View credits, reviews, tracks and shop for the 1984 Vinyl release of Aural Sculpture on Discogs. View credits, reviews, tracks and shop for the 2019 Vinyl release of Aural Sculpture on Discogs. Label: Not On Label (The Stranglers Self-released) - CGLP9. Format: Vinyl LP, Album, Reissue, Remastered Vinyl LP, Remastered Stone MarbledAll Media Limited Edition, Numbered Signed. Country: Europe. Genre: Rock. Style: Punk.

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.

Here's a nice sounding recording for it's age and I'm sure you'd agree (maybe with the exception of Cherry Vanilla!). This was a second billing with The Jam that months, the pairing having played Leeds Polytechnic on 1st April.FLAC:Artwork:01.

Dagenham Dave02. School Mam03. Peasant In The Big Shitty04. Straighten Out05. No More Heroes06. I Feel Like A Wog08.

Hanging Around09. London Lady11. Down In The Sewer12. (Get A) Grip (On Yourself)13. Something Better Change. Something of Dave now and a bootleg cassette that caused quite a stir at the time. A recording of The Purple Helmets at Central London Polytechnic back in March 1988.

I won't regurgitate the background to the Helmets here. Search the site under the band's name and its all there. Good drunken fun and for many, myself included, the first opportunity to see members of The Stranglers at close quarters in small, and in some cases, iconic venues.FLAC:01.

Don’t Bring Me Down02. We Gotta Get Out Of This Place03. Baby Please Don’t Go04. I Can’t Explain05.

Whatcha Gonna Do About It06. Keep On Running07.

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All Day And All Of The Night08. Louie Louie09. Tobacco Road10.

Walking The Dog11. I Saw Her Standing There12. I Wanna Be Your Man. Mark Perry ('Mark P' back in the day) with Alternative TVThe man who brought punk to the 'masses' through the inky xeroxed pages of 'Sniffin' Glue' swapped the pen for a microphone as his chosen means of communication in late 1977, the baton being neatly handed over when the band's first release 'Love Lies Limp' was included with the last issue of Sniffin' Glue.

Alternative TV, or ATV, were really different, sounding world's apart from some of the blue print punk produced by bands that were inspired by London'd first wave. Through the independent record labels, 'Step Forward' and 'Deptford Fun City' he went on to assist a diverse roster of bands such as Chelsea, Sham 69, The Police and Squeeze early on.Alternative TV continued with into the mid-80's before calling it a day. Later, they reformed for Festival and small venue gigs and I was lucky enough to see them a few times.

At that time their set heavily revolved around the brilliant debut 'The Image Has Cracked' album although they have since recorded new material. I recall seeing them at The Square in Harlow.

Mark addressed the audience that totaled not more than 20 people with a smile and the words 'Punk's not dead eh?' They went on to do a brilliant set. So here's to Mark P a real original punk both in print and on stage.

Released in November 1984, Aural Sculpture was the band's eighth studio album. JJ talks us through each of the album's tracks although his memory is slightly sketchy of certain tracks as it was a period of some major personal issues for him:ICE QUEENAt the time, when we were preparing Aural Sculpture, I had a lot of studio equipment in the back room of my house in Cambridgeshire including a Linn drum. Dave was living just up the road in Cambridge. He would come around to mine, we would go to the pub and play darts for a couple of hours, have a few pints and then we would work through the night, sometimes until two or three in the morning. I was getting riffs together and Ice Queen was my riff with Hugh's lyrics. The lyrics were about his girlfriend in New York who was a model. For me personally, the brass section's finest moment was when they came in on Ice Queen.

It was the best manifestation of the brass.SKIN DEEPThat was originally a little blues riff of mine, Hugh took it away and wrote the lyrics to go with it. It was a little blues thing which I've since played on some of my acoustic dates. Between the ages of 14 and 17, my parents had a restaurant in Godalming, Surrey and there was a pub in the village which had a blues club every Sunday night. I saw lots of bands before they released their first albums there, Peter Green's Fleetwood Mac were the most notable, although there were loads of other bands. I kind of played about with blues riffs as I liked the blues. I still like good blues musicians.LET ME DOWN EASYThis was my music again and Hugh wrote the lyrics about my Dad (who was gravelly ill at the time) and I was very grateful that he did that.

Hugh knew my Dad and came down to see me in the south of France when I was looking after him. I had spent the last month with my Dad who was in awful pain. Doctors and nurses were coming every day to give him injections to alleviate the pain. I used to carry him out onto the patio so he could get a bit of daylight. My Dad had died by the time that the album was released. It was very sympathetic of Hugh.NO MERCYDefinitely Hugh's lyrics.

Epic were putting quite a lot of money behind the record and we were starting to do quite well in various places. No Mercy was deemed a worthwhile single so we did a video for it. It wasn't a bad video actually as I recall.

We were dressed up as doctors and also appeared as ghostly sax players. NORTH WINDSThat was mine, just a JJ 'where things are now' song. It was one of my melancholy songs about the very strong images that had occurred during my life, while I was growing up. The 'Orange road burning' was about the self immolation of Buddhist priests during the Vietnam war, setting themselves on fire.

The 'Youth on fire' referred to Jan Palak, who I'd talked about before on Euroman. The 'Metal machines.' Line was about the Prague spring in '68, when the Czechs tried to be much more liberal and the Russian tanks just rolled in. 'Two generations' referred to the two world wars, 'Birth pains' was about the birth of Israel and what I remembered about the Yom Kippur war. 'Freedom in the shape of disease' was about AIDS, suddenly this new word AIDS had arisen when we were writing Sculpture. It was an unknown disease then. 'Kids whose bellies' was about the west and the rest of the world having so much food while there were images of kids with huge distended bellies starving on television.

The title North Winds referred to where I was living in East Anglia which was subjected to winds from the North Sea and it gave a melancholy feel to living there.UPTOWNOriginally Uptown started off as a more RandB track but it changed once we were in the studio with Laurie. Hugh's lyrics referred to taking Cocaine rather than anything related to horse racing.PUNCH AND JUDYNo fucking idea!!! I don't know how that got on the album, I must've been asleep. Aural Sculpture was a labour of love between Laurie and Hugh to be honest. Dave and I were almost secondary and we weren't seeing so much of the others, apart from crossing paths in the studio.SPAINI used the Kinkade acoustic bass on that.

Hugh was going to Spain more and more often and he had read a book written by Franco's daughter. We used a recording of her voice on that song. The lyrics were inspired by the Spanish Civil War.LAUGHINGIt's an entirely Hugh song. The lyrics are about Marvin Gaye who had just been shot by his father before we started recording the album. We used an unprogrammable drum machine on this track, like I had used on the Euroman album, which was a Laurie Latham idea.SOULSQuite a nice track with Hugh's lyrics about the ancient Mayan culture in Mexico. Hugh had a big contribution on this album, a lot more than mine, and I can't recall much more about some of these tracks.

It's a long time ago and it wasn't the best time for me with my Dad's illness. I wasn't too complicit in the recording and was a bit detached at the time.MAD HATTERMad Hatter was another Hugh track. It was about his little clique in Bath. He had these sycophants, all posh Bath boys who laughed at all his jokes. They weren't healthy for Hugh I think.JJ Burnel/9th December 2014.