Rock Music – Issue #13
Rock music’s history is glorious. But who are it’s greatest rock bands and artists?
Over the years Many Disparate rock music sub-genres have emerged. hybrids like blues rock, folk rock, country rock, Progressive Rock, Psychedelic Rock, Glam Rock, Heavy Metal, Punk, Electronic, Etc. Have their Fans and Critics. From the ’90s alternative Rock achieves dominance. New genres, like grunge, Britpop, Hip Hop and indie Rock enter the mainstream. each with their own Unique Characteristics, Style, and Cultural Significance. Rock music has long been linked with political activism. Together with changes in social attitudes to race, sex, and drug use. Rock Music has assimilated cultural and social Movements – mods, rockers, Punks and the hippie movement for Example. the music both reflects society and influences society.The evolution of Rock Music has been inextricably linked to technological advancements. from the invention of the electric guitar to the rise of digital streaming platforms. Thus Music became ubiquitous, whether in public places or in the home. Music is a form of human conversation
Music Remains deeply personal, We hope to Highlight albums that evoke images, memories, and emotions to spark debate and Broaden your Horizons, step out of Your comfort zone and expand your music taste and experiences.
Join the Conversation!!!
We will Feature Up to 4 Albums from Artists representative of a range of the Many sub-genres. We Hope to encourage Listeners of all tastes and passions. So Get your Headphones on and Consider discussing the musical Offering and sharing your views with like-minded peers.
In Issue #13, We Feature The Stranglers
Stranglers IV (Rattus Norvegicus) is the debut studio album by The Stranglers, released in April 1977. It is widely celebrated as one of the standout records of the British punk and new wave era. is widely viewed by fans and critics as a masterpiece of punk-prog fusion. Key Tracks: “Peaches” Released as a double A-side single, this track became a massive UK Top 10 hit and arguably the band’s most recognisable signature song. Driven by a slow, hypnotic, and heavily distorted bass riff from J.J. Burnel, it features a distinct, casual spoken-word delivery by Hugh Cornwell that perfectly captured the gritty, controversial atmosphere of 1977. “(Get A) Grip (On Yourself)” This was the band’s debut 7-inch single and served as the perfect introduction to their unique sound, proving they were far more musically sophisticated than the standard three-chord punk bands of the era. It boasts a driving, frantic energy anchored by a blazing, doors-esque keyboard solo from Dave Greenfield and a prominent guest tenor saxophone performance by Eric Clark. “Hanging Around”: A brooding, melodic live staple that features some of Greenfield’s finest Hammond-style keyboard swirls. “Sometimes”: The album’s intense, aggressive opening track that immediately sets a dark and menacing tone. “Down in the Sewer” Running at over seven and a half minutes, this ambitious, multi-part masterpiece. It acts as a bridge between the raw energy of pub rock and the budding, complex arrangements of post-punk and progressive rock. Divided into four distinct sub-movements (Falling; Down in the Sewer; Trying to Get Out Again, and Rats Rally), it showcases the band’s incredible chemistry, shifting tempos seamlessly before building to an explosive, celebratory instrumental climax. Widely viewed by fans and critics as a masterpiece of punk-prog fusion.
