The Stranglers: Wikis


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The Stranglers

Background information
Origin Guildford, Surrey, England
Genres rock, punk rock, protopunk, New Wave
Years active 1974–present
Labels United Artists, EMI, Epic, Castle Communications
Jean-Jacques Burnel
Baz Warne
Jet Black
Dave Greenfield
Former members
Hugh Cornwell
Hans Wärmling
John Ellis
Paul Roberts

The Stranglers are an English rock music group.

Scoring some 23 UK top 40 singles and 17 UK top 40 albums to date in a career spanning four decades, the Stranglers are the longest-surviving and most continuously successful band to have originated in the UK punk scene of the mid to late 1970s. Beginning life as the Guildford Stranglers on 11 September 1974 in Guildford, Surrey,[1] they originally built a following within the mid-'70s pub rock scene. While their aggressive, no-compromise attitude identified them as one of the instigators of the UK punk rock scene that followed, their idiosyncratic approach rarely followed any single musical genre and the group went on to explore a variety of musical styles, from new wave, art rock and gothic rock through to the sophisticated pop of some of their 1980s output.

The Stranglers' early sound was driven by Jean-Jacques Burnel's pulsating bass, but also proudly gave prominence to Dave Greenfield's keyboards at a time when the instrument was seen as unfashionable. Their early music was also characterised by the growling vocals and sometimes misanthropic lyrics of both Jean-Jacques Burnel and Hugh Cornwell. Over time, their output gradually grew more refined and sophisticated. Summing up their contribution to popular music, critic Dave Thompson would later write: "From bad-mannered yobs to purveyors of supreme pop delicacies, the group was responsible for music that may have been ugly and might have been crude – but it was never, ever boring."[2]




Formation, punk and mainstream success (1974–1979)

The group was originally called The Guildford Stranglers,[1] and operated out of The Jackpot, a Guildford off-licence run by their drummer Jet Black (real name Brian Duffy). Other original personnel were bass player/vocalist Jean Jacques Burnel, guitarist/vocalist Hugh Cornwell and keyboardist/guitarist Hans Wärmling, who was replaced by keyboardist Dave Greenfield within a year.[3] None of the band came from Guildford – Black is from Ilford, Burnel from Notting Hill, Cornwell from Kentish Town and Greenfield from Brighton, while Wärmling came from Sweden and returned there after leaving the band.

Cornwell had been a blues musician prior to forming the band and had briefly been a bandmate of Richard Thompson,[4] Burnel had been a classical guitarist who had performed with symphony orchestras,[5] Jet Black was a former jazz drummer,[6] and Dave Greenfield had played at military bases in Germany.[7] Their early influences included pre-punk psychedelic rock bands, such as The Doors, and The Music Machine.

From 1976 the Stranglers became associated with the burgeoning punk rock movement, due in part to their opening for the first British tours of American punks The Ramones and Patti Smith.[8][9] Notwithstanding this association, some of the movement's champions in the British musical press viewed the band with suspicion on account of their age and musical virtuosity and the intellectual bent of some of their lyrics. However, Burnel was quoted saying, "I thought of myself as part of punk at the time because we were inhabiting the same flora and fauna ... I would like to think The Stranglers were more punk plus and then some."[10]

The band's early albums, Rattus Norvegicus, No More Heroes and Black and White received a mixed reception from the press because of their apparent sexist and racist innuendo. Dave Thompson wrote that "the Stranglers themselves revelled in an almost Monty Python-esque grasp of absurdity (and, in particular, the absurdities of modern 'men's talk')."[11] These albums went on to build a strong fan-following, but the group's confrontational attitude toward the press was increasingly problematic and triggered a severe backlash when Burnel, a martial arts enthusiast, punched music journalist Jon Savage during a promotional event.[12]

During their 1978 appearance at the University of Surrey on the BBC TV programme Rock Goes To College, the group walked off stage because an agreement to make tickets available to non-university students had not been honoured.[13]

Demise of punk, commercial decline and re-birth (1979–1982)

