68% of the subscription cost. If you still feel inclined to make a contribution you can do so at anytime via the PayPal button located on the right hand bar of the site.


Whilst I am offering thanks allow me once again to appreciate those who regularly send files through to me to share with the small but avid Aural Sculptors community and also those who engage with the site through the comments facility (yes I know the comment procedure is not intuitive!). 

Hugh Cornwell Echoplex Los Angeles 17th March 2012

 


St Patrick's night in Los Angeles back in 2012. This is a great pro-shot recording of the LA date on his US tour packaged as Hugh Cornwell versus Glen Matlock in a night of 'Heavyweight Rock And Roll'. Old punk rockers aside I would contend that there was someone equally desirable to see on this night. Clem Burke was occupying the drum stool behind Hugh on this tour (bass duties were performed by Steve Fishman).


Here we have the tried and tested HAC setlist format in which Stranglers and solo material alternates give or take... to keep the audience engaged in Hugh's words. The set closes with a guest appearance on stage of said Matlock for a version on the Mose Allison number, 'Seventh Son'.






Thursday, 30 July 2026

Dead Pioneers Don't Panic Essen 19th July 2026

 

(photo: David Devant)

Somebody left a comment on one of the posts on the site, 'Please keep on posting new bands'. Now by my own admission, this is something that I have not really done over the years. My thoughts on the matter for a long time have been along the lines that discovering bands is something that you do in your teens. This is of course an absolute nonsense, music should be ageless and be there to be discovered throughout life. I do however stand by the fact that seeking out new music takes time and effort, which can be a barrier to new discovery. However, I have taken that posted comment to heart at least to some extent. Luckily for me I have a friend in Germany who can facilitate this. Peter is an avid gig goer and is in the habit of sending anything that he considers may be a good fit for these pages over to me. This is how I came by Dead Pioneers.

This band that hails from Denver, Colorado are very current, but they take me right back to the 80's when I had a small collection of cassette recordings of 'Rodney On The ROQ' compilations. These featured the likes of Black Flag, Channel 3, Social Distortion, Dead Kennedys and the Circle Jerks. The brand of hardcore punk that those bands played sounded great to me and still does. So, when I listened to the first few tracks of Dead Pioneers, recorded this month on tour in Essen, I immediately heard that particular US style hardcore again. Specifically, I heard Circle Jerks and perhaps early Dead Kennedys. Lead singer, Gregg Deal, sounds a lot like Keith Morris... especially when they play the Circle Jerks anthem 'World Up My Ass'!


Gregg Deal is an interesting character. A registered member of the Pyramid Lake Paiute tribe, he is an artist, musician and activist who promotes first nation rights and culture. When he is not doing that he fronts Dead Pioneers who were recently in Europe promoting their new album, 'Wagon Burner', released just last month. The band take an uncompromising stance when it comes to White Power groups in the States. Now, having spent time last weekend in Nuremburg's Court Room 600 and at the Nazi Rally ground complex, anyone with an issue with Nazis is okay in my book!

In addition to the music I had a listen to a TED talk delivered by Gregg Deal which gives some idea of where he's at. Here. Interesting stuff at this time when the Trump administration has just reignited its dispute with the Smithsonian National Museum of American History accusing them of misrepresenting American history.

So thank you Peter... keep on educating me!







O2 Academy Sheffield 25th March 2011

 

Now this is a good one. Sourced from Tarquinlive. DomP has mastered this recording and made a big positive difference from the original. Sounds great to me, with the quality doing justice to the set that gave us such gems as 'Tramp', 'Two Sunspots', 'Dead Loss Angeles' and 'Sweden'. Dom reminds me that this was the last tour that Jet undertook in it's entirety.

Thanks Dom! Appreciate it.

FLAC: https://we.tl/t-bDBZBBeuaPWTOy4J

Artwork: https://we.tl/t-mdAaLqUxhokFpDP4



Sunday, 26 July 2026

Eat Our Dust Weller! Golden Brown At Number One (6th February 1982)

Being a bit of a nerd I have been part of a pub quiz team (the same one no less) for 32 years! The pubs whose quizzes we have participated in invariably have a music round. One round theme that has reoccurred over the years runs along the lines of big songs that missed the No. 1 chart position, unjustly or not. The classic example is the dreadful 'Shaddap You Face', a novelty hit by the Australian/American Joe Dolce that kept the Ultravox anthem 'Vienna' off the coveted number one slot. Such was the overblown pomposity of the song that half of the UK's record buying public sniggered at such a turn of events and continue to do so more than forty years later!

