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The Stranglers are an English rock band formed in 1974. Scoring 23 UK top 40 singles and 20 UK top 40 albums to date in a career spanning five decades, the Stranglers are one of the longest-surviving bands to have originated in the UK punk scene.

Key Information

Formed as the Guildford Stranglers in Guildford, Surrey, in early 1974,[5] 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 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 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 "No More Heroes", "Peaches", "Always the Sun", "Skin Deep" and "Big Thing Coming".

The Stranglers' early sound was driven by Jean-Jacques Burnel's melodic bass, but also gave prominence to Dave Greenfield's keyboards. Their early music was also characterised by the growling vocals and sometimes misanthropic lyrics of both Burnel and Hugh Cornwell.[6] Over time, their output gradually grew more refined and sophisticated. Summing up their contribution to popular music, critic Dave Thompson later wrote: "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."[7]

They experienced several line-up changes. After Cornwell's departure in 1990, Burnel, drummer Jet Black and Greenfield were the only constant members of the band until Black's retirement in 2018 and Greenfield's death in 2020.

History

[edit]

Formation and mainstream success (1974–1979)

[edit]

Prior to forming the band, Jet Black (Brian Duffy) had run various businesses, including a fleet of ice cream vans,[8] and later ran The Jackpot,[9] a Guildford off-licence that would serve as the base for the early Stranglers.[10][11] Black had also been a semi-professional drummer in the late 1950s and early 1960s. After attaining a degree of financial stability due to his business successes, by 1974 he decided to return to drumming and assemble a band. The Stranglers came to be an influential band in the British punk and new wave scene of the mid-1970s. Black drove the ice cream vans that would serve as the Stranglers' early tour buses.[12]

The group that eventually formed between 1974 and 1975 was originally named The Guildford Stranglers, but they soon dropped the geographical prefix and the name, The Stranglers, was registered as a business on 11 September 1974 by Black.[5][13] The 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.[14] None of the band came from the Guildford area apart from Burnel, who was originally from Notting Hill but moved to Godalming during his childhood. Black is from Ilford, Cornwell from Kentish Town and Greenfield from Brighton, while Wärmling came from Gothenburg and returned there after leaving the band.

Cornwell was a blues musician before forming the band and had briefly been a bandmate of Richard Thompson,[15] Burnel had been a classical guitarist who had performed with symphony orchestras,[16] Black's musical background was as a jazz drummer,[17] and Greenfield had played at military bases in Germany.[18] Their early influences included pre-punk psychedelic rock bands such as the Doors[19][20] 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.[21][22] 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."[23]

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 and singles such as "Peaches", "Something Better Change" and "No More Heroes" became instant punk classics. Meanwhile, the band received a mixed reception from some critics because of their apparent sexist and racist innuendo. However, critic Dave Thompson argued that such criticism was oblivious to the satire and irony in the band's music, writing: "the Stranglers themselves revelled in an almost Monty Python-esque grasp of absurdity (and, in particular, the absurdities of modern 'men's talk')."[24] 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.[25]

In February 1978, the Stranglers began a mini-tour, playing three secret pub gigs as a thank-you to those venues and their landlords for their support during the band's rise to success. The first was at The Duke of Lancaster in New Barnet on Valentine's Day,[26] with further performances at The Red Cow, Hammersmith, and The Nashville Rooms, West Kensington, in early September.[27]

During their appearance at the University of Surrey on the BBC TV programme Rock Goes to College, on 11 October 1978,[28] and aired on the 19 October, the group walked off stage because an agreement to make tickets available to non-university students had not been honoured.[29]

In the latter half of the 1970s, the Stranglers toured Japan twice, joining the alternative music scene of Tokyo, which was evolving from the punk sound of Kyoto-based band Murahachibu (村八分, Ostracism), whose music influence spread to Tokyo in 1971. The Stranglers were the only foreign band to take part in a landmark scene focused around S-KEN Studio in Roppongi and The Loft venues in Shinjuku and Shimokitazawa from 1977 to 1979.[30] The scene included bands such as Friction, and they became friends with the band Red Lizard, whom they invited back to London, where the band became known as Lizard.[31] In 1979, while still in Japan, Burnel also became close friends with Keith, co-founder and drummer for ARB. At the end of 1983, ARB's bassist was imprisoned, leaving the band with a problem for their forthcoming tour. Burnel took time out from the Stranglers to fly out to Japan at short notice and join ARB to cover the tour, including appearing at the All Japan Rock Festival at Hibaya park, becoming the first non-Japanese to ever appear at the festival.[32][33][34] Burnel toured with ARB for five weeks and played on two studio tracks, "Yellow Blood" and "Fight it Out", both of which appeared on the RCA Victor ARB album Yellow Blood.[35]

Second phase (1979–1982)

[edit]
The Stranglers performing in France on The Raven tour, 1979

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 management team.[36] Meanwhile, Burnel released an experimental solo album Euroman Cometh backed by a small UK tour and Cornwell recorded the album Nosferatu in collaboration with Robert Williams. Later that year 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, "Meninblack". The Hohner Cembalet, which saw prominent use on the previous three albums, was dropped and Oberheim synthesizers used instead whilst acoustic piano was used on "Don't Bring Harry". A harmoniser was used to treat Burnel's vocal on the track "Meninblack", the recording of which led to Martin Rushent, who had produced their earlier albums, walking out, leaving the band to co-produce the album themselves with Alan Winstanley.[37]

We're never going to use a producer again. They are just shitty little parasites. All they're good for is telling jokes. And we know better jokes than any of 'em.

— Hugh Cornwell, NME – November 1979[38]

The Raven was not released in the US; 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 - it 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; "Bear Cage" was No. 36 in the chart.

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 preceded by a single "Who Wants the World", which did not appear on the album, and just made the top 40. The album also included "Waltzinblack" which became adopted as a theme by TV chef Keith Floyd. The Gospel According to The Meninblack was different from their earlier work and alienated many fans.[39] 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.[39] 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.[37]

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, 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". The song is an evocative waltz-time ballad, with an extra beat in the fourth bar. Cornwell said the lyrics were "about heroin and also about a girl. She was of Mediterranean origin and her skin was golden brown."[40] It became their biggest hit, charting at No. 2 in the UK Singles Chart. It was also named as "record of the week" on BBC Radio 2, despite the station not previously playing music associated with the punk genre. 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" but "La Folie" was chosen after Burnel convinced his bandmates of its potential.[41] 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.[42] The track listing for The Collection 1977–1982 included the new single "Strange Little Girl", which had originally been recorded on a demo in 1974 and rejected by EMI. It became a hit, charting at No. 7 in July 1982 and providing royalties to Wärmling through his co-writing credit.

New label and sound (1983–1990)

[edit]
The Stranglers during the recording of French TV show "L'Echo des Bananes" in September 1983

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 No. 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.[43] Hugh Cornwell stated, "On La Folie there were three tracks – 'Golden Brown' ... 'La Folie' and 'How to Find True Love and Happiness in the Present Day' – that sort of pointed us away from what we had been doing. It was strange doing those tracks, because we'd never really attempted that quite minimalistic recording technique. And when we started writing for Feline, things were coming out the same way."[44] The album reached No. 4 in the UK chart in January 1983.