In 1979, one of the Stranglers' two managers advised them to break up as he felt that the band had lost direction, but this idea was dismissed and they parted company with their then current management team.[14] Meanwhile Burnel released an experimental solo album (Euroman Cometh) backed by a small UK tour and Cornwell recorded a collaboration album with Robert Williams (Nosferatu). Later that year the Stranglers then released The Raven, which heralded a transition towards a more melodic and complex sound which appealed more to the album- than the singles market. The songs on The Raven are multi-layered and musically complicated, and deal with such subjects as a Viking's lonely voyage, heroin addiction, genetic engineering, contemporary political events in Iran and Australia and extraterrestrial visitors, "The Meninblack". The Raven was not released in the U.S.; instead a compilation album The Stranglers IV was released in 1980, containing a selection of tracks from The Raven and a mix of earlier and later non-album tracks. The Raven sold well, reaching No.4 in the UK Albums Chart, although it is believed it could have made No.1 but for an error in the chart. The Police hit No.1 despite their album not yet being released, leading to controversy that the Police album was mis-credited with sales of The Raven.[15] The Raven spawned one top 20 single, "Duchess", with "Nuclear Device" reaching No.36 and the EP "Don't Bring Harry" reaching No.41. This was followed by a non-album single, "Bear Cage", backed with "Shah Shah a Go Go" from The Raven. A 12-inch single, the band's first, containing extended mixes of both tracks was also released, but "Bear Cage" also only managed No.36 in the charts.

Following the success of The Stranglers' previous four albums they were given complete freedom for their next, The Gospel According to The Meninblack, a concept album exploring religion and the supposed connection between religious phenomena and extraterrestrial visitors. It was preceded by a single "Who Wants the World", which didn't appear on the album, and only just made the top 40. The Gospel According to The Meninblack was very different from their earlier work and alienated many fans.[16] It peaked on the UK albums chart at No.8, their lowest placing to date, and in 1981 was widely considered an artistic and commercial failure.[16] The track "Two Sunspots" had been recorded during the Black And White sessions in 1978, but was shelved until 1980 when it was rediscovered and placed on The Gospel According To The Meninblack. The "Meninblack" track from The Raven is the "Two Sunspots" soundtrack slowed down.[17]

After a slow start, the Stranglers recovered their commercial and critical status with La Folie (1981) which was another concept album, this time exploring the subject of love. At first La Folie charted lower than any other Stranglers studio album, and the first single taken from it, "Let Me Introduce You to the Family", only charted at No.42. However, the next single was "Golden Brown". This evocative waltz-time ballad (generally considered to have been written about heroin) became their biggest hit, charting at No.2 in the UK Singles Chart. It remains a radio staple to this day. Following this success, La Folie recharted at No.11 in the UK albums chart. "Tramp" was originally thought to be the ideal follow-up single to "Golden Brown"; however "La Folie" was chosen after Burnel convinced his bandmates of its potential.[18] Sung in French, it received negligible airplay and charted at No.47. Shortly afterwards the Stranglers left EMI. As part of their severance deal, The Stranglers were forced to release a greatest hits collection, The Collection 1977–1982.[19] The tracklisting for The Collection 1977–1982 included the new single "Strange Little Girl", which had originally been recorded on a demo in '74 and rejected by EMI. It became a hit, charting at No.7 in July 1982.

New label, new sound and foreign success (1983–1990)

Following the Stranglers' return to commercial success, many record companies lined up to sign them. Virgin Records was the most likely choice but Epic Records made a last minute offer and secured the Stranglers' services. The Stranglers once again had complete artistic freedom and in 1983 released their first album for Epic, Feline, which included the UK #9 hit "European Female". The album was another change in musical direction, this time influenced by European music. It was the first Stranglers album to feature acoustic guitars, and it was on this album that Jet Black began to use electronic drum kits.[20] It gained much critical success but fell well short of La Folie in terms of sales and failed to produce another hit after "European Female". Nonetheless Feline broke the Stranglers in Europe and reached No.4 in the UK chart in January 1983 (their last studio album to break the UK Top 10).

1984 saw the release of Aural Sculpture which consolidated the band's success in Europe and established them in Australia. It included the UK No.15 hit "Skin Deep" (which also reached No.11 in Australia and Top 30 in the Netherlands). This was their first album to feature the three-piece horn-section which was retained in all their subsequent albums and live performances until Hugh Cornwell's departure in 1990. Aural Sculpture was only a moderate success in the UK album charts, peaking at No.14 in November 1984.