No More Heroes released in September 1977 captured the band at their aggressive, keyboard-heavy peak. Faster, tighter, and more volatile and while other punk acts leaned on raw, three-chord rage, The Stranglers brought an art-rock and pub-rock pedigree—featuring Dave Greenfield’s swirling, rapid-fire organ arpeggios, Jean-Jacques Burnel’s growling, jagged basslines, and Hugh Cornwell’s sneering, confrontational delivery. Tracklist: 1. “I Feel Like a Wog” An aggressive, organ-heavy opener driven by Burnel’s pulsating bassline and Greenfield’s fast arpeggios, the lyrics (written by Cornwell) stem from alienation felt in Hamburg. The band’s intent was a gritty slice of urban dislocation. 2. “Bitching” A fast-paced, hook-laden slice of proto-new wave. It swaps traditional punk nihilism for a biting, high-energy pop-punk structure.3. “Dead Ringer” A tense, driving mid-tempo tracker. Built on a sharp Burnel riff, Cornwell’s lyrics take aim at hypocritical scene turncoats and fair-weather hangers-on who latched onto the punk explosion. 4. “Dagenham Dave” Melodic, bouncy, yet underlyingly tragic. 5. “Bring on the Nubiles” Built over a riff inspired by Miles Davis, the track pairs creeping, horror-movie organ atmospheres with deliberately provocative, controversial lyrics mocking adolescent groupie culture and societal taboos. 6. “Something Better Change” A stone-cold punk-pop anthem and a major UK hit single. The song acts as a middle-finger manifesto against bloated 1970s progressive rock supergroups in favour of the new energy of the era. 7. “No More Heroes” The album’s towering title track rolls through a sarcastic inventory of fallen icons—Lenny Bruce, Che Guevara/Elmyr de Hory, Sancho Panza, Shakespeare, and Nero. It is a cynical boot to the ribs of cultural hero-worship. 8. “Peasant in the Big Shitty” Stomping, avant-garde, and disorientating. A bizarre, acid-influenced experimental track It tests the boundaries of how far a “punk” band could push structural weirdness. 9. “Burning Up Time” A frantic, high-velocity rush. A snapshot of amphetamine abuse, burnout, and the relentless touring treadmill of the late-70s punk surge. 10. “English Towns” Grimy, cynical observational filler. Burnel’s bleak, unsparing sketch of the grey, decaying state of post-industrial municipal life across England. 11. “School Mam” An epic, sprawling 7-minute closer. This track leans heavily into progressive/art-rock territory with mutating guitar lines, complex bass work, and lyrics skewering prep-school authority and institutional dismissal. CD Reissue Bonus Track: “Five Minutes”: A dark, visceral single inspired by a harrowing real-life break-in and assault involving Burnel’s roommate.
Black and White, is widely considered a foundational blueprint for the post-punk movement. Moving away from the pub-rock-infused punk of their first two records, the album is famously split into two conceptually distinct halves—the White Side (more melodic yet aggressive) and the Black Side (dark, menacing, and experimental). Tracklist: Tank – A blistering, high-octane opener written at Bear Shank Lodge, driven by Jean-Jacques Burnel’s aggressive, distorted bass and a fierce military/Promethean theme of raw power. Nice ‘n’ Sleazy – The album’s standout lead single featuring a lurching, skewed reggae-influenced rhythm and inspired by an encounter with Hells Angels in Amsterdam. Outside Tokyo – Written with Hugh Cornwell’s cold, cynical lyrics and Burnel’s music, critiquing mechanical time, modernization, and urban alienation. Rise of the Robots – A track heavily influenced by art-punk band Devo featuring Lora Logic on saxophone, dealing with technological paranoia and the rise of automation. Sweden (All Quiet on the Eastern Front) – A frantic, kinetic track that shifts tempos drastically, critiquing rigid social order and clashes with Swedish youth subcultures (Raggare). Toiler on the Sea – The epic centrepiece and closer of the White Side, composed over a solitary Christmas with classical-style instrumental interplay reminiscent of a maritime sea-shanty. Curfew – Opening the Black Side in an apocalyptic mood, painting a chilling picture of martial law in a post-nuclear Britain. Threatened – A paranoid, abrasive track targeting opinionated and overbearing people, anchored by bizarre, squelching synthesizer textures from Dave Greenfield. Do You Wanna? – A brutish, nihilistic workout notable for a rare, vampiric lead vocal turn from keyboardist Dave Greenfield. Death and Night and Blood (Yukio) – Inspired by a line from Japanese author, merging a long, atmospheric intro with a heavy, driving pulse. In the Shadows – A thick, brooding bass-heavy track edited down from a studio jam session. Enough Time – A hypnotic, tense closer featuring a distinct Morse code SOS bass/synth solo that wraps up the album’s cold, dystopian atmosphere
La Folie is the band’s sixth studio album. Exploring the strange, often destructive nature of love and human obsession, it bridges their abrasive post-punk roots with sleek new wave and art-rock styling. Tracklist: Non Stop – A punchy opener featuring a half-spoken, Lou Reed-style vocal delivery over a blues-oriented progression, driven by bouncy drumming and a sharp organ line. Everybody Loves You When You’re Dead – A cynical, fast-paced critique of fame, hypocrisy, and how public perception shifts drastically once someone passes away or loses relevance. Tramp – An edgy, rhythm-heavy track showcasing Jean-Jacques Burnel’s signature aggressive bass work and Hugh Cornwell’s sharp guitar jabs. Let Me Introduce You to the Family – Released as a single, this track blends a dark, theatrical menace with tight new-wave pop arrangements, introducing a gallery of dysfunctional characters. Ain’t Nothin’ to It – A slower, moody piece that leans into the band’s atmospheric post-punk leanings, keeping a cool, detached tone. The Man They Love to Hate – Extended closer, weaving bitter lyrical observations with intricate keyboard textures from Dave Greenfield. Pin Up – A swift, bass-driven track that acts as a sleek and slightly superficial companion piece to the record’s earlier thematic pacing. It Only Takes Two to Tango – A quirky, rhythmically unusual cut that highlights the band’s eccentric pop experiments and tight instrumental interplay. Golden Brown – The album’s undisputed centrepiece and a massive worldwide hit. Built on Dave Greenfield’s harpsichord, a waltzing time signature, and a double-entendre lyric about a girl and heroin, it remains a baroque-pop masterpiece. How to Find True Love and Happiness in the Present Day – A sarcastic, fast-moving 1980s synth-pop guide to modern existential dread disguised as an upbeat radio track. La Folie – The sprawling title track closes the album with a hypnotic, low-key French spoken-word monologue delivered by Burnel.