The Stranglers during the Aural Sculpture tour in London,1985

1984 saw the release of Aural Sculpture which consolidated the band's success in Europe and established them in Oceania. It included the UK No. 15 hit "Skin Deep" (which also reached No. 11 in Australia, No. 19 in New Zealand 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 Cornwell's departure in 1990. Aural Sculpture peaked at No. 14 in the UK Albums Chart 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 and No. 16 hit in Ireland, No. 21 in Australia, No. 30 in the UK and No. 42 in the Netherlands). The only Stranglers album to chart in the US, Dreamtime was 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 Kinks' "All Day and All of the Night", a UK No. 7 hit in 1988, the Stranglers released another cover of a 1960s track, "96 Tears" as their first single from 10; it reached No. 17 in the UK. 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, but Epic Records decided against it. In August 1990, Hugh Cornwell left Stranglers to pursue a solo career, following the band's failure to secure a tour in the US.[45] In his autobiography, 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".[46]

Post-Cornwell era (1990s)

[edit]
Paul Roberts performing in 2004, Roberts replaced Hugh Cornwell in 1990

Following the departure of Cornwell, CBS-Sony dropped the Stranglers from its roster. 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 television appearance on The Word) before enlisting 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).

2000s resurgence and reversion to a four-piece

[edit]

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[47][48] with the album Norfolk Coast and a subsequent sell-out tour, together with their first UK Top 40 hit (No. 31) in 14 years, "Big Thing Coming". The album also included Tuckers Grave about a Somerset cider house named after the victim of a suicide in a nearby farm which members of the band now occupied. In 2005, Coast to Coast: Live on Tour was released; the live album contained songs recorded during their tour the previous year. On their UK tour they were supported by Goldblade.

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. In concert, Burnel returned to singing the songs he originally recorded as lead vocalist and Warne sang the numbers originally led by Hugh Cornwell.

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 was 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 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. On such occasions Ian Barnard, Black's drum technician, deputised.[49]

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 Roundhouse.[50]

2010–present

[edit]

The Stranglers started 2010 with an extensive UK tour, including a sold-out return to the Hammersmith Apollo in March, their first visit there since 1987. They were supported on the 16-date UK tour by Max Raptor.[51]

A double CD compilation album, Decades Apart, containing a selection of tracks from the full career of the band, including at least one from each of their 16 studio albums and two new tracks, "Retro Rockets" and "I Don't See the World Like You Do", was released in February 2010. The download version of Decades Apart included an unreleased recording from 1978, "Wasting Time", inspired by the band's Rock Goes To College experience earlier that year;[29] this track, originally titled "Social Secs", was never released, and the music ended up being reversed and released as "Yellowcake UF6", the B-side to "Nuclear Device" in 1979.

Across the summer of 2010 the band played a number of festivals, including Weyfest and Glastonbury and T in the Park in the UK, Oxegen 2010 in Ireland and concerts in Japan, Greece, Poland, Slovakia and Bulgaria. The band also released a new live album and DVD, recorded at the Hammersmith Apollo in May 2010.[51] In March 2011, the band completed another UK tour. Burnel's long-term friend Wilko Johnson was invited to bring The Wilko Johnson band on the tour. In April, the band began touring Europe, with many gigs and major festivals lined up for the entire year.

Jim Macaulay, the touring drummer, in 2013

On 23 September 2012, the band returned to Looe, Cornwall, fronted by Warne and Burnel. The band had originally spent time in Looe writing Suite XVI.[52]

Giants was released in 2012. The "deluxe" version consisted of a second disc containing tracks from the Weekend in Black acoustic session in November 2011.

2013 saw the band play a full UK tour, with Black playing the second half at most gigs (Jim Macaulay taking the first half).[53] Several festivals were booked for 2013, including a session at the BBC Proms on 12 August. For the North American tour Black was not present, with Macaulay playing the entire show.[54][55]

In 2014, the band celebrated its 40th birthday with a Ruby Tour, throughout the UK and Europe. In 2015, the March On tour had 18 dates around the United Kingdom. Where stage space allowed, a second drum kit was set up and Jet Black appeared for a set of four songs. A proposed gig in Moscow was announced and then cancelled due to visa difficulties, but a mini-tour of the UK took place in July. The band then played gigs throughout Europe, ending in November. In April 2016, they returned to New Zealand and Australia.[56]

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.[57] Jim Macaulay appeared in a promotional photograph alongside Burnel, Greenfield and Warne for the first time in 2016 and has since been named as an official member of the group.

In August 2017, the Stranglers performed at an outdoor concert in Hull as part of the UK City of Culture celebrations. In July 2018, the band played at the LUNAR festival in Tanworth-in-Arden.

Greenfield died on 3 May 2020, at the age of 71. He had contracted COVID-19 while in hospital for a heart ailment.[58] The band's 18th studio album, Dark Matters, features contributions from Greenfield and is also their first release following the retirement of Black.[57] It was released on 10 September 2021,[59] and entered the UK Albums Chart at number 4, the highest position since Feline in 1983 and their first top 10 position since 1990.[60]

In November 2021, the band began what was billed as their last full tour with their new keyboard player, Toby Hounsham, who played with Rialto, an English rock band formed in London in 1997, and subsequently Mungo Jerry for live and studio work since the early 2000s.

After many years of health problems, Black died on 6 December 2022 at the age of 84.[61]

Although the band had billed their 2021 dates as their final UK tour, they continued to tour Europe in 2023. For 2024, a 50th Anniversary Tour included dates in the UK and Europe,[62] and 2025 found the band touring Europe, the UK, Australia and New Zealand.[63]

Legacy

[edit]

"No More Heroes" was featured in the first episode of the BBC fantasy crime drama series Ashes to Ashes and in the third episode of the second season of the American TV show Queer as Folk.[64][65] The title was used for the 2007 video game No More Heroes, created by Japanese designer Goichi Suda,[66] who is also a fan of the band.[67] Despite the name, the cost of licensing the track prevented the song from appearing in the game.[67] A cover version by Violent Femmes was used for the film Mystery Men.

The song "Let me Down Easy" was used as the opening credits theme for Hardcore Henry. "Peaches" appeared in the title sequence of Sexy Beast by director Jonathan Glazer and was used as the closing theme for many of Keith Floyd's cooking programmes, with the instrumental track 'Waltzinblack' providing the title music.

