By Cornwell, H. and Drury, J.
The Stranglers have outlasted & outsold nearly any other band in their period, recording ten hit albums & freeing 21 most sensible forty singles. Their checklist of hits, together with Golden Brown, Peaches & continually The solar, have been written opposed to a heritage of awesome good fortune, dismal failure, drug dependency, bankruptcy, infighting & misfortune. Understandably, the band were detest to bare the genuine which means at the back of their songs, as an alternative reveling within the secret & confusion they created. lately, bass participant Jean-Jacques Burnel brought up the band's tense behavior of burning toast because the proposal to their vintage, Golden Brown! As a reaction to this fool's play & David Buckley's one-sided biography of the band ("No Mercy" Hodder & Stoughton, 1997), Hugh Cornwell, founding member & songwriter, is set to set the checklist directly, displace the myths & clarify for the 1st time the genuine tales in the back of The Stranglers, his departure & the origins of all their songs.
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Additional info for The Stranglers: Song by Song, 1974-1990
What a great way to spend Easter, hanging around on a cross. It’s very flippant. I find that references to God and Christ are very emotive. For a long period of time I loved hanging around churches. There’s something fascinating about the power of religious belief. I’m not necessarily a very religious person, but I’m fascinated by the regalia and everything connected with it. I love using references to religion in the creative process because it’s so emotive and controversial. You get people who strongly believe and equally strident non-believers.
We didn’t start getting regular gigs in London until Derek Savage and Dai Davies got involved with us through their agency, Savage–Ayris, and later Albion management. There’s a lot of innuendo in the song and I liked turning the idea of female emancipation upside down. It’s my surrealist fetishism, because sometimes by turning things on their heads you get a fresh look at things. It’s not trying to legitimise a view or discredit it, it’s just getting a new angle on it. ” I think that came from John originally.
I can’t really attest to that, but it does fit in well between those two strong punk lyrics. You’ll notice that Dave doesn’t really do much on ‘Goodbye Toulouse’. He’s just filling in. It’s because the song was all there. Once John had worked out the heavy bass line to go on the music, there was very little room for the keyboards, so Dave just followed what was going on already on the guitars. I really enjoyed playing on this. There’s a lot of double-tracked guitars following each other and strong harmonies.