We at treeswingers think it’s important to be thankful for what we have.  And what we have is great music, so I’ve put together a quick Thanksgiving Mix.  Thanks for reading!

For Thanksgiving, parents get time off work, students get time off school and pretty much everyone returns home for a while.

Radical Face – Welcome Home

Here’s a reminder about who started it all–some dudes with buckles on their hats.

The Shins – Young Pilgrims

Many people have family to be thankful for (also notice the significance of the artist – think sauce).

The Cranberries – Ode to my Family

This one is a stretch, but family gatherings can totally be thought of as conspiracies.  It’s also just a good song.

School of Seven Bells – My Cabal

I never knew if this song was thanking someone sarcastically, but let’s pretend it’s genuine for today.

Third Eye Blind – Thanks a Lot

Time for the toasts…

Sugarcult – Champagne

…even if some of us don’t have the proper glasses to be thankful for.

Death Cab for Cutie – Champagne from a Paper Cup

Here comes the turkey, cooked to golden-brown perfection.

The Stranglers – Golden Brown

This one is more about the artist, since you can’t make pie without smashing pumpkins. (I picked this song because I think way more people should know how good it is)

The Smashing Pumpkins – We Only Come Out at Night

Yaaaawwwn.  Tryptophan…

Passion Pit – Sleepyhead

Hope you enjoyed it.  Here is the whole thing for download.

-charlie

By Jason Diamond

Alright, that’s not really true, because as pointed out by the late Rosa Luxemburg, and noted in the New Yorker review of the latest biography (Trotsky, on Harvard Press) on the ice-picked-to-death Bolshevik, the guy was a “rotten fellow” who “reveled in terror”. And if you know anything about Russian history in the 20th Century (hell, most of Russian history), rotten fellows and terror meant pretty bad things like people dying in numbers that would make Hitler giggle with delight.

That said, Leon Trotsky inspired some sweet art, including what might be the best piece of anti-Jewish/commie propaganda I’ve ever seen, and one of my favorite 77 punk anthems.

Watching an old episode of ‘Friends’ the other night – the one where Ross says the wrong name during his wedding to Emily -  I was reminded of the night I played some songs in front of Jennifer Saunders. Jennifer’s daughter was playing that night too as it was an open mic night at a local bar. I was due to go on after her and it only dawned on me as I was checking my guitar was in tune over in a quiet corner that Jennifer was in the front row, having come to watch her daughter’s performance. She looked softer than her ‘Absolutely Fabulous’ persona and seemed to be enjoying the evening. When I stepped out onto the stage for my slot I tried not to stare directly at her as I knew it would make me feel nervous. I don’t know why, there was a time when I kept randomly bumping into celebrities. Then again, when it is random you don’t ever really get a chance to get used to the idea. I mean you can’t wonder around life think ‘Oh I’m Mr Planet, I bump into famous people.’ Not unless you want people to use the word ‘arrogant’ when they describe you.

But it is true that I’ve encountered celebrities in unexpected situations. Once I was heading to a band rehearsal and walking over a bridge in town. Coming the other way was a blond chap who seemed a little familiar. ‘He looks like David McCallum out of ‘The Man From U.N.C.L.E.’,’ I thought to myself as he drew nearer. “You’re David McCallum,” I suddenly said. “Yes I am,” he replied, “And who are you?” “Oh I’m just a bloke on the street hassling you,” I said, realising that it was really rather rude of me to just blurt out my thoughts at him. He extended his hand and said “Hello bloke on the street.” “Hello David McCallum.” He then pointed at my guitar case and said “You playing tonight?” “Rehearsing with my band,” I told him. “You any good?” he wanted to know. “I’m not bad.” He smiled and said “Well I’m not bad at acting so you never know.” And that was that. He had to go, I was late for rehearsal and I forgot to ask him the most important question which was, ‘What are you doing in this two-bit nowhere town I call home?’