Their 1986 album, Dreamtime, dealt with environmental concerns among other issues. Its signature track, and another radio staple for many years to come, was "Always the Sun" (a No.15 hit in France, No.21 in Australia, No.30 in the UK, and No.35 in the Netherlands). The only Stranglers album to chart in the U.S., Dreamtime was again only a moderate hit in the UK, reaching No. 16 in November 1986.

The Stranglers' final album with Cornwell, 10, was released in 1990. This was recorded with the intention of building on their "cult" status in America. Following the success of their cover of the The Kinks' "All Day And All Of The Night", a UK #7 hit in 1988, The Stranglers released another '60s cover, "96 Tears" as their first single from 10; it reached #17 in the UK. Despite this success, the follow-up single "Sweet Smell Of Success" only reached No.65. "Man of the Earth", which the band had high hopes for, was due to be the third single from the album, however Epic Records decided against it when The Stranglers failed to secure a tour in America. Since 10 was recorded with the intention of breaking America, this was a major blow.

Post-Cornwell era (1990–present)

In August 1990, founding member Hugh Cornwell left the band to pursue a solo career. In his autobiography, Cornwell states that he felt the band was a spent force creatively, and cites various examples of his increasingly acrimonious relationship with his fellow band-members, particularly Burnel. The remaining members recruited John Ellis, who had had a long-standing association with the band. He had opened for them in the 1970s as a member of The Vibrators, filled in for Cornwell during his time in prison for drug possession in 1980, worked with Burnel and Greenfield in their side-project Purple Helmets, and been added to the Stranglers' line-up as a touring guitarist a short time before Cornwell's departure. Burnel and Ellis briefly took over vocal duties (for one TV appearance) before enlisting singer Paul Roberts, who sang on most songs live, even those originally sung by Burnel. This line-up recorded four Albums: Stranglers In the Night (1992), About Time (1995), Written in Red (1997) and Coup de Grace (1998). In 2000, Ellis left the band and a new guitarist, Baz Warne, was recruited.

The Stranglers achieved something of a critical and popular renaissance in 2004 with the acclaimed Norfolk Coast album and a subsequent sell-out tour, together with their first top 40 hit for 14 years, "Big Thing Coming". In May 2006, Roberts left the band, and The Stranglers were now back to a four-piece line-up: Burnel, Black, Greenfield and Warne, with the lead vocals shared between Warne and Burnel.

Suite XVI, the follow-up album to Norfolk Coast, was released in September 2006 (the title is a pun on "Sweet 16" and also a reference to the fact that it is the band's sixteenth studio album) and continued the band's resurgence. Although partly a return to the band's heavier punk roots, the album featured a typically idiosyncratic mixture of musical styles.

In 2007 it was reported that Jet Black was suffering from Atrial Fibrillation, an ailment which has since forced him to miss out on a number of shows, particularly where extended travel is required. On such occasions Ian Barnard, Jet Black's drum tech, has deputised.[21]

On 4 November 2007, the band (with Black) played a sell-out gig at the Roundhouse in Camden, North London, marking the 30th Anniversary of their headline run at the same venue in 1977. The set list was the same as the 1977 concert, with the addition of a couple of more recent songs as a final encore. The event is recorded on the DVD Rattus At The Roadhouse.[22]

In mid-2008, The Stranglers played various major festivals around Europe. Barnard again filled in for Black at several gigs while Black continued his recuperation. However, Black was back with the band for their UK tour later in the year.[23]


In 2008, Jean-Jacques Burnel has made comments in interviews which indicate that the band could be heading into semi-retirement after the completion of their European tour in 2009.

He said: "Our drummer Jet Black is 70 now. It blows me away, the fact that he continues to play 90-minute sets. He's been unwell a couple of times and his drum tech has stood in at a few festivals, but if he was permanently out, well, I don't know what I'd do, actually. We could still record, but this is our last big tour, I think.[24]

"I think all things have to come to an end at some point, although we'll do one more album. I would love to think it will be the most beautiful album we've done."[24]

Band line-up

Former members

In the late 1980s, the Stranglers regularly featured a 3-piece brass section in their live line-up.