The example relevant to these humble pages is that a race to No.1 between The Stranglers and The Jam (two of the biggest survivors of the first wave of punk) played out in early 1982 and this too has been a quiz question on several occasions. The problem for The Stranglers was that despite having achieved significant radio play for the first time in years with the quirky, out of character waltz of 'Golden Brown' the competition in February 1982 was stiff, specifically in the form of Weller's mob who released 'A Town Called Malice/Precious as a double A-side. Arguably The Jam were the biggest band in the UK at this time and 'Malice' saw The Jam at the top of their game, both in terms of Weller's lyricism as well as the musical punch they were then delivering. And so it was that the Official UK chart saw 'A Town Called Malice' streak up the chart (the single is seen here in the Melody Maker Chart as a new entry, straight in at number eight (as of 6th February)), rapidly reaching number one, thereby denying The Stranglers the greatest measure of chart success.

However, look closely at the singles chart below, the number one is no less than 'Golden Brown'! The music paper Melody Maker was always rather apart from its UK music weekly rivals, long being a champion of 'real musicianship' which roughly translated to folk and jazz. In this spirit of stubborn independence they continued to produce their own UK single and album chart that was not infrequently at odds with the Official UK Chart returns. So in a nutshell, 'Golden Brown' did reach No. 1.... you just have to look in the right places.

So, next time that particular question surfaces in a pub quiz, maybe I should point out the factual error.... but then again I might just get docked points for being an annoying smart arse!


As an aside, the Official UK Chart has also published a Top 40 of favourite No. 2s (record wise!). Take a look at the esteemed company that 'Golden Brown' is keeping. Sandwiched between James's 'Sit Down' (a song I loath!) and 'Waterloo Sunset' (one of the greatest British pop songs of all time). Seeing the Ray Davies composition there, a parallel comes to mind.... 'A Town Called Malice' is surely a 'Dead End Street' for the 1980's.


And even if 'Golden Brown was pipped at the post by 'Malice', it's no disgrace and I can think of a host of worse songs to lose out to.

'It's-a not so bad, it's-a nice-a place
Ah shaddap-a you face!'

Monday, 20 July 2026

The Gig That Mobilised Manchester? Lesser Free Trade Hall 20th July 1976

 


As much as I would love to conjure up a pristine recording of this famed gig I can't I am afraid. However, whilst this is not a new post (the link goes back to July 2023), such is the gravity of this particular anniversary it is worth directing people back to the 'I Swear I Was There' documentary DVD.


Having arranged a gig at Manchester's Lesser Free Trade Hall in June, Pete Shelley and Howard Devoto brought the Pistols back for a return fixture just six weeks later. This gig would be Buzzcocks first 'proper' gig (they weren't ready to play the June date)... oh and the actual first Buzzcocks gig occurred in April at the Bolton Institute of Technology.

Sex Pistols
(Lesser Free Trade Hall, Manchester 20th July 1976)

The story does not warrant a retelling here, watch the film for chapter and verse on that score. Suffice to say that if the 4th June gig was sparsely attended, the few that were there did a good job of spreading the word that something extraordinary was in the making and the return of the rag-tag cockney quartet was not something that the savvy ones should miss. And they didn't. On this night fifty years ago the Pistols played once more, watched by an audience that included the movers and shakers to be that would propel Manchester to a position of music prominence for the next 20 years or so.

It got press to from Jonh Ingham in the 31st July issue of Sounds too!

(Review from the collection of John Maher)

Here's the link to the DVD..... 'I Swear I Was There'.




Saturday, 18 July 2026

What Brian Did Next - Tanz Der Youth Music Machine London 10th August 1978

 


This month, 'Vive Le Rock' magazine must be congratulated on the publication of their 'Damned Annual', a brilliant compilation of articles, interviews, Q&A sessions with key players in the band's long career. As good as the annual undoubtably is, it set me to thinking about all of the side projects, new bands etc etc that have an association with 'brand Damned'. It's a job for Pete Frame I reckon!

The White Cats
King
Doctors of Madness
Lords of the New Church
The Doomed
Naz Nomad
The Phantom Chords
The Sensible Grey Cells
Professor and the Madman
...

The list goes on and on.

One of the first new ventures was from Brian James who formed a band called Tanz Der Youth after departing from The Damned.

Sounds (20th May 1978)


New Musical Express (20th May 1978)


Record Mirror (20th May 1978)


Sounds (10th June 1978)


New Musical Express (30th September 1978)


Sounds (30th September 1978)


Blink and you will have missed them. In their brief existence they released one single on Radar Records, 'I'm Sorry, I'm Sorry' backed with 'Delay'. Their other 'achievement' was getting a support slot on Black Sabbath's 'Never Say Die!' tour, another short lived venture with TDY quitting the tour seven dates in after successive bottle receptions!