Some years later, when I was at university, I was standing at the queue for the ATM with my son, who was probably about eight or nine years old at the time. There were two ATM machines and the guy alongside me in the other queue looked familiar. Oh my word, he was Dave Davies, guitar player of The Kinks, one of my favourite sixties bands. “Hello guitar man,” I said. He turned round and smiled and said something quite softly. I remembered as he spoke that he’d suffered a stroke a few years back so he might not want people bugging him on the street. So I just gave him the thumbs-up, which he returned. We both stepped forward to the cash machines at the same time and when he’d done he tapped me on the shoulder and said goodbye with another thumbs-up. “Who was that?” asked my son. “He was in a huge band in the sixties.” “Bigger than McFly?” he asked (for the Americans, McFly were the equivalent of the Jonas Brothers over here for a year or two). “Well sort of,” I replied, “But even bigger and much more talented.” “Cool.” And I had to agree, how very cool to just bump into Dave Davies while waiting to draw some money out of the bank.

In similar fashion I have met Donald Sutherland, David Suchet (who plays Poirot over here in the UK), Hugh Cornwell of The Stranglers, Tony Robinson (Baldrick from ‘Blackadder’), and several other minor celebs. But the famous person I refused to get excited about was a member of the royal family. It was my first year at university and I was walking down a corridor talking with a friend. My shoulder brushed against the shoulder of somebody coming the other way. “Sorry,” I said and carried on walking. My friend was agitated. “Oh my god! Do you know who that was?” “Nope,” I said, as I hadn’t even looked up. “That’s Peter Philips.” “Er, and he is?” “Princess Anne’s son. The Queen’s grandson.” I wondered what my friend expected me to do with this information. Run after Peter Philips and throw myself prostrate before him uttering profuse apologies? I grinned. “I doubt very much he’ll have me sent to the tower for brushing his shoulder, especially as I’ve said sorry. He probably likes being treated like a normal person anyway.” My friend still looked doubtful but, as my head was still attached to my shoulders, I assumed I was right and carried on walking.

En esta ocasión, la recopilación no empezó por una canción, sino por la portada. Estaba repasando las fotos que hice los últimos meses y me topé con la que he utilizado para este disco. La retoqué un poco, elegí un nombre y, de ahí, surgió Prince y su Sign ‘O’ The Times.

Después, todo fue ir encadenando canciones, hasta que con el Mr. Suit de Wire se cerró la enésima recopilación que os dejo en el blog: una selección de temas más indie de lo habitual (con toques pop, punk, new wave, etc.) y muy entretenida desde mi punto de vista.

Haz clic en la portada para descargar Modern Times

Prince, Young Marble Giants, The XX, Giant Sand, Pavement, Stephen Malkmus, Iggy Pop, The Wave Pictures, Papas Fritas, Violent Femmes, Patti Smith, The Pastels, Nick Lowe, The Stranglers, Kashmir, Sebadoh, Wolf Parade, The Undertones, The Polyphonic Spree, The Raveonettes, Tegan & Sara, The Breeders, Veruca Salt, The Manhattan Love Suicides, Frank Black y Wire son los cantantes y grupos que he incluido en Modern Times, que, como siempre, os la podéis descargar pinchando en la imagen de la portada.

AQUÍ tenéis el listado de canciones. Espero que os guste.

P.D.: La foto es de una tienda de juguetes y objetos antiguos que está en el barrio de Chueca.

The Strangler’s song “Golden Brown,” originally released on their album “La Folie” in 1981 and later featured in Guy Ritchie’s film “Snatch” in 2000.

… and Frank Musik’s “When You’re Around” from his album “Complete Me” – 2009

Greatest Hits 1977-1990

The Stranglers

1990/1991

Epic

So, I don’t particularly like greatest hits CDs.  I tend to view albums more as an overall artistic endeavor, and not just a collection of songs, which is what a greatest hits cd is.  However, I do own many greatest hits albums (I’m an enigma of a man, obviously), such as this one by Punk / New Wave / 80’s / Whatever Genre You Want To Call Them band The Stranglers.  Greatest hits are good for one thing: obtaining that one amazing song by the band (Well, two things, the second being: getting into said band.  But I still prefer actual albums for that.).

 So, the years from 1977 to 1990 seem to have been a strange time for The Stranglers.  They started off as a punk band and somehow drifted to new wave.  I don’t know much about punk or new wave, but The Stranglers never jumped out too much as being leaders of either movement to me.  However, there is a reason I bought this cd, which I’ll come to, don’t worry.

“Peaches” is the first song on the album.  Being extremely repetitive in its nature, it’s at least a really cool early punk song.  The Stranglers apparently did not follow The Ramones or The Sex Pistols with the idea of a barrage of guitars.  Even at this early stage of their career, The Stranglers are heard using keyboards as a main instrument.

