Nice ‘N’ Sleazy Does It, a Review Of the Stranglers’ Third Album

The Stranglers third album “Black and White”, released in 1978, was a departure from their earlier work and can be regarded as a key album in their discography.

At the time the group were best known for their agressive biker antics and had had a blaze of bad publicity. (Overbearing sexism was just not done at the time, beating up journalists is never such a good idea...) This album was a departure from their earlier work, which I have heard being described as “pub-rock with an added Hammond organ”, being much more artistically ambitious in both music and lyrics, the songs are well-crafted, the lyrics have literary proficiency. These guys may be pretending to be societies’ worst misfits, in reality they’re much more sophisticated; half of them have university degrees and it shows on this album.

Originally released as an LP containing 11 tracks divided over a “white side” and a “black side” plus a limited edition 7” bonus EP on white vinyl, The white side songs are more upbeat, the black sides’ mood is dark and threatening. Don’t expect the mood on the white side to be cheerful however, this is an album by the Stranglers.

“Nice ‘N’ Sleazy” is a typical Stranglers anthem, and the most remembered song from this album, which is mostly forgotten. (Mind you, it did get to no.2 in the UK album chart, however.) To me an absolute highlight on the white side is the very punk rock “Hey! (Rise of the Robots)” featuring the anarchic saxophone play of Lara Logic (X-Ray Spex, Essential Logic). This song is as merry as the Stranglers ever got to be.

There is also the down-tempo “Outside Tokyo” were somebody in factory had apparently invented time, starting the craze for Japanese watches:

50 million watches with a

Strap to sell

50 million watches with a

Strap to sell

If people wanted proof to

Carry on they’d like to buy one

If they should ever sell out

That would be the end of (time)

Be the end of (time)

Be the end of time

On the overal very energetic black side the tracks “Do You Wanna/Death and Night and Blood” and “In the Shadows” really stand out.

“Do You Wanna” a strong bass-line and some strong advice for a young lady. “Death and Night and Blood” is a tribute to Japanese writer Yukio Mishima. In “Curfew” the Warsaw Pact have invaded the UK and Her Majesties Government have fled to Scotland; not altogether an unrealistic prospect during the late seventies...

The bonus EP has a cover of “Walk On By” (known from Dionne Warwick) getting the Stranglers’ treatment, Hugh Cornwell’s singing unusually melodic, breaking with the general mood of the rest of the material.

To wrap it up this album marked a departure for the Stranglers, adding new ideas and and more refinement to their hitherto raw and uncompromising musical style, making it a real classic. if you appreciate the Stranglers for their early material (“(Get a) Grip”, “No More Heroes”), or their later stuff (“Golden Brown”, “Skin Deep”), then here’s your essential listening.

PS: Should you decide to get the CD, make sure to get the ‘repack’, this one includes the all bonus tracks, single b-sides and what not.

Hallogallo 2010: NEU! All New Again! And Tour Dates!

OK fans, so here we go again. I had just begun minutes earlier to do research for a future posting that would discuss the history and significance of krautrock and electronica band NEU! and guess what? They’re back. More or less.

Under the name “Hallogallo 2010” Michael Rother has ganged up with Steve Shelley of Sonic Youth fame and Aaron Mullan (Tall Firs, Glass Rock). they’re doing gigs in the UK, in Germany and Italy, Brazil and in Argentina. See here. Also, there’s a 7” vinyl single out in limited edition called “Blinkgürtel/Drone Schlager”, web-store only, limited edition.

The stuff of legends! Go see them if you can.

Howard Devoto’s Magazine Live Performance Back In 1978

Click this link to see the video. The video has embedding disabled, don't blame me, blame Virgin Music.

No sex, no drugs, just rock, mid-tempo and symphonic, singer Howard Devoto’s band Magazine in a sober yet hypnotic live performance of “Motorcade”.

Howard Devoto and Pete Shelley decided to start a band, the Buzzcocks, after seeing the Sex Pistols in 1976, their collaboration ending, after the Buzzcocks’ first EP, “Spiral Scratch”. Devoto displayed a chilling psychological perspective in songs such as “Boredom”, “Shot By Both sides”, “Motorcade”, “The Light Pours Out Of Me” and “Permafrost”.

In the highly dramatic “Motorcade” a high ranking official lives in splendid isolation from the crowd as he passes through the crowd, the motorcade that escorts the limousine he sits in continuing his journey for reasons of security in spite of injured onlookers at the boulevard.

I have always imagined this scene as taking place in the capital of some latin american dictatorship:

In the back of his car

In the null and void he sees

The man at the center of the motorcade

Can choose between coffee and tea

In the boulevard

The motorcade holds sway

At the end of the seventies there were a number of art student bands such as Wire, Gang Of Four, and 999. Magazine easily stood out from those. Highly influential and highly recommended.

Klein, maar fijn: Gallerie Anno shows Pierre Paulin

Photo of the designer seated in

one of his own creations.

Where: Gallerie Anno, Westerstraat 49, 1015 LT, Amsterdam.

When: sept. 11 - nov.16

Gallery Anno (an offspring from the furniture store with the same name also in Westerstraat) have opened their own exhibition space and decided to kick off by showing furniture, mostly chairs, by French designer Pierre Paulin.

Pierre Paulin (1927),who had aspired to become a Sculptor, switched to design after sustainining permanent injury to one of his arms.

Paulin designed furniture for the Dutch manufacturer Artifort the names of which, such as Mushroom, Orange Slice and Butterfly, reflect the sculpural qualities of his work. Besides furniture, he also applied himself to industrial design. He furnished hotel lobbies and the apartments of French presidents Pompidou and Mitterrand.

Although clearly rooted in the 1960's and 1970's, his designs appear timeless, due to having been conceived first and foremost as functional objects (you can remain seated forever in a Paulin chair), and only then, but not least, aesthetically.

The exhibition at Anno does great justice to Paulin's shapely but functional designs, which are best appreciated when seen in the real, and, given the limited floorspace of the gallery, does an excellent job of telling the visitor about paulin's furniture and the significance of it.

Highly recommended and I am looking forward to their next offering.