Although there is only one official release to their name, they left some traces in the record, in the form of this gig from August 1978 at the Music Machine in Camden and a John Peel Session (both released unofficially). 

So that was Tanz Der Youth, an sonic experiment that Brian's audience were perhaps not yet prepared for. The music very much brings to mind early XTC and Magazine, so quite a departure from anything that he had done with The Damned!

Next stop Euroman Cometh with his old pal Jean Jacques.

I have included what I believe to be the correct track listing on the artwork (versus the file names). Thanks to the original Dime uploader (theGrape).





Wednesday, 15 July 2026

The Damned's Phantasmagoria Is 41 Today!

 


There was a thread that appeared on the 'Punk's Not Dead, But I'm Not Far Off' FaceBook page today, the 41st anniversary of the release of 'Phantasmagoria' that was discussing whether or not it was a shit album! I was a little surprised by this. As a fan of pretty much everything that the band have done over the past 50 years, I have to say that I rate 'Phantasmagoria' pretty highly in the ranking of their studio albums.

It wasn't far into the '80s that punk was particularly out of vogue. With all of the frills of New Romanticism and an all pervading attitude of 'We Just Wanna Have Fun!' infecting the charts, there was little room for anger and chaos anymore. The same music writers who were extolling the virtues of punk a few years before now dismissed the music and the musicians as old hat and irrelevant. If you happened to be one of those old and down punk bands, there were just two options available... adapt or die. In the case of The Damned, other circumstances were coming into play. Sensible, the clown prince of punk, had stumbled into a solo career and was now the property of Saturday morning kid's TV programming. Moreover, the band were for a time without any record company backing. The future was not looking good. 

Then 'Phantasmagoria' happened and the band's fortunes were very much reversed. Fortunately, the band were old enough not to be recognised by a new cohort of the record buying public, but not too old to get airplay and TV time when the hits came. Thus is was that this album saved the band's life and for a time (admittedly a pretty short time) The Damned were once again the flavour of the month.


The Damned heeded the warnings and did indeed adapt. Not everyone followed that example.... think about The Clash!

It was a very different album from what came before it. But, there is no denying that it is one of the most consistent and complete albums that the band ever recorded.

I think that I read somewhere once that the album was very much admired by JJ at the time and was his Walkman (I'm sure he would have had one!) companion. Well, you've gotta keep an eye on the competition! 

So here is a recording from one of the dates from the so-called 'Big Tour' of 1985.







Tuesday, 14 July 2026

Live At The Cathedral BBC Radio Interviews - Lynval Golding And Horace Panter (The Specials)

 


'Live From The Cathedral'... no surprises I have been playing this a lot this week. It is the perfect statement with which to conclude an extraordinary career. For sure, the rate of attrition within the band over the years has been rather high with the result that of the Magnificent 7 that rode out of Coventry in 1978, only three original members were there to play amongst the shattered spires of the old Coventry Cathedral back in July 2019. Down to three, but their power was not diminished. This fond live farewell is the perfect antidote to all of the political shit that we are wading through right now. It could be 1979.... only it's worse, much worse.

In the week of its release Lynval and Horace were to be seen, or rather heard hotfooting from station to station to plug the album on the airwaves. They talk of 2 Tone, Coventry and of course Terry.

In the words of Terry Hall, 'Love! Love! Love!'






Festival Hall Corby 23rd July 1980

 


I had a request last week from the Black Country which no sooner was it passed on than DomP was able to fulfil it. It was for The Stranglers in Corby in July 1980. It is a recording that has appeared on these pages in the past 2011. Here are those files again in FLAC format, with artwork and just a bit of Dom’s audio jiggery-pokery. Phil Coxon wrote some words about this gig for a tour diary piece that he did for the official website a few years back.

The band played Corby as a benefit for local steelworkers. This was quite unusual in that The Stranglers have never seemed to plat so many benefit gigs, but also Corby then as now has never been prominent on the live circuit. Nevertheless, The Stranglers were in the hall and playing songs for a song (the tickets were cheaply priced!). The circumstances of the gig should have been such that the evening could have been a fantastic event. Instead the band were treated to a punk rock style circa 1976 i.e. they faced a torrent of gob. The salivary flow persisted throughout the gig, much to the annoyance of the band who departed from the stage after a set of just 13 songs. Look at that set and imagine paying more attention to producing oral ammunition than listening to that! The mentality of some folk!?