“Something Better Change” follows their focus on mid-tempo guitar and keyboards.  While the punk songs are not the greatest ever, they are really decent, interesting songs.  With the use of all these instruments, The Stranglers show themselves to have a firmer grasp on music theory than their peers.  In fact, the guitar solo in this song has more in common with classic rock than punk.

“No More Heroes” is a more mature take on the previous two tracks.  While not it doesn’t change style much from the others, “No More Heroes” has a focus more on the lyrics than the music.  With lyrics referencing Trotsky, Sancho Panza, and even Lenny Bruce, The Stranglers have found the talent of allusions.  Really, another cool song to listen to.

The next track is a pretty obscure choice for a punk band, a cover of Burt Bacharach’s “Walk on By”.  And you know what? They do a pretty awesome version.  With an extended keyboard solo, they sound like a hyped-up Doors cover band almost.  Then the prolonged guitar solo comes in, and you can definitely tell that that’s what they were going for.  Note, the singer even half sounds like a British version of Jim Morrison (Just a thought).

“Duchess” is the only hint of a change of direction for the band.  It’s still relatively punk, but steeped with even more keyboards (really).  Honestly, their punk songs were my favorite on the cd, and afterwards listening became more boring.  But this is more upbeat in tempo than the other five songs, and the band sounds enthused.

Which brings us to “Golden Brown”.  This song comes out of nowhere.  This is the reason I bought the album.  “Golden Brown” is one of the most amazing songs I’ve ever heard, hands down.  In my top ten, maybe even top five.  Honestly.  It completely disregards the six songs that came beforehand on the album.  Whereas track one through six were punk songs heavy with keyboards, churning electric guitars, and non-melodic deep vocals, “Golden Brown” is the exact opposite.  Here, the main instrument is a harpsichord (from Baroque era fame, for those of you with knowledge of musical history), and the vocals are sung at a higher pitch.  Musically, the time signature alternates between 3/4 and 4/4, showing off more musical prowess than one would have thought The Stranglers had.  The guitar solo is beautifully played, which leads into vocals with effects on them.  Listening to “Golden Brown” one would never assume this was a punk, or a new wave band.  If you refuse to listen to anything else on this album, or even by The Stranglers, as long as you hear “Golden Brown” you will be pleased.

And onward.  Most of the rest of the album was forgettable, meaning I’m going to skip over a lot.  “Strange Little Girl” marks the start of The Stranglers change of genre, which you can hear from the opening notes.  It’s the closest song to “Golden Brown” with the vocal style being similar, but they never match the intensity or musicality of the previous song.

“European Female” has a decent acoustic guitar riff, but, do you hear that?  Echoes on the snare drum?  Sounds like the Stranglers started turning into a bad version of Duran Duran.  “Skin Deep” and “Big in America” also follow the Duran Duran style.  The latter even features saxophone (Yeah, really).

“Nice in Nice” would have to be the best song from this period of The Stranglers’ career.  It’s still new wave, but the vocal style is different.  It’s not a growling howl, but nor is it deeply British.  Really, I don’t know what it is.  A high-pitched whisper, maybe?  Nonetheless, this song actually features more guitar, so it’s already different, and actually more catchy.

Lastly, are the two out-of-place cover songs on the album (Not including the already-mentioned cool version of “Walk on By”).  The Kinks “All Day and All of the Night” is redone here, only second-rate.  The Stranglers do it almost exactly like the original, except they add keyboard.  For once being a punk band, The Stranglers make it sound less raw.  Secondly, The Stranglers cover “96 Tears”, originally by ? and the Mysterians.  What a perfect song for them to cover.  With it’s already main instrument of keyboards, the song sounds like it was written specifically for The Stranglers.  They don’t add anything particularly new (just some horns here and there), but they do do an outstanding job.  But both songs don’t fit in with the already eclectic collection of songs (Just another reason why I don’t really like greatest hits albums).

I should really obtain the band’s first few albums, or at least La Folie (which featured “Golden Brown”).  Greatest Hits 1977-1990 is exactly what it says, just a collection of songs from the forgotten band The Stranglers.  It provides a good view of what the band was about during this era (they are still around today, surprisingly), showing that they changed from punk to new wave.  However, it doesn’t show how they changed.  The songs jump from one genre to the next with barely any hint that the band was heading in a new wave direction.  Maybe something is lost in translation with this being a greatest hits collection, or maybe that’s what The Stranglers were.  Either way, I’ll gladly put “Golden Brown” on repeat.

