@@treasurehunteruk9718 one of musical best friends managed to get some bass guitar lessons from him in London 🎵😀🎸....way back now.... Im currently chatting online while watching early Stranglers..i wil ask him when it was...getting old now, both of us are 55 now😵
Treasure Hunter UK.....my mate thinks it was in 1991-1993 when he went back to university as a mature student to do a master's degree and he had to do some more formal lessons as part of the overall course.....a lot of people I know did things like that then, including my long suffering wife💚😀, to get some more education before fees came in. I should have, as academia is easy for me, but I just didn't get on well in formal education...I find it boring ...even university was a drag😵 Where do you hunt in the UK? We are all in Hampshire .. middle of nowhere in particular ... .near Winchester🐕🎵🎸
The Raven is one of the best albums of 1979. Great concept, great songs, great production and great artwork (3-D picture of The Raven). They really hit the jackpot with that album!
I dunno if anyone agrees, but I reckon this band is so great because each member was such an individual and showed it in the way they melded such individuality together...?
In 1976 and 1977 they were great. Between 1978 and 1981 inclusive, however,, they were somewhat peerless. Between the "5 Minutes" single and the "Just Like Nothing On Earth" single just about every single, attendant B-Sides, Albums and the two solo albums by Burnel and Cornwell, there were very few, if any, recording artists that could touch them. The work between the years I've given above sounded like no-one else and it's very difficult to this day to pinpoint any influences they may have been drawing on. Whatever the influences were, they certainly weren't overt. You could argue that the 76 and 77 era band sounded somewhat like The Doors on amphetamine but, following this, between 78 and 81, I think one would greatly struggle finding comparisons either contemporary or prior. I've noticed comments in various Stranglers postings on RUclips that state something along the lines of the band having been ahead of their time. I don't know if that's true: what's implicit to being termed as being "ahead of their time" is that we can now hear contemporary artists using approaches similar to those approaches employed by a given artist in an earlier era. I can't say I have heard anyone sounding like The Stranglers between 78 and 81. You can, for instance, hear Bowie's "Berlin Era" sound mined by contemporary artists (to be honest, certain bands started mining that approach within 18 months of Bowie's original work). You can hear everyone from The Beatles (obviously) to The Sex Pistols, from The Clash, Jam and Elvis Costello to The Who and King Crimson mined and echoed by artists that followed....... but not The Stranglers. So, no, I can't think one could define them as being "ahead of their time" at all. Which means, I believe, that they must just have been "of their time" albeit uniquely so. Then we had a slow, but inevitable, withdrawal: from late 81 things started to return to Earth. "La Folie" and attendant singles and B-Sides were good, but not as good as anything that had come prior. "Feline", singles and B-Sides were just "fairly good". "Aural Sculpture" singles and B-Sides were, by and large "ok" and "Dreamtime", Singles and B-Sides just in so "passable" in parts. "10", singles and B-Sides were, pretty much, just rubbish however. I've never bothered with the band post Cornwell's departure so can't comment but this disinterest isn't due to any thoughts that the band can't cut it without Cornwell: after all, from what I can gather, much of the band's 80s descent into middle of the road mediocrity was due to Cornwell's direction in the first place and I also find his solo work (other than the masterful "Nosferatu") incredibly weak. Still, 76 to 81 (and 78 to 81 in particular)...... Wow!
Your analysis is spot on and I almost entirely agree with every single word. Indeed 76 to 81 production is immensely worth. Beside your concept I would like to add something. I believe that exactly in that period the lads have been sort of (unconscious?) medium and through them some other entities have voiced themselves. There are things which seen in retrospect are truly amazing. Think about the 1980 synchronicity effect between the ad libitum verse “for ever and ever” of “Hallow to our men”and the ad libitum sentence “come Danny and play with us for ever and ever” of the most disturbing movie of all time: “The shining” (also 1980). Think about song like “Sweden”, at that time the most boring place on earth while nowadays it is the spearhead of the NWO dystopia. Think about song like “Men in black”, decade ahead of David Icke and alike. Think about song like “dead loss angels”, and think about the catastrophic status of California city literally drowning in human fecis. Think about 1979 JJ album “Euroman cometh” made in a time in which nobody could predict of the UE (another dystopia I am afraid). Think about song like “Sha Sha a gogo”, and the importance that Iran has gained in the world chess board. This list is likely to grow by simply looking in retrospect while time keep on thicking.