"Golden Brown" featured in Guy Ritchie's film Snatch (2000), was used extensively in the Australian film He Died with a Felafel in His Hand. It also featured in the Black Mirror episode "Metalhead"[68] and in Season 2 of The Umbrella Academy.[citation needed]

More songs by the Stranglers have been licensed for use in commercials than from any other punk band.[69] "Always The Sun" was used for a TV and radio campaign by insurance company Sun Alliance in 1992 and 1993.[70] "Peaches" has appeared on adverts for Adidas, HSBC, Tesco and JBL speakers[69] while "Waltzinblack" has been used for Vodafone and the Carphone Warehouse.[69] In 2002 "Hanging Around", a track from the 1977 debut album Rattus Norvegicus which was never released as a single, was used in several French Wonderbra commercials[69] featuring model Inna Zobova.[71] "Golden Brown" was used to advertise Ore-Ida french fries and later used in Waitrose's 2008 Christmas campaign.[69]

Tori Amos covered "Strange Little Girl" on her 2001 Strange Little Girls album.[72]

Members

[edit]

Current members

[edit]
  • Jean-Jacques Burnel – bass, lead and backing vocals (1974–present)
  • Baz Warne – guitar, backing vocals (2000–present), lead vocals (2006–present)
  • Jim Macaulay – drums, percussion, backing vocals (2018–present, touring musician: 2012–2018)[73][74]
  • Toby Hounsham – keyboards, backing vocals (2021–present)

Former members

[edit]
  • Jet Black – drums, percussion (1974–2018; semi-retired from touring 2007–2018; died 2022)[75]
  • Hugh Cornwell – lead and backing vocals, guitar (1974–1990)
  • Hans Wärmling – keyboards, backing vocals, guitar (1974–1975; died 1995)
  • Dave Greenfield – keyboards, backing and lead vocals (1975–2020; died 2020)
  • John Ellis – guitar, backing vocals (1990–2000)
  • Paul Roberts – lead vocals, percussion (1990–2006)

Former touring musicians

[edit]
  • Ian Barnard – drums, percussion (2007–2012)

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

Timeline

[edit]

Discography

[edit]
Main article: The Stranglers discography
Studio albums

References

[edit]

Sources

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The Stranglers

View on Grokipedia
from Grokipedia
The Stranglers are an English rock band formed on 11 September 1974 in , , initially known as the Guildford Stranglers. Emerging during the explosion, they blended aggressive rhythms, psychedelic keyboards, and satirical lyrics to distinguish themselves from contemporaries, achieving commercial success with over 40 million records sold worldwide across six decades. The band's original lineup featured drummer Jet Black (Brian Duffy), guitarist and vocalist Hugh Cornwell, bassist and vocalist Jean-Jacques Burnel, and keyboardist Dave Greenfield, who brought a progressive edge to their raw pub rock roots. Their debut album, Rattus Norvegicus (1977), reached No. 4 on the and introduced hits like "(Get a) Grip (On Yourself)," while follow-ups No More Heroes (1977) and Black and White (1978) solidified their status with provocative tracks such as "Peaches" and "Nice 'n' Sleazy." Despite controversies, including clashes with punk peers and legal issues, they amassed 23 UK Top 40 singles and 19 Top 40 albums, evolving into new wave and territories with sophisticated works like (1979) and the harpsichord-driven "" (1982), their highest-charting single at No. 2. Lineup changes marked their resilience: Cornwell departed in 1990 after 10 (1990), leading to periods with John Ellis and Paul Roberts, before joined as guitarist and vocalist in 2000. Tragedies struck with Greenfield's death from in 2020 and Black's passing in 2022 at age 84, leaving Burnel as the sole original member in the current touring lineup alongside Warne, drummer Jim Macaulay, and keyboardist Toby Hounsham. The band continues to perform, with their 2021 album Dark Matters reaching No. 4 on the UK charts—their highest placement in 38 years—and a 2025 "51" UK tour alongside , alongside announced 2026 dates in .

Musical style

Early sound and punk roots

The Stranglers originated in the mid-1970s pub rock scene in , , where they initially performed as the Guildford Stranglers in local venues, developing a hard-edged, aggressive sound that blended elements of R&B, rock, and . Emerging from the raw energy of pub rock—a movement emphasizing straightforward, high-octane performances in intimate settings—the band cultivated a confrontational style that captured the era's rebellious spirit without fully aligning with the emerging punk orthodoxy. Their music drew from the gritty undercurrents of British rock traditions, prioritizing intensity over technical polish. Central to their early sound was the distinctive interplay of instrumentation, with bassist and vocalist Jean-Jacques Burnel's driving, propulsive bass lines providing a muscular foundation that anchored the band's rhythmic aggression. Drummer contributed tribal, pounding rhythms that evoked a primal urgency, while guitarist and vocalist delivered angular, jagged riffs reminiscent of garage rock's raw edge. Keyboardist added atmospheric layers inspired by psychedelic influences like the Doors' , introducing swirling textures that contrasted the band's otherwise stark setup and hinted at broader sonic explorations. This configuration produced a sound that was both visceral and unconventional, reflecting influences from garage rock and alongside an emerging punk attitude of defiance and fervor, though the band often resisted strict punk categorization due to their age and musical complexity. Their debut single, "(Get A) Grip (On Yourself)" released in January 1977, exemplified this gritty, confrontational style, featuring Burnel's insistent bass groove, Cornwell's sharp guitar stabs, and a solo that underscored the track's raw, no-nonsense energy. Backed by "London Lady," the single captured the band's ethos—direct, unyielding, and laced with sardonic lyrics—positioning them as outliers in the punk landscape who infused the genre's attitude with their own muscular, keyboard-tinged twist.

Evolution and genre experimentation

Following their punk roots, The Stranglers began evolving their sound in the late 1970s by integrating , , and other influences, evident in the complex arrangements and extended tracks on their 1979 album . The record featured tricky time signatures, polyphonic elements reminiscent of classical and prog traditions, and songs exceeding seven minutes, such as the sea-faring epic "Toiler on the Sea" with its string-laden introductions and spacey keyboards. This shift marked a progression from raw energy to more ambitious structures, including a four-part suite on prior work that carried over into 's experimental 3D artwork and layered compositions. In the 1980s, The Stranglers delved into and gothic aesthetics, incorporating orchestral flourishes and elements on albums like Feline (1983), where dark, moody tones and innovative layers created a polished yet brooding atmosphere, and La Folie (1981) with tracks like "" featuring waltz-inspired phrasing derived from Paul Desmond's "" in a blend of 3/4 and 4/4 time signatures totaling 13 beats per cycle. Aural Sculpture (1984) built on this with sensual pop-rock experimentation, featuring brass sections for added texture and a blend of new wave accessibility with gothic undertones, resulting in an underrated collection of dynamic, genre-blending tracks. The 1990s and 2000s saw the band fuse rock with and emphasize mature songwriting, as demonstrated on Norfolk Coast (), their first studio release in six years, which combined electronic elements with reflective structures to signal a creative . This era highlighted sophisticated lyrical depth and production that bridged their earlier with contemporary sounds, avoiding punk's rawness in favor of layered, introspective compositions. Recent works like Dark Matters (2021) revisit keyboard-driven atmospheric rock, employing modern production techniques to craft poignant, immersive soundscapes that honor the band's legacy while feeling reflective and timeless. The album's brooding electronics and organ swells create a masterful, tribute-like depth, blending nostalgia with forward-looking experimentation.

History

Formation and pub rock beginnings (1974–1976)

The Stranglers were formed in , , in September 1974 by drummer (real name Brian Duffy), the owner of a local off-licence and ice cream vans, and bassist/vocalist , a biochemistry graduate they met through local connections. Initially named the Guildford Stranglers, the band reflected the gritty, working-class ethos of their hometown. Guitarist/vocalist joined soon after formation, alongside Swedish keyboardist/guitarist , establishing the initial lineup. The group played their debut performance on 21 December 1974 at The Star pub in , marking the start of their immersion in the burgeoning UK pub rock scene. They honed their craft through frequent gigs in pubs and small clubs around and , delivering high-energy sets that blended covers of R&B and rock standards—influenced by acts like Dr. Feelgood and the Kinks—with original material, quickly gaining a loyal following for their raw intensity and stage presence. By early 1975, the band shortened their name to The Stranglers to broaden their appeal beyond regional ties. That same year, Wärmling departed and was replaced by keyboardist , whose atmospheric organ playing added a distinctive edge to their sound and solidified the classic lineup of , Burnel, Cornwell, and Greenfield. Their relentless touring schedule in the pub rock circuit, often using Black's vans for transport, built a formidable live reputation amid the mid-1970s economic gloom. In mid-1976, persistent efforts by their management and the buzz from their explosive performances led to a with , valued at £40,000. This deal paved the way for their first professional recordings later that year, transitioning them from pub rock staples to poised for wider recognition.