Last.fm Page

Buy This Album

The man that hath no music in himself,
Nor is not moved with concord of sweet sounds,
Is fit for treasons, stratagems and spoils;
The motions of his spirit are dull as night
And his affections dark as Erebus:
Let no such man be trusted…

The Merchant of  Venice, Act 5, Scene I

Something very strange happened for the 3rd time today. I met someone who told me “I don’t like music”.

I just can’t understand that. Fine if it is “I don’t like this music” but just to say it in a general way is very strange to me.

It reminds me of the Bill Hicks “What are you reading for?” bit. Not “What are you reading?” but “What are you reading for“?

So, here is some music….

The Stranglers – Walk On By

Ironías de la vida, yo siempre pensé que los primeros discos producidos en España que serían editados en formato kamijacket (edición CD réplica de vinilo) serían de algún grupo de rock progresivo andaluz, particularmente Triana estaban en todas mis quinielas, pero también tenían muchos boletos Azahar, Granada, los cántabros IBIO,… así que ha sido toda una sorpresa que los primeros sean los vascos Itoiz, que a finales de este mes verán publicados sus 3 primeros LPs en Japón en este formato tan poco conocido y que a mi me tanto me gusta y a mi bolsillo tantos sudores le produce.

Itoiz, Ezequiel y Alkorea serán publicados el 25 de octubre por Belle Antique, con un precio bastante más alto de lo habitual (3.300 Yen), por lo que supongo que serán ediciones bastante especiales.

Además la cadena de tiendas de música más famosa de Japón, Disk Union, editará una de sus coleccionables y cotizadas cajas de promoción para albergar los 3 discos del grupo vasco. El diseño de la caja será el del disco Alkorea, el mismo que he incluido para ilustrar esta entrada.

Yo sólo he visto en directo una vez a ITOIZ y fue en una gaupasa (una noche en vela, en este caso por un festival que duraba toda la noche) en Baracaldo en el 79 con Moris, Cucharada, Neuronium, La Banda Trapera del Rio, y un sinfín de grupos más. Creo recordar que la gaupasa la montó el promotor vasco que había traido junto a Mikel Barsa el concierto de Los Stranglers en La Casilla de Bilbao. Dijeron que la habían montado para ver si se resarcían de las pérdidas que les produjo aquel concierto, en el que recuerdo que también tocaron Eddie & The Hot Rods y The Bishops. En el de los Stranglers estuve sólo, pero en Baracaldo, además de que fuí con Chema, recuerdo que nos encontramos allí a bastante peña de Briviesca (la mayoría de ellos difuntos hoy a causa de la droga).

Bueno, dejando atrás la nostalgía y volviendo al tema de esta entrada…

Para conocer más sobre la música de Itoiz haced una búsqueda en Ekaitzaldi.

Para conocer más sobre los kamijackets, ver artículo aquí en Gilipolladas de Kigonjiro, o bucead un poco en está página web que nos curramos mi colega australiano Sam y yo (él picándo código y yo subiendo más del 70% de los contenidos). Dejé de darme palizas haciendo fotos y subiéndolas a partir de que mi colega decidió sacarle partido comercial al sitio poniendo enlaces con una tienda de discos online japonesa al lado de la información de cada album. Como yo ni estoy en esto por la pasta, ni para que otros se la lleven con mi trabajo, decidí que era el momento de dejar el tema en manos de otros. Os recomiendo dar una vuelta por esa web y buscar vuestros discos favoritos, si están publicados en formato kamijacket, y el sitio dispone de fotografías de las ediciones en este formato, igual os lleváis una sorpresa.

Meine Toptitel vom Monat Juli (etwas verspätet, ich weiß):

1. Simon & Garfunkel – America (1968)
2. Gilbert O’Sullivan – Alone Again (Naturally) (1972)
3. City – Am Fenster (1975)
4. Real Life – Always (1983)
5. The Stranglers – Always the sun (1986)
6. Pet Shop Boys – Always on my mind (1987)
7. Wire – Ahead (II) (1987)
8. New Order – All the way (1989)
9. Phillip Boa & The Voodooclub – And then she kissed her (1991)
10. Kyuss – Allen’s Wrench (1992)
11. Project Pitchfork – Alpha Omega (1995)
12. Björk – All is full of love (1997)
13. Placebo – Allergic (to thoughts of mother earth) (1998)
14. The Killers – All these things that I’ve done (2004)
15. Editors – All Sparks (2005)
16. Fischerspooner – All we are (2005)
17. The Bravery – An Honest Mistake (2005)
18. Thom Yorke – Analyse (2006)
19. PeterLicht – Alles was du siehst gehört dir (2008)

Emissão 20 – Década de 70 na Cabeça – Curte o som galera !!