And many thanks DomP!




Saturday, 11 July 2026

Tous Sur Le Pont Festival Blois 11th July 2007

 

 A second anniversary gig in one day! Here are the band at the Tous Sur Le Pont Festival in Blois in this day in 2007. Quite a nice sounding recording from what seems to have been quite a short lived festival (2003 to 2008) as sadly many of them seem to be.

FLAC: https://we.tl/t-dz1OSqB6Xf2kwQ6F

Artwork: https://we.tl/t-HncBcNXdbyKKBx6r



For some reason the folder I have on my PC relating to this gig also includes a photo of Sid heartily  enjoying himself - I assume that it was taken at this festival.





The Specials Live From The Cathedral' - The Final Offering

 

It was with great anticipation that I waited the weeks it took from ordering to this being dropped on the doorstep. 'The Specials Live From The Cathedral', definitively the last album from The Specials, one of the greatest bands to have come out of the UK, is what I am talking about here. With this album the band come full circle from the city's pubs and clubs of the late 1970's to the majestic ruins of Coventry Cathedral in 2019. And this is the bit that really hurts, Gunta and I missed it. She is a Cov girl (with German and Latvian thrown in too!) and our son is christened Rudi ('It's an international name' we told our parents... of course our friends all knew where we were coming from!). I would have given my right arm to be amid the ragged masonry for one of these dates.

The paradox of The Specials is that as the standard bearers of the 2 Tone label and all of the founding principles behind it, they were at times one of the most volatile bands that ever shared a stage! This was seemingly totally at odds with their consistent message of tolerance and unity! If the tensions that led to the demise of the original band in 1981, they were never far from the surface even after they came back together in 2008, after a 27 year absence from our lives. In many ways they just started up again from where they left off! But, this of course is what made The Specials well... special. Songs like 'Concrete Jungle', 'Too Much Too Young' and 'Why?' absorbed that tension and converted it into creative brilliance.

In 2019 The Specials enjoyed their first Number 1 album (whatever that means in this day and age!!) and it is fitting that these cathedral gigs gave the material from that album, 'Encore' a good airing, offering a brilliant counterpoint to the angry punk/Blue Beat mix of the first album. As an aside, to the detractors of 'Encore' who bemoaned the fact that the album was no 'Specials', Terry Hall responded with 'Did they not listen to 'More Specials'?' 

On this final recording, Coventry boys Terry and Lynval take the lead on the mike between songs. It is clear that they are revelling on the warm welcome that the band received during these shows. 'This is the first time I've ever dedicated a song to a chip shop.... this is for the Parson's Nose' says Terry before launching into his musical autobiography of his youth in the city, 'Friday Night, Saturday Morning'.

Listening to this, yes I am angry with myself for the fact that we weren't there but I am equally thankful that we had the opportunity to see then a dozen times or so between 2009 and 2021. If the music changed with time the message remained the same, unbendingly so.

Every time I have been to that city and passed the 'Welcome to Coventry' signs I wonder just how much longer it will take before Walt Jabsco will appear on the sign to add his own skankin' welcome! 



Colston Hall Bristol 11th July 1980

 


And a Happy Birthday to this one from the 'Who wants The World?' tour. It has been posted on here previously (2012) but is posted here again with new artwork. Whilst it is not going to win any awards for sound quality, it is not so bad and great if you were lucky enough to have been in Bristol on this night a mere 46 years ago.




Ant Music For Sex People - Adam And The Ants TFTLTYTD #24

 

Whilst this is a familiar thread on the site, instead of marking the life of a musician. this time around I an remembering a famous or should that be infamous character who was failed the British legal system. Last Wednesday, the Home Secretary, David Lammy announced that by royal consent the death sentence carried out on Ruth Ellis was being commuted to life imprisonment. Ruth Ellis was the last woman to be hanged in the United Kingdom. The sentence was carried out on 13th July 1955 and was the culmination of the case in which Ellis was tried for the murder of her lover, David Blakely.

I do not intend to repeat the history here, but if you are unfamiliar with the case please do take a look her the entry on Wikipedia (other online resources are available!). It is a terrible story. Ruth, her mother and sister were physically and sexually abused by her father from a very young age. She left home for the big city where she found work in prostitution and in the clubs of Soho. In this time she also had a string of poor relationships with men characterised by physical and psychological abuse.

In 1953 she met Blakely, educated at public school and Sandhurst and a racing driver to boot and they were soon living together despite the fact that Blakely was engaged to another woman. In time Ellis started seeing another man, Desmond Cussen, and started living with him whilst the relationship with Blakely continued. Ellis went through these years often pregnant, losing one child through miscarriage after being punched in the stomach by Blakely.