Breakthrough and mainstream success (1977–1979)

The Stranglers' commercial ascent began in earnest with the release of their debut studio album, Rattus Norvegicus (also titled Stranglers IV in some markets), on 15 April 1977 via . The album, featuring the band's raw, aggressive punk-inflected sound with prominent organ riffs and driving rhythms, peaked at number 4 on the and remained in the top 100 for 34 weeks. Its , "(Get a) Grip (On Yourself)", issued in 1977 as a double A-side with "London Lady", reached number 44 on the UK Singles Chart. Follow-up single "Peaches", released in June 1977, fared better, climbing to number 8 and spending 14 weeks on the chart, bolstered by its infectious reggae-punk groove despite bans over suggestive . Capitalizing on this momentum, the band swiftly followed with their second album, No More Heroes, released on 23 September 1977. The record, which refined their visceral style with tracks blending satire and aggression, achieved even greater success, peaking at number 2 on the for 18 weeks. The title track single, released concurrently, mirrored this chart performance by reaching number 8 and earning a spot on . Additionally, "Something Better Change" from Rattus Norvegicus, issued in August 1977, had entered the top 10, underscoring the band's rapid string of hits during the punk explosion. Their early sound, marked by Hugh Cornwell's snarling vocals and Jean-Jacques Burnel's muscular basslines, resonated strongly with punk audiences seeking alternatives to more stripped-back acts. The momentum continued into 1978 with the release of Black and White on 12 May, an album that further showcased their genre-blending prowess through extended tracks and experimental elements, again peaking at number 2 on the for 18 weeks. The standout single, a punk-infused cover of Dionne Warwick's "Walk on By" featuring Dave Greenfield's swirling organ solo, reached number 21 on the UK Singles Chart in August. During 1977 and 1978, The Stranglers toured relentlessly across the and Europe as part of the vibrant punk circuit, sharing stages with influential acts like the and building a fervent fanbase amid the movement's cultural upheaval; they notably headlined five consecutive nights at London's Roundhouse in early 1978, surpassing attendance records previously set by the Who and .

The Raven and diversification (1979–1982)

Following the success of their earlier albums, The Stranglers released their fourth studio album, , on 21 September 1979 through . This ambitious release, inspired by the band's global travels to places like , , and , as well as contemporary events such as the rise of the and advances in , incorporated concept elements exploring themes of UFOs, politics, and . Recorded at Pathé-Marconi Studios in to take advantage of tax benefits and a creative environment free from UK distractions, the album featured a softer bass sound, seamless segues between tracks like "Shah Shah a Go Go" and "Ice," and a broader range of influences, signaling the band's diversification from their punk roots toward more experimental and progressive structures. It peaked at No. 4 on the . The lead single "Duchess," released in August 1979, became a standout track with its melodic, introspective lyrics about suburban life, reaching No. 14 on the UK Singles Chart and marking the band's first single in over a year. Another single from the album, "Nuclear Device (The Wizard of Aus)," issued in October 1979, peaked at No. 36 on the UK Singles Chart; its title referenced Australian nuclear tests and UFO lore, further emphasizing the album's thematic depth. These releases helped The Raven achieve critical acclaim for its sonic variety, blending new wave with psychedelic and orchestral touches, while maintaining the band's signature aggression in tracks like the title instrumental "The Raven." In 1980, amid internal challenges including frontman Hugh Cornwell's brief imprisonment for drug possession, the band continued touring extensively across the UK and Europe, often under the informal banner "The Stranglers and Friends" due to guest musicians filling in during Cornwell's absence; notable shows included performances at the Rainbow Theatre in in April. To support their North American expansion, they issued the compilation album IV on , featuring selections from alongside earlier B-sides and a new track, though it was exclusive to the and markets. This period underscored the band's resilience and artistic risks, as they experimented with live formats, including a later official release of recordings from their 1977–1978 performances, such as the Paris Bataclan show, which captured their raw energy in a bootleg-circulated but eventually acknowledged live document. By 1981, The Stranglers further diversified with their fifth studio album, (The Gospel According to) The Meninblack, released on 9 February through , an esoteric delving into UFO conspiracies, , and the "Men in Black" mythos. Peaking at No. 8 on the , it showcased intricate arrangements, spoken-word interludes, and a psychedelic edge, with tracks like "" highlighting their shift toward waltz rhythms and thematic ambiguity. The album's experimental nature, including sci-fi sound effects and mythological references, represented a bold departure from straightforward punk, prioritizing narrative cohesion over commercial singles. The pinnacle of this era came in 1982 with the single "Golden Brown" from the follow-up album La Folie, though rooted in sessions overlapping the Meninblack period; released in December 1981, it introduced a distinctive 6/8 waltz-time structure and ambiguous lyrics interpreted as a double entendre on heroin addiction and a romantic relationship, as explained by Hugh Cornwell. The track soared to No. 2 on the UK Singles Chart, the band's highest-charting single to date, blending harpsichord-like keyboard melodies with their evolving sophistication and broadening their appeal beyond punk audiences. This success encapsulated the band's diversification into more nuanced, genre-blending territory during 1979–1982, balancing conceptual ambition with melodic accessibility.

Epic era and lineup changes (1983–1990)

In 1982, The Stranglers signed with , marking a shift from their previous label and allowing for broader international distribution and a more polished production approach. This transition came after the band's earlier punk-influenced work, extending their experimentation into more accessible new wave and pop elements while retaining a distinctive edge. Their first Epic release, the 1983 album Feline, peaked at No. 4 on the and featured the single "European Female (In Celebration Of)", which reached No. 9 on the UK Singles Chart. The album's sleek, atmospheric sound, produced by the band with Steve Churchyard, showcased evolving songwriting with themes of desire and urban life, supported by Hugh Cornwell's distinctive vocals and Dave Greenfield's keyboard flourishes. The band's Epic era continued with in 1984, which climbed to No. 14 on the and introduced a three-piece —comprising , , and —on tracks like "Ice Queen" and "", adding soulful layers to their rhythm-driven style. The lead single "Skin Deep" became a standout, peaking at No. 15 on the UK Singles Chart and benefiting from an innovative that highlighted the band's growing visual experimentation. Produced by Laurie Latham, the album emphasized acoustic guitars and melodic hooks, reflecting a commercial refinement amid their post-punk roots. During this period, The Stranglers toured extensively in and the , performing at venues like the Markthalle in and building a in America through consistent live shows that blended high-energy sets with emerging production techniques. Subsequent releases included Dreamtime in 1986, which reached No. 16 on the UK Albums Chart and drew inspiration from Indigenous Australian mythology for its title track, incorporating world music influences into their repertoire. By 1990, the band issued 10, their tenth studio album and final one with Cornwell, peaking at No. 15 on the UK Albums Chart; it aimed to capitalize on their U.S. audience with tracks like a cover of "? and the Mysterians'"96 Tears". However, internal tensions had escalated, with Cornwell citing creative stagnation, over-reliance on drum machines, and personal boredom as key factors in his decision to leave after the supporting tour concluded in August 1990. This departure ended the band's classic lineup, amid a period of stylistic maturation under Epic's backing.