Bachman Turner Overdrive – Hold_Back_The_Water, The Runnaways – Cherrybomb, The Stranglers – No more heroes, Patti Smith – Dancing barefoot, The Clash - Guns of Brixton, Steely Dan – Do it again,Steve Miller Band – Fly like an eagle, Electric Light Orchestra (ELO) – The last train to London, Fleetwood Mac – Gold Dust Woman, Roxy Music – Jealous Guy, Junior Murvin – Police and Thieves, Sly & the family stone – Everybody is a Star,  Elton John – Tiny Dancer.

Just a short post in memory of Keith Floyd, far and away my favourite TV personality. He was rarely seen without a glass of wine whilst cooking, and enjoyed life immensely. A fan of The Stranglers, he chose this to be the theme music for his programmes. He was 65.

Waltzinblack - The Stranglers

Have you heard of The Stranglers?  Chances are, that’s a no.  Unless you are 1. British or 2. An American punk (I mean that in the best sense of the word).

They are my dad’s favorite band-of-all-time.  Seriously, I grew up listening to this stuff.  He would blast the record and he, my sister, and I would jump around in the living room.  When we saw the headlights from my mom’s car approaching, he’d run to the stereo room, nix the music, and we’d sit around reading, pretending we’d been studious all evening.

They’re the epitome of Brit punk/rock with a killer bass, fantastic vocals, and a fuck-you-I’m-gonna-rock attitude.

Anyway, I saw them with my dad while I was living in London at the Hyde Park Calling Festival.  We were dead center.  Here it is:

In my dad’s words:

Exhibit A depicts the more sedate part of the set.

Exhibit B depicts mosh pit madness.

[Smallbutstrong] and I are faintly visible RIGHT AT THE FOOT OF THE STAGE.

A.

http://www.youtube.com/watch?v=Bv6fnfdadNU

B.

http://www.youtube.com/watch?v=PyVrEVQWdR4

No More Heroes Indeed . . .

So, with all that being said (and I really hope you checked out those VIDs) I went to see The Stranglers original frontman, Hugh Cornwell, play the other night.  My friends and I were FRONT and CENTER for a foot thumpin, heart poundin show.

After the show I spoke to Cornwell and told him how much he has positively impacted my father’s psyche.  I thanked him and he thanked me for telling him.  It was a great big punk lovefest.  My father, god love him, is one of the most stressed people I have ever encountered.  He has a high pressure job in television, 3 kids, 3 step-children, one ex-wife, one wife, a dog, and drives probably 50 miles every day.  Not only that, but there is constant drama in my family (what with the divorce and irresponsible/reckless children) and he usually takes it all on.  The Stranglers and Hugh Cornwell have made him who he is today and have given him many moments of pure joy.

So this post is to him.  Thank you for turning me onto them and passing the torch.

Dionne Warwick – 1964

Stan Getz – 1968

Isaac Hayes – 1969

Laura Nyro – 1970

Gloria Gaynor – 1975

The Stranglers – 1978

D-Train – 1982

bônus: The Beach Boys

‘Life is like a box of chocolates, you never know what you’re gonna to get.‘ Ik ben geen fan van Forrest Gump, maar toch had ie hiermee wel een punt. Het leven zit vol verrassingen en afgelopen vrijdagavond werd ik verrast door een berichtje van Horrormeisje. Of ik soms zin had om mee te gaan naar Pinkpop Classics. Voor gratis nog wel! Met haar in de line-up:

Voor degenen die haar niet herkennen met haar: dat is dus Shinéad O’Connor! En die had ik nog nooit live gezien, dus ik hoefde niet lang na te denken. Mijn schuldgevoel over dat ik eigenlijk hard moest werken werd handig opzij geschoven en ik ging mee.