Formed as the Guildford Stranglers in early 1974, they originally built a following within the mid-1970s pub rock scene. While their aggressive, no-compromise attitude had them identified by the media with the emerging 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 to the sophisti-pop of some of their 1980s output. They had major mainstream success with their 1982 single “Golden Brown”. Their other hits include “Peaches”, “No More Heroes”, “Strange Little Girl”, “Skin Deep” and “Always the Sun”. Cornwell was a blues musician before forming the band and had briefly been a bandmate of Richard Thompson, Burnel had been a classical guitarist who had performed with symphony orchestras, Black’s musical background was as a jazz drummer, and Greenfield had played at military bases in Germany. 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. 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.
The band’s early albums, Rattus Norvegicus, No More Heroes and Black and White, all released within a period of 13 months, were highly successful with the record-buying public. These albums went on to build a strong fan-following, but the group’s confrontational attitude towards 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.In 1979 the Stranglers released The Raven, which had a more melodic and complex sound. 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. 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 connection between religious phenomena and extraterrestrial visitors. It was different from their earlier work and alienated many fans. La Folie (1981) was another concept album, this time exploring the subject of love. At first La Folie charted lower than any other Stranglers studio album. However, the single “Golden Brown”. Taken from the album became their biggest hit. 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. Following the Stranglers’ return to commercial success, many record companies lined up to sign them and Epic Records secured the Stranglers’ services.
The Stranglers once again had complete artistic freedom and in 1983 released their first album for Epic, Feline. 1984 saw the release of Aural Sculpture which consolidated the band’s success in Europe and established them in Oceania. Their 1986 album, Dreamtime, dealt with environmental concerns among other issues. 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.Cornwell stated that he felt that the Stranglers were a spent force creatively and cited various examples of his increasingly acrimonious relationship with his fellow band-members, particularly Burnel. Feelings were mutual; when Cornwell phoned Jet Black to say he was leaving the band, the drummer’s response was blunt “OK, fine”.The remaining members recruited John Ellis, who had had a long-standing association with the band and enlisted 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). The Stranglers achieved something of a critical and popular renaissance in 2004 with the album Norfolk Coast and a subsequent sell-out tour. In May 2006, Roberts left the band and the Stranglers were now back to a four-piece line-up.Suite XVI, the follow-up album to Norfolk Coast, was released in September 2006 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 which included a country and western style Johnny Cash pastiche/homage “I Hate You”. In 2007 it was reported that drummer Black was suffering from atrial fibrillation, an ailment which subsequently forced him to miss several shows, particularly where extended travel was required.The next decade saw much touring and festival appearances. An album Giants was released in 2012. Black ceased performing on stage with the band after some partial-set appearances in March 2015, although he remained an official member of the band until his retirement in 2018. Greenfield died on 3 May 2020, at the age of 71. He had contracted COVID-19 while in hospital for a heart ailment. The band’s 18th studio album, Dark Matters, features contributions from Greenfield and is also their first release following the retirement of Black. It was released in 2021. After many years of health problems, Black died on 6 December 2022 at the age of 84.
Sound quality is important and the better online Streaming services will offer superior sound quality. As always, We do encourage you to purchase Favoured albums from good online or High street record stores. The Stranglers – Rattus Norvegicus, No more Heroes, Black and White – abel : United Artists ; La Folie – Label : Liberty (EMI)
Artists in upcoming issues: The Ramones, Blur, Guns n’ Roses, Led Zeppelin, Elvis Costello……Keep Listening!!