  1. Rattus Norvegicus (1977)
  2. No More Heroes (1977)
  3. Black and White (1978)
  4. The Raven (1979)
  5. The Gospel According to The Meninblack (1981)
  6. La Folie (1981)
  7. Feline (1983)
  8. Aural Sculpture (1984)
  9. Dreamtime (1986)
  10. 10 (1990)
  11. Stranglers In the Night (1992)
  12. About Time (1995)
  13. Written in Red (1997)
  14. Coup de Grace (1998)
  15. Norfolk Coast (2004)
  16. Suite XVI (2006)

Selected song legacy

"No More Heroes" was covered by Violent Femmes and used for the film Mystery Men. It also featured on the first episode of the BBC series Ashes to Ashes, while "Peaches" appeared in Sexy Beast by director Jonathan Glazer. "Golden Brown" featured in Guy Ritchie's film Snatch and was used extensively in the Australian film He Died With A Felafel In His Hand. Tori Amos covered "Strange Little Girl" on her 2001 Strange Little Girls album.

Problems listening to this file? See media help.

The Wii video game, No More Heroes, appears to be named after the album and also features obvious punk references, as seen in the opening Grasshopper company logo at beginning of the game.



  1. ^ a b Buckley 1997, p. 23.
  2. ^ Thompson, Dave. "Biography" (DLL). The Stranglers. allmusic. Retrieved 2008-05-25.  
  3. ^ Buckley 1997, p. 28.
  4. ^ Buckley 1997, p. 11.
  5. ^ Buckley 1997, p. 16.
  6. ^ Buckley 1997, p. 7.
  7. ^ Buckley 1997, p. 30.
  8. ^ Buckley 1997, p. 46.
  9. ^ Buckley 1997, p. 49
  10. ^ "JJ Burnel Stranglers Interview Pt2 - Punk Rock". Punk77. 2005. Retrieved 2008-03-25.  
  11. ^ Thompson, Dave. "The Stranglers' biography at". Retrieved 2006-09-10.  
  12. ^ Buckley 1997, p. 99.
  13. ^ "The Stranglers: Rock Goes To College". Retrieved 2006-04-21.  
  14. ^ Buckley 1997, p. 135.
  15. ^ Buckley 1997, p.145.
  16. ^ a b Buckley 1997, p. 174.
  17. ^ Cornwell, Drury 2001, p. 133.
  18. ^ Cornwell, Drury 2001, p. 223.
  19. ^ Cornwell, Drury 2001, p.217
  20. ^ Cornwell, Drury 2001, p. 227.
  21. ^ "SIS News Archive - A Message from Jet Black". Retrieved 2009-02-16.  
  22. ^ "SIS News Archive". Retrieved 2009-02-16.  
  23. ^ "SIS News". Retrieved 2009-02-16.  
  24. ^ a b Five questions for The Stranglers -


  • Buckley, David. No Mercy-The Authorised and Uncensored Biography of The Stranglers. London. Hodder and Stoughton. 1997. ISBN 0-340-68062-8
  • Cornwell, Hugh, A Multitude of Sins. London. Harper Collins Publishers, 2004. ISBN 0-00-719082-4
  • Cornwell, Hugh and Drury, Jim. The Stranglers-Song by Song. London. Sanctuary Publishing Ltd. 2001 ISBN 1-86074-362-5

Further reading

  • Rice, Tim; Rice, Jo; Gambaccini, Paul; Rice, Jonathan (1988). British Hit Singles (7th Edition). Guinness World Records ltd.  
  • Rice, Tim; Gambaccini, Paul; Rice, Jonathan (7 June 1996). British Hit Albums (7th Edition). Guinness World Records ltd. ISBN 0-85112-619-7.  
  • Strong, Martin C. (9 April 2001). The Great Rock Discography (5th Edition). Canongate Books. ISBN 1-84195-017-3.  
  • Roberts, David. Guinness Rockopedia. Guinness Publishing. ISBN 0-85112-072-5.  

External links


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