Na een flinke treinrit naar the middle of nowhere, alias Landgraaf, kwamen we aan op ons territorium van de dag:

Van daaruit vermaakten we ons prima met acts als Claw Boys Claw, The Stranglers en Living Colour. We voelden ons weliswaar een kléin beetje ehm, anders dan de anderen. Gezien we zowat de jongste bezoekers waren. En gewoon Nederlands spraken (haha, goed, dat gaat wat commentaar van de dames opleveren denk ik!). En geen klapstoeltjes meegenomen hadden. Al helemaal geen klapstoeltjes met bekerhouders… En geen luchtgitaren.

Als de zon ons iets te heet onder de voeten op de schouders werd zochten we wat verkoeling in the guest area (lang leve gastenlijstplekken ). Deze dame zorgde al voor aardig wat jeugdsentiment. Zoals Horrormeisje zei: ‘nou, ze is nog net zo depressief als altijd in ieder geval.’ En mooi, dat dan weer wel.

Daarna kwam ons beider hoogtepunt van de dag. Shinéad deed een vrij ingetogen set met een gitarist en een toetsenist/fluitspeler/gitarist. En dat deed ze heul goed! Hoewel ik lichtelijk teleurgesteld was dat ze wel het wat doodgedraaide Nothing compares to you speelde en niet het briljante, kippenvel opleverende Troy waar ik op stond te wachten, was het wel echt geweldig. Dat rauwe nummer had wellicht ook niet helemaal gepast in deze setting. En gelukkig speelde ze als afscheid wel speciaal voor Horrormeisje dit ook hele mooie nummer:

Onder begeleiding van Simple Minds vertrokken we weer richting station (met de nodige hulp van voorbijgangers, want bordjes ho maar). Overigens vind ik Simple Minds een zeer slap aftreksel van U2 en een band die zijn dagen slijt met het eeuwig herhalen van zijn 3 hitjes op elke Night of the Proms waar ze nog op mogen komen draven. Maar dat terzijde.

Eenmaal aangekomen in de semi-bewoonde wereld van Heerlen ontdekten we dat er geen trein meer naar huis reed. Het was immers al kwart voor elf, dat hadden we kunnen verwachten?! Dus hebben we in Eindhoven nog een uur door mogen brengen met het wachten op de nachttrein terug naar de Randstad. Nog een geluk dat er tegenwoordig ook in het zuiden een nachtnet is dus. Gelukkig was het nog steeds warm en hebben Horrormeisje en ik de tijd goed gevuld met gênante verhalen uit ons verleden. In Den Bosch werden we nog vergezeld door een buslading Hagenezen die blijkbaar van een hardcore-feestje afkwamen, waardoor onze rustige coupé veranderde in een schreeuwerige, volle veewagen waar de ziektes en racistische grappen je om de oren vlogen.

Dat alles mocht de pret niet drukken en wat mij betreft was dit in ieder geval een heerlijk dagje. Dus bedankt Horrormeisje en deze is voor jou!

THE STRANGLERS
HMV Picture House, Edinburgh, August 7 * * *

After an eighteen year absence, punk survivors The Stranglers made a welcome return to the capital tonight for what, if rumours are to be believed, might be the last time. Charged with kicking off the second year of the Edge Festival, the quartet certainly didn’t disappoint the loyal legions of fans who packed out the Picture House.
A rousing rendition of Waltzin’ Black from accordionist Jock the Box ensured the stage was set and the atmosphere charged for the arrival of a band set to celebrate its 35th birthday come the autumn.
The four-piece didn’t waste any time getting down to the business at hand. In fact it’s fair to say no time was wasted at any stage during the band’s glitch-free 25-song set. However their machine-like efficiency involving little in the way of crowd-interaction ultimately worked against them as although momentum was never lost it was a performance that often felt routine.
A mixed bag of tracks and playing crowd pleasers like Peaches, Always The Sun and Golden Brown early on meant proceedings seemed to drag in the latter stages. That said however, it didn’t matter to the hordes of punters determined to revel in every last moment of a display best described as one for the life-long fans.

In full flight

At full throttle

The Bonds went to the HMV Picture House last night to get a fix of The Stranglers. I have to say that I was well impressed, they came out, opened the throttle wide and kept it at full for well over an hour and a half without a break. Now given that they are 45, 57, 60 and 70, which is an unusual age range for a rock band, I have to say that to keep up the pace that they did for so long deserves a great deal of respect.