1990s transition with new vocalist

Following the departure of longtime vocalist and guitarist in 1990, The Stranglers faced the challenge of rebuilding their core sound and lineup to continue as a performing and recording unit. The band conducted auditions for a new frontman, ultimately recruiting Paul Roberts, a former member of indie bands like Acute Dog and Big Wheel, to handle lead vocals and guitar duties; Roberts had been playing music since his teens but brought a gravelly voice and stage presence that the group deemed a fitting evolution from Cornwell's style. Simultaneously, John Ellis, who had previously guested with the band during Cornwell's brief 1980 absence and played with , joined full-time on guitar, providing rhythmic support and allowing for a dual-guitar setup that expanded their live dynamics. This new configuration debuted on a club tour in , where Roberts and Ellis endured initial fan skepticism but gradually won over audiences through energetic performances. The transition period yielded the band's first independent release, , issued in September 1992 on their self-founded Psycho Records label; the album featured a mix of re-recorded classics and new material, reflecting the group's attempt to blend their punk roots with more polished rock arrangements, and it reached number 33 on the . A companion live recording from the era, capturing the fresh lineup's vitality, was also released that year to document their onstage adaptation. By the mid-1990s, songwriting became markedly more collaborative, with Roberts, Ellis, bassist/vocalist , and keyboardist sharing credits across tracks, moving away from the earlier dominance of Cornwell-Burnel partnerships toward a democratic process that emphasized group input and experimentation with pop-rock structures. This shift helped foster internal cohesion, as the band navigated personnel adjustments and creative reinvention without major disruptions. Despite these efforts, commercial success in the UK waned, with the band prioritizing extensive tours across —where they retained a dedicated following—and , including headlining spots at festivals and club dates that sustained their international profile but yielded limited domestic media exposure. The 1998 album Coup de Grace, released on Eagle Records, exemplified this phase with its introspective tracks and greater emphasis on Burnel's production influence, though it failed to chart in the UK amid broader industry shifts toward and that marginalized veteran rock acts. Throughout the decade, The Stranglers focused on lineup stability through regular rehearsals and side projects, such as charity performances, to counter declining sales and rebuild momentum, setting the stage for future endurance rather than immediate hits.

2000s revival and four-piece return

Following the lineup instability of the 1990s, The Stranglers experienced a resurgence in the with the addition of guitarist in 2000 and the departure of vocalist Paul Roberts in 2006. Roberts, who had fronted for 16 years, left to focus on his Soulsec, allowing Warne to assume lead vocal duties alongside his guitar role. This shift reverted the group to its classic four-piece configuration of Warne, bassist/vocalist , keyboardist , and drummer , restoring a leaner dynamic that revitalized their sound. The band's creative momentum built with the release of Norfolk Coast in February 2004 on Spinny Records (a subsidiary of ), which peaked at No. 70 on the and received positive critical feedback for its blend of punk energy and mature songwriting. Tracks like "Big Thing Coming" and "Norfolk Coast" showcased a refreshed intensity, with reviewers noting the album's accessibility and the band's return to form after years of uneven output. This was followed by Suite XVI in September 2006 on Liberty Records, entering the at No. 89 and continuing the upward trajectory in reception, praised for its eclectic mix of rock, , and atmospheric elements. The album's lead single "Spectre of Love" highlighted Warne's vocal contributions, marking a successful pivot toward broader appeal. Throughout the decade, The Stranglers maintained an active touring schedule across , including headline shows and festival slots such as their appearance at in 2005, which helped cultivate a dedicated amid renewed interest in punk and new wave veterans. These performances emphasized their enduring live prowess, drawing crowds eager for the raw energy of classics alongside newer material. By the late 2000s, however, began scaling back due to health concerns, announcing in 2007 that he was dealing with heart issues that limited his touring commitments, leading to occasional temporary replacements while he contributed to studio work.

2010s to present: Losses, tours, and anniversary

In 2012, The Stranglers released their seventeenth studio album, Giants, which peaked at number 48 on the . The album featured the band's evolving lineup, with touring drummer Jim Macaulay joining in 2012 to support , who had been dealing with health issues; by 2016, Macaulay had fully taken over drumming duties for live performances as Black stepped back from touring. The band faced significant losses in the early 2020s. Dave Greenfield, a core member since 1975, died on 3 May 2020 at age 71 after contracting while hospitalized for heart problems. Founding drummer passed away on 6 December 2022 at age 84 following years of ill health, including respiratory issues that had led to his retirement from the band in 2018. Keyboardist Toby Hounsham joined the band following Greenfield's death. Despite these tragedies, The Stranglers continued their creative output and touring momentum. Their eighteenth studio album, Dark Matters, released in September , marked their highest chart position in nearly four decades, debuting at number 4 on the Official Albums Chart. The record, produced by Louie Nicastro, showcased the band's enduring punk-new wave sound with contributions from Greenfield recorded prior to his death. Following the album's success, the group embarked on a tour in late , followed by a European tour in 2023 and the start of their 50th anniversary celebrations with dates in 2024. Marking five decades since their formation, The Stranglers' 50th anniversary activities extended into 2025 with a tour alongside from October to November, a March visit to and , and a headline performance at the at the on 23 June as part of the Athens Festival. Complementing these milestones, a new book titled The Stranglers: Every Album, Every Song by Martin Hutchinson was published in September 2024, providing a detailed track-by-track analysis of the band's discography.

Controversies

Early punk-era incidents

During their ascent in the mid-1970s punk scene, The Stranglers encountered significant backlash from peers and , often manifesting in physical confrontations and . The band developed a notorious reputation for intimidating and attacking journalists, including an incident where they gaffa-taped French reporter Philippe Manoeuvre to the in a trouserless state, underscoring their aggressive response to perceived slights. Live performances frequently escalated into brawls, contributing to venue restrictions and broader punk scene tensions. A June 1977 concert at Glasgow's City Halls devolved into a massive stage invasion, prompting city officials to temporarily ban punk acts from the venue and fueling perceptions of the band as disruptive forces. Their onstage antics, such as wearing a shirt emblazoned with an obscenity during a show that year, led the to impose a ban on the band booking gigs across until 1978. Clashes with other punk acts were common, including physical altercations with members of the and at venues like , as well as being forcibly removed from on two occasions by armed police. The release of the single "Peaches" in 1977 amplified accusations of within the band, with its lyrics depicting leering of women on a beach drawing sharp criticism from the press and fellow punks like the and , who labeled them male chauvinists. This contributed to their ostracism by the punk community, where they were derided as "heretics" for deviating from the genre's raw, guitar-driven ethos by incorporating keyboards via , fostering a amid their rapid rise.

