The Stranglers

The Stranglers don't fit in. They never did. They were too old to be punks. They were too controversial to be mainstream. And they were too experimental to be middle of the road. Yet anyone can find something to relate to in the back catalogue of the Men In Black.

They were brash and uncompromising in 1977. Rattus Norvegicus and No More Heroes laid solid foundations. These were defining albums that set The Stranglers apart from all the hangers-on that glided in on D-rings of the Sex Pistols in-yer-face explosion. Their musical prowess outshone many of their so-called contemporaries but it wasn't long before the post-punk British public forgave them for their ability to actually play their instruments.

Seminal albums 'The Raven' and then 'Black And White' yielded the classic singles 'Duchess' and 'Nice 'N' Sleazy', which introduced the depth of the band's song writing to a new audience. However, the release of sixties cover 'Walk On By' – a strange choice at the time - also highlighted the ingenuity of the four members as a formidable unit capable of driving home any message they wanted to deliver. Love and hate received the same treatment from The Stranglers at this time.

Not withstanding, the next album, 'The Gospel According To The Meninblack' (1981) was a more melancholy approach that saw The Stranglers shake off a few experimental demons if nothing else. The instrumental Walztinblack was an unlikely highlight from this period. However, it was with the release of La Folie in 1981 that The Stranglers moved into their most successful period as a chart act. The single Golden Brown revitalised interest in the band and was almost certainly the push behind Feline (1982) – a subtle album that marked a change in direction towards a softer delivery. It didn't really work.

Things got better with the release of Aural Sculpture (1984), which included a brass section for the first time, and then Dreamtime (1986), a solid album that brought several influences together under it's appropriate banner.

More of the same followed with “10”, which was to be the final release with Hugh Cornwall at the helm as singer/song writer and raconteur at gigs. Cornwall's laconic ramblings between songs were a terrific part of what was endearing about The Stranglers as a live band. He could play his guitar a bit too.

After a short time of reorganisation, Paul Roberts and former Vibrators guitarist John Ellis were introduced as the new-look Stranglers picked up where they left off. Completing rigorous touring schedules. Three more albums followed until 'Coup De Grace' (1998) received critical acclaim as the boys finally shook off Cornwall's ghost

A five-year hiatus from recording was ended with the release of 'Norfolk Coast' in 2004 and it marked a sparkling return to form. The introduction of Baz Warne on guitar breathed new life into the band and the new material stands proudly alongside any piece of work JJ Burnel, Jet Black and the multi-talented Dave Greenfield have produced since they first got together in Guildford in 1974.