On 10th April 1955 she travelled by cab to Hampstead in search of David Blakely, eventually locating him in the Magdala public house. When he emerged from the pub with a male friend and went to his car Ruth Ellis shot him repeatedly. With her abusive lover fatally wounded on the ground she was quickly apprehended by an off-duty policeman. She made no attempt to flee. Upon her arrest she stated only "I am guilty, I'm a little confused."

Tried and sentenced at the Old Bailey on 20th June she was hanged by Albert Pierrepoint at Holloway prison and buried within the grounds of the prison. Later in the 1970's Ellis's remains were exhumed and reburied in Amersham in Buckinghamshire.

Hers was a life in freefall from a young age and she was just 28 when executed. There was never a denial of culpability on Ruth Ellis's part for the crime that she committed and was thus always going to be punished for her actions. However, this was 1955, an era in which the extreme provocation of domestic abuse and coercive control held little sway in a British court of law.

The Family tragedy did not end with the execution of Ruth, subsequent to her hanging, suicide took other close members of the family, with her first husband and her son taking their own lives in 1958 and 1982 respectively. Ruth Ellis's mother attempted suicide by gassing in 1969.

If ever their was a case with extenuating circumstances this was it. The Ruth Ellis case ultimately did much to change the law in the UK, from the abolition of capital punishment to the acknowledgement of the impact of domestic abuse in criminal behaviour.

The link to Adam and the Ants is tenuous, but their 'Song For Ruth Ellis' is the only song that I am aware of that references this infamous British murder case. The track was recorded in several demo sessions that the Ants did prior to getting signed to 'Do It' records. I have said it elsewhere but as good as 'Dirk Wears White Sox' is, it is undeniably true that much of the material that preceded it is equally as good if not better. This I guess is the reason why these various demo sessions are so enduringly popular.

The BBC's reporting of the granting of a conditional pardoning can be found here.

FLAC: https://we.tl/t-DZHYE23xaWuDETEX

Artwork: https://we.tl/t-kBY8fRCP3gTEz38a



Sunday, 5 July 2026

'Waiting around in London hoping to get permission for just an afternoon!'

Surely 1978 marked the height of the bands notoriety, particularly in London. Here you had the situation that a London band that were outselling all of their contemporaries were consistently having any plans to play in the capital blocked. An ongoing feud with the Greater London Council (GLC) was understood to be behind it all. Here's how the music weeklies reported  on how The Stranglers' camp struggled with the arbiters of good taste in London.

Record Mirror (6th May 1978)


New Musical Express (6th May 1978)


New Musical Express (20th May 1978)


Finally, management threw in the towel, accepted the fact that for the time being a London date for The Stranglers was not in the offing and arrangements were made to bus fans wanting, but struggling to see the band, to the Bingley Hall gig.

Record Mirror (20th May 1978)


At this time Burnel went on record to say that if he had his way the May gigs that were going ahead would be scrapped in favour of club gigs which were 'fairer for the kids'. As issues with the GLC rumbled on over the summer of '78, the bass player ultimately got his way when the band returned to their pub rock roots to play a handful of 'secret' pub gigs in their old London haunts.

In the battle with the GLC, The Stranglers pretty much closed the chapter with the Battersea Park gig. After Battersea, the band's music took off in a markedly different direction that appeared to change local authorities attitudes to the band (although JJ had some issues with bookings on his Euroman tour going into 1979). Moving forward, after 1978 issues with the band playing in the UK were largely resolved. Gigs on the Continent however were a different matter...








Saturday, 4 July 2026

Cliffs Pavilion Southend 13th March 2015

 


A good sounding recording here for a Saturday afternoon. One of Chatts that he shared with me some years back. It's in WAV format as I cannot locate the original FLAC files, however Chatts's info file is included in the download.

'Four Horsemen' is in there, that one should have appeared more regularly than it ever did.







Dead Kennedys Central London Polytechnic 26th November 1982 ('Spend July 4th With Dead Kennedys)

 


So today is a big anniversary, 4th July 2026. A date that marks 250 years of American Independence. Without doubt it is a great country with some laudable beliefs and principles... only of late it has gone awry. Let the orange man-baby spout his incoherent nonsense today... it will soon be over.

Whilst this great recording of the Dead Kennedys makes reference to 4th July, like most of what Trump utters, it is an untruth. The gig took place at Central London Polytechnic on 26th November 1982 where the band were promoting their soon to be released 'Plastic Surgery Disasters'.