Lyrics and public image issues

The Stranglers' lyrics often featured provocative themes blending dark humor, social commentary, and explicit content, leading to accusations of misogyny in tracks such as "Nice 'n' Sleazy" from their 1978 album Black and White, which depicted casual sexual encounters in a seedy pub setting and was criticized for objectifying women. Similarly, "Peaches" (1977) faced backlash for its voyeuristic portrayal of women, with some contemporaries labeling the band as embodying a macho, sexist attitude amid the punk scene's gender dynamics. In September 1978, to counter these accusations, the band organized a promotional event at Battersea Park featuring topless female performers in a stunt dubbed "Carry On Punk," but it backfired, reinforcing perceptions of exploitation and further alienating critics. The song "Hangin' Around" (1977), inspired by pub patrons, incorporated sardonic observations of everyday life but contributed to perceptions of the band's lyrics as laced with sexist undertones through their irreverent, laddish tone. "Golden Brown" (1981), a waltz-like hit from The Gospel According to the Stranglers, drew controversy for its ambiguous lyrics interpreted as glorifying use, with bassist later confirming the song referenced both the drug's allure and a romantic interest, prompting radio bans and debates over its endorsement of . In modern discourse, these tracks have sparked discussions on whether the band would face "cancellation" today, with former vocalist acknowledging that lines in songs like "Peaches" might now be viewed as outdatedly sexist in the context of heightened cultural sensitivity. The band's public image as punk's "bad boys" was reinforced by their open association with drugs, physical altercations, and an defiance, elements that early incidents like onstage brawls only amplified briefly before overshadowing their music in media narratives. This reputation persisted into the 1980s, with press portrayals emphasizing their rebellious excesses over artistic evolution, as seen in coverage of their tours and releases that highlighted a lingering aura of notoriety. In , the Stranglers sought to distance themselves from this image, with Burnel reflecting in interviews on the punk era's "excesses" as youthful indiscretions that unfairly defined the group, emphasizing instead their longevity and musical versatility.

Personnel

Current members

As of 2025, The Stranglers' active lineup features on bass guitar and co-lead vocals, on and co-lead vocals, Jim Macaulay on , and Toby Hounsham on keyboards and backing vocals. , born on 21 February 1952 in to Anglo-French parents, serves as the band's bassist, co-lead vocalist, and primary songwriter since co-founding The Stranglers in 1974. His distinctive, melodic bass lines and songwriting have shaped much of the band's catalog, including classics like "" and "," while his background and philosophical influences have informed the group's lyrical depth. Burnel remains the sole surviving original member, steering the band through its evolution while contributing to their ongoing tours. , born Barry Warne on 25 March 1964 in , , joined the band as lead guitarist in 2000 and became co-lead vocalist in 2006, playing a pivotal role in the band's revival with his energetic stage presence and vocal delivery. Prior to The Stranglers, Warne fronted various punk and rock acts, bringing a raw, punk-rooted style that revitalized their live performances and studio output, including the 2021 album Dark Matters. His contributions have helped sustain the band's momentum into their sixth decade, particularly during international tours. Jim Macaulay has handled drumming duties since joining as a full-time member in 2016, following earlier touring stints with the band in the 2000s and 2010s. A seasoned who previously played with UK acts like , Macaulay's precise, dynamic style replicates and extends the foundational rhythms established by original drummer , supporting the band's high-energy sets on recent world tours. Toby Hounsham assumed keyboard responsibilities in 2021, stepping in after the death of longtime keyboardist to maintain the band's signature atmospheric and progressive elements. With a background in and session work for various artists, Hounsham's versatile playing—encompassing synthesizers, organs, and vocals—has integrated seamlessly into live renditions of tracks like "Down in the Shadows," contributing to performances on the 2025 '51' tour.

Former members

Hugh Cornwell served as the band's guitarist and lead vocalist from its formation in 1974 until his departure in 1990, during which he was the primary songwriter for many of their early hits and shaped their punk and new wave sound. His exit was driven by a desire for greater creative control and to pursue a solo career, leading to the release of multiple albums including (1988) and ongoing tours. Dave Greenfield joined as keyboardist in 1975 and remained with the band until his death in 2020, contributing his distinctive organ and synthesizer style to iconic tracks like "" and "." He passed away on May 3, 2020, at age 71, after contracting while hospitalized for heart complications. Jet Black, born Brian John Duffy, was a co-founder and the band's from 1974 until semi-retiring in 2018 due to ongoing health issues, providing the rhythmic foundation for their aggressive live performances and recordings. He died on December 6, 2022, at age 84, from respiratory problems following years of illness. Paul Roberts took over as lead vocalist and guitarist from 1990 to 2006, helping to stabilize the band during its post-Cornwell transition and co-writing material on albums like (2004). He left in 2006 to focus on his solo Soulsec and subsequent independent work. Hans was an original guitarist from 1974 to 1975, contributing to the band's early formation before leaving to pursue other interests. He later co-wrote the 1982 hit "" and died in a boating accident on October 12, 1995, at age 52. John Ellis served as guitarist from 1990 to 2000, replacing Cornwell and adding to the band's expanded lineup during tours and recordings in the , including sessions for albums like 10 (1990). His tenure bridged the punk roots with the band's evolving sound before he departed for solo and collaborative projects.

Legacy and influence

Cultural and media impact

The Stranglers' music has permeated through its frequent licensing for film and television, where its raw energy and melodic hooks often amplify dramatic or nostalgic moments. In Guy Ritchie's 2000 crime comedy Snatch, "" underscores a tense sequence involving diamond heists and underground boxing, contributing to the film's eclectic soundtrack that blends punk with period-specific tracks. The song's waltz-like rhythm provides ironic contrast to the chaotic action, highlighting the band's enduring appeal in cinematic contexts. On television, the band's punk anthems have been integrated into period dramas and animated series to evoke 1970s and 1980s rebellion. "No More Heroes," from their 1977 album of the same name, opens the premiere episode of the BBC's Ashes to Ashes (2008–2010), a spin-off of set in the early 1980s, where it blasts over a to immerse viewers in the era's gritty soundscape. The Stranglers' tracks have also found commercial success in advertising, capitalizing on their catchy, subversive edge to promote brands. "Peaches" (1977) was licensed for campaigns, including a 2002 advertisement featuring during the , where the song's voyeuristic lyrics and driving bassline synced with dynamic sports imagery to appeal to a global audience. Likewise, "" appeared in a 2009 Waitrose supermarket advertisement in the UK, using its golden-hued, addictive refrain to evoke the allure of fresh-baked goods in a nod to the song's heroin-inspired undertones repurposed for consumer appeal. Beyond scripted media, The Stranglers have influenced broader cultural narratives through documentaries chronicling punk's origins and evolution. They are prominently featured in the 1977 Dutch documentary Wonderland, which captures live performances of "No More Heroes" and interviews with the band amid footage of the Sex Pistols and Blondie, illustrating their role in the UK's explosive punk scene. Other films, such as Wolfgang Büld's Punk Britannia series (2012), include archival clips and discussions of The Stranglers' provocative image and sound, positioning them as key figures in the genre's transition from underground rebellion to mainstream notoriety. In , the band's music enhances gaming experiences with its high-energy vibe. "" is included on the of the 2005 video Narc, a revival of the 1988 arcade title, where it plays during high-octane action sequences, syncing the song's rhythmic pulse with on-screen drug raids and chases to evoke 1970s grit. This placement underscores The Stranglers' versatility in digital formats, bridging their punk roots with modern entertainment.

Critical reception and tributes

The Stranglers' early work during the punk era received mixed critical responses, praised for its raw energy and musical aggression but often criticized for its overt and sexist undertones. Their 1977 debut album Rattus Norvegicus was hailed by as "the most playable record I've heard in ages," with reviewers noting its "brilliant" musicianship, compelling riffs, and the disciplined immediacy of tracks like "Down in the Sewer," crediting producer for capturing the band's tangible intensity. However, the same review condemned the album as "grossly sexist," pointing to vindictive lyrics in songs such as "Sometimes" ("Someday I’m gonna smack your face") and "London Lady," which demeaned female promiscuity, while "Peaches" reduced women to mere sex objects, lacking the political depth seen in contemporaries like . A later retrospective echoed this duality, describing the album's "punchy" tracks like "(Get a) Grip (On Yourself)" and "Peaches" as organ-driven and sleazy with high energy, but highlighting its "crass" , including references to , as particularly jarring in hindsight. By the 1980s and into the 2000s, critical reevaluation began to highlight the band's more experimental albums, with Feline (1983) emerging as a retrospective favorite for its depth and . Music writer Alex Ogg noted that while not an instant classic, the album "repays repeated listening," praising the "rustic English charms" of "Midnight Summer Dream" alongside Eurocentric tracks like "" and "." Other reviews have called it "brave and intelligent," positioning it as a strong entry in the band's catalog full of surprises, though initial reception was mixed and it found greater embrace among fans over time. This shift continued with the 2021 release Dark Matters, which peaked at No. 4 on the — the band's highest position in 38 years—and was lauded for its vitality and restless creativity. Critics described it as a "" and "late career flourish," with "faultless" musicianship that surged forward in eclectic scope, retaining the dark melodic inventiveness of their punk roots while offering emotional depth as a tribute to late keyboardist . The Stranglers' influence extends to subsequent generations of musicians, with bands such as and Franz Ferdinand citing them as a key inspiration for their blend of punk attitude and experimentation. Tracks like "Midnight Summer Dream" from Feline have inspired covers by various artists, underscoring the song's enduring melodic appeal. Tributes to the band's legacy have grown in recent years, particularly around their 50th anniversary in 2024–2025, marked by extensive tours including a and Ireland run titled "Fifty Years in Black," headline festival slots, and international dates in and . Complementing these events, Martin Hutchinson's 2024 book Stranglers: Every Album, Every Song provides a detailed of their , from punk origins to later works, affirming their thought-provoking melodic contributions.

Discography

Studio albums

The Stranglers have released 18 studio albums since their debut in 1977, spanning punk, new wave, and later phases, with many achieving commercial success in the UK charts. Their early work, produced primarily by for , captured the raw energy of the punk era while incorporating progressive elements.

Early albums (1977–1979)

These initial releases established the band's aggressive sound and chart presence, with Rattus Norvegicus marking their breakthrough.
TitleYearLabelProducerUK Peak
Rattus Norvegicus19774
No More Heroes19772
Black and White19782
The Raven1979The Stranglers4

Mid-period albums (1981–1990)

Transitioning to Liberty and Epic labels, the band explored darker, more atmospheric themes under their own production, maintaining consistent top-20 UK chart entries.
TitleYearLabelProducerUK Peak
The Gospel According to the Meninblack1981LibertyThe Stranglers8
La Folie1981LibertyThe Stranglers11
Feline1983EpicSteve Churchyard, The Stranglers4
1984EpicSteve Churchyard14
Dreamtime1986EpicThe Stranglers16
101990EpicThe Stranglers15

Later albums (1992–2021)

Following lineup changes, the Stranglers issued albums on independent labels, reflecting a mature, introspective style; later releases saw renewed chart success, including their highest peak in decades with Dark Matters.
TitleYearLabelProducerUK Peak
1992Psycho RecordsThe Stranglers33
About Time1995When!The Stranglers31
Written in Red1997When!The Stranglers52
Coup de Grace1998EagleThe Stranglers—
Norfolk Coast2004Spinny/The Stranglers, Louie Nicastro70
Suite XVI2006SpinnyThe Stranglers89
Giants2012Ear MusicThe Stranglers48
Dark Matters2021CoursegoodThe Stranglers4

Notable singles and compilations

The Stranglers achieved significant success with several singles that became staples of their catalog, particularly during their punk and new wave periods. Their debut single "(Get a) Grip (On Yourself)" in 1977 laid the groundwork, but it was "Peaches" from the same year that marked their breakthrough, peaking at No. 8 on the UK Singles Chart after 14 weeks. Released as the second single from their album Rattus Norvegicus, it showcased their signature blend of aggressive basslines and satirical lyrics. Another early hit, "No More Heroes," followed in 1977, reaching No. 8 as well, cementing their place in the punk scene. In the early 1980s, the band shifted toward more experimental sounds, with "" standing out as their biggest commercial success. Released in 1982, this waltz-timed track about heroin addiction peaked at No. 2 on the UK Singles Chart, spending 13 weeks in the top 40 and earning widespread radio play despite initial controversy over its subject matter. It was the lead single from Feline and remains one of their most recognized songs internationally. Later singles like "Skin Deep" in 1984, from , reached No. 15 on the UK chart after 8 weeks, highlighting their evolving reggae-influenced style. "," initially released in 1986 from Dreamtime and peaking at No. 30, saw a remix version in 1990 that improved to No. 15, reflecting their adaptability to changing musical trends. Similarly, "Big in America" from the same album charted at No. 58 in early 1987, underscoring their ironic take on fame. The band's compilations have also been pivotal in sustaining their legacy, often outperforming some studio albums in chart performance. The Collection 1977–1982, released in 1982 to fulfill their contract, peaked at No. 12 on the and spent 16 weeks there, featuring key tracks like "Hanging Around" and "Duchess." Greatest Hits 1977–1990, issued in 1990 by , became their most successful compilation, reaching No. 4 on the with 47 weeks of longevity and earning certification for over 300,000 units sold. It included hits such as "European Female" and "Midnight Summer Dream," bridging their punk roots with later pop sensibilities. In the , Decades Apart (2010) provided a career-spanning overview with 35 tracks from all 16 studio albums up to that point, emphasizing their enduring catalog without a major chart entry but gaining traction through digital platforms. Extended plays and reissues have supplemented their singles output, particularly in live formats and digital eras. The live album, recorded in 1997, captured performances of classics like "" and served as a notable non-studio release, though not charting highly. Earlier, live-oriented singles and EPs from the 1980s, such as the 1981 EP variants, helped maintain fan engagement during tours. Post-2000, digital compilations like Peaches: The Very Best of the Stranglers (2002) reached No. 21 on the , offering remastered hits for streaming audiences and introducing newer generations to tracks like "." These releases, alongside chart successes, underscore the band's consistent output and commercial viability over decades.

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  24. https://thestranglers.co.uk/the-man-who-signed-the-stranglers-an-interview-with-andrew-lauder/
  25. https://thestranglers.co.uk/live-recording-nashville-rooms-december-1976/
  26. https://www.officialcharts.com/albums/stranglers-stranglers-iv-rattus-norvegicus-0/
  27. https://www.officialcharts.com/songs/stranglers-get-a-grip-on-yourself/
  28. https://www.officialcharts.com/songs/stranglers-peaches/
  29. https://www.loudersound.com/features/the-stranglers-no-more-heroes
  30. https://www.officialcharts.com/albums/stranglers-no-more-heroes/
  31. https://www.officialcharts.com/songs/stranglers-no-more-heroes/
  32. https://www.officialcharts.com/albums/stranglers-black-and-white/
  33. https://www.officialcharts.com/songs/stranglers-walk-on-by/
  34. https://www.allmusic.com/artist/the-stranglers-mn0000431955/biography
  35. https://www.officialcharts.com/albums/stranglers-the-raven/
  36. https://thestranglers.co.uk/the-raven-in-retrospect/
  37. https://www.officialcharts.com/songs/stranglers-duchess/
  38. https://www.officialcharts.com/songs/stranglers-nuclear-device-the-wizard-of-aus/
  39. https://july66.blog/2025/07/13/the-stranglers-and-friends-1980-the-tour-when-the-frontman-was-in-prison-and-the-band-played-on/
  40. https://www.discogs.com/master/24351-The-Stranglers-The-Raven
  41. https://www.officialcharts.com/albums/stranglers-themeninblack/
  42. https://thestranglers.co.uk/discography-3/
  43. https://www.officialcharts.com/songs/stranglers-golden-brown/
  44. https://norselandsrock.com/golden-brown-stranglers/
  45. https://strenglers.wordpress.com/2021/08/16/the-stranglers-here-and-there-the-epic-b-sides-compilation/
  46. https://www.officialcharts.com/albums/stranglers-feline/
  47. https://www.officialcharts.com/songs/stranglers-european-female/
  48. https://www.officialcharts.com/albums/stranglers-aural-sculpture/
  49. https://thestranglers.co.uk/behold-aural-sculpture/
  50. https://www.officialcharts.com/songs/stranglers-skin-deep/
  51. https://www.latimes.com/archives/la-xpm-1987-05-02-ca-3066-story.html
  52. https://thestranglers.co.uk/the-stranglers-and-the-states/
  53. https://www.officialcharts.com/albums/stranglers-dreamtime/
  54. https://www.officialcharts.com/albums/stranglers-10/
  55. https://pleasekillme.com/hugh-cornwell-stranglers/
  56. https://chaoscontrol.com/hugh-cornwell/
  57. https://www.independent.co.uk/arts-entertainment/rock-a-tough-act-to-follow-after-15-years-the-stranglers-have-a-new-lineup-mark-wareham-met-the-men-who-replaced-hugh-cornwell-1550463.html
  58. https://www.officialcharts.com/albums/stranglers-in-the-night/
  59. https://thestranglers.co.uk/74-14-forty-years-in-photos-part-2/
  60. https://www.latimes.com/archives/la-xpm-1993-07-08-vl-11135-story.html
  61. https://thestranglers.co.uk/baz-warne-the-interview/
  62. https://bigtakeover.com/news/paul-roberts-leaves-the-stranglers-finally
  63. https://www.bbc.co.uk/music/reviews/6qzf/
  64. https://thestranglers.co.uk/suite-xvi-xvi-anniversary-remastered-edition-pre-order-now/
  65. https://bigtakeover.com/recordings/the-stranglers-suite-xvi-emi
  66. https://mikeatkinson.wordpress.com/2011/03/04/interview-jj-burnel-the-stranglers-2/
  67. https://www.concertarchives.org/bands/the-stranglers
  68. https://www.bbc.com/news/entertainment-arts-63904248
  69. https://www.officialcharts.com/albums/stranglers-giants/
  70. https://www.discogs.com/artist/4000000-Jim-Macaulay
  71. https://ultimateclassicrock.com/jet-black-stranglers-dead/
  72. https://thestranglers.co.uk/david-paul-greenfield-29-3-49-3-5-20/
  73. https://thestranglers.co.uk/jet-black-rip/
  74. https://thestranglers.co.uk/big-shoes-to-fill-toby-interview/
  75. https://www.officialcharts.com/albums/stranglers-dark-matters/
  76. https://thestranglers.co.uk/dark-matters-chart-position/
  77. https://www.ticketmaster.co.uk/the-stranglers-tickets/artist/736208
  78. https://www.nme.com/news/music/the-stranglers-announce-autumn-2025-uk-tour-with-buzzcocks-3840932
  79. https://www.therockpit.net/2024/the-stranglers-fifty-years-in-black-the-anniversary-tour-2025-australia-new-zealand/
  80. https://thestranglers.co.uk/
  81. https://www.theguardian.com/music/musicblog/2008/jan/08/musicalhackattacks
  82. https://glasgowmusiccitytours.com/blog/the-stranglers-gig-that-got-punk-banned-from-glasgow/
  83. https://strenglers.wordpress.com/2019/06/14/the-stranglers-breaking-the-laws/
  84. https://www.theguardian.com/music/2021/aug/31/heretics-ostracised-stranglers-fights-drugs-finally-growing-up
  85. https://faroutmagazine.co.uk/the-stranglers-attempt-werent-sexist/
  86. https://faroutmagazine.co.uk/the-stranglers-cancelled-modern-day/
  87. https://www.mojo4music.com/articles/stories/the-story-behind-the-stranglers-golden-brown/
  88. https://www.thetimes.com/sunday-times-rich-list/profile/article/pop-get-on-down-the-stranglers-5kqwvgtxdns
  89. https://pennyblackmusic.co.uk/Home/Details?id=22892
  90. https://ipamusic.co.uk/?p=11716
  91. https://www.punktuationmag.com/strangler-in-the-light-jj-burnel-bares-his-soul-in-biography/
  92. https://cadizmerchstore.com/products/jean-jacques-burnel-strangler-in-the-night-book
  93. https://louderthanwar.com/jean-jacques-burnel-strangler-in-the-light-book-review/
  94. https://www.facebook.com/johnjames0173/posts/jean-jacques-burnel-is-currently-the-only-remaining-original-member-of-the-stran/1292112036262224/
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  96. https://www.therockpit.net/2023/interview-the-stranglers-baz-warne/
  97. https://www.moderndrummer.com/2017/05/beat-jim-macaulay-stranglers-talks-show-preparation/
  98. https://groovegurupodcast.podbean.com/e/6-jim-macauley-playing-with-the-stranglers-and-a-tribute-to-jet-black/
  99. https://www.ludwig-drums.eu/artists/jim-macaulay
  100. https://keyboardchronicles.com/2022/05/15/toby-hounsham-the-stranglers/
  101. https://www.youtube.com/watch?v=_OW3sKkoG_Q
  102. https://www.bbc.com/news/entertainment-arts-52537293
  103. https://podcasts.apple.com/us/podcast/ep-74-paul-roberts-of-the-stranglers/id1521476934?i=1000626805995
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  117. http://drownedinsound.com/in_depth/4145590-no-one-dare-mention-they-were-friendly-with-us-let-alone-influenced-by-us---5-minutes-with-the-stranglers
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  119. https://chart-history.net/cc/cc-stranglers.pdf
  120. https://independentmusicinsider.com/editorial-articles/how-the-stranglers-scored-their-best-chart-position-in-38-years-with-absolute/
  121. https://www.officialcharts.com/songs/stranglers-always-the-sun/
  122. https://www.discogs.com/master/1204039-The-Stranglers-Decades-Apart
  123. https://www.allmusic.com/album/friday-the-thirteenth-live-at-the-royal-albert-hall-mw0000034583
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