Two months after I need to further integrate my post. It is unbelievable how so stringently actual all of the sudden "Curfew" has become. "Stay in your homes Stay in your homes Be off the streets by nightfall"
@@nicolagianaroli2024 I also agree with beefheart , a spot on observation and also nicola... during this lockdown i have been listening and watching a lot of old Stranglers .. I was into them from the start at age 10 when my brother bought Rattus and their songs seem very timeless and prescient ... honest artistes are hard to come buy so you cherish them...even at age 10 you know who's real ... I might just add that the Steve Albini recorded Totem & Taboo by Hugh is worth a listen....and theres a good video for that track T&T
me too kings hall stoke. loved the Stranglers since hearing rattus on cassette in my mates dad's car. I was 17 before a got the chance to see them on the Raven tour 79
I really love sum of thier stuff, especially the "Black and White" and "The Raven" L.P's and most of "Rattus Norvegicus" of course. Don't understand the appeal after Hugh left. R.I.P Dave Greenfield.
Got the ticket to see them play Caerphilly Castle earlier this year 2019 but, try as they might, not the same without Hugh and Jet! Love Baz Warne but he is no Hugh Cornwell!
I saw them on when they released they released their first eight albums (They started to lose it at Dreamtime, so never bothered after that), they were brilliant. I remember the No More Heroes tour, it was amazing, the energy, the sound ... there was nothing like at at the time. Saw them on the Black and White tour a couple of years back, left half way through, it was depressing, it's just a job for them now and it shows.
@@rayenbow3281 Spot on & now Burnel at nearly 70 still carrying on as The Stranglers without any other original member (Shameful)..They ceased being The Stranglers after 12/08/1990.
@@ghmusic8116 They stopped being The Stranglers when they put out the turgid, HC-inspired "10" and then hired Del Boy to sing and write for a few albums. They started being The Stranglers again with Norfolk Coast. Baz is just as much a Strangler as Hugh ever was. And he hasn't (as yet) produced a "10".
Ils auraient passé ça sur antenne 2 à l'époque ? Peut-être que j'avais ça à la télé mais je ne m'en souviens pas. J'avais neuf ans et je ne connaissais pas encore les Stranglers, j'ai dû attendre 1987 pour les découvrir.
Oui. Sur Antenne 2 tout les dimanches entre midi et 2. "Chorus - 37 minutes de musique live" annonçait à chaque fois Antoine de Caunes et ce qu'il diffusait était toujours super bien choisi, souvent des groupes à peine connus qui allaient cartonner quelques mois plus tard. J'y ai vu The Cure, Siouxsie & the Banshees, Stray Cats, Devo, The Ruts, entres autres, parfois des Français comme Marquis de Sade et des groupes confirmés au moment de leur passage dans l'émission (Stranglers, Ramones, Clash). Bref, de Caunes avait bon goût en matière de punk - new wave, en matière de rock, tout simplement. Il a aussi programmé des légendes du rockabilly comme Link Wray, Vince Taylor même si plus grand monde ne s'intéressait à eux à la fin des années 70.… Pour tout ça, merci Antoine
My opinion is that the Baz should rejoin the fun punk outfit The Toy Dolls and The Stranglers welcome back the one and only Hugh Cornwell. Jet, you are excused! Enjoy retirement mate. You deserve it!
I didn't realise that Baz from the Toy Dolls, you are right, he should rejoin them. Mind you, without Hugh,The Stranglers are a novelty band now so Baz fits in perfectly. Maybe they should include Nelly the Elephant in their set? Not worth the ticket money anymore. If Hugh was with them, ah, well that's another story. I
Sadly, considering the acrimony between the band & HAC, that's not gonna happen, even more so since The Meninblack have announced their farewell UK Tour..... :'(
@@rayenbow3281 Never going to happen to much bad blood between the pair after The Rome incident in 1985 changed their relationship forever according to Cornwell's Autobiography.( & I wouldnt blame him for quitting either when he did tbh)
yes yer probably right , certainly at 14:45 he is definitely in the audience and emerges back on stage "'cause we're gonna survive". i think i was confusing this footage with the Guildford gig that went so horribly wrong both inside and outside of the band.
it was kind of like being in an unhealthy relationship, abuse and love all mixed together hahahahhaha lol...still my one of a handful of favourite bands all time .... and i mean that
@@katoness yep absolutely true he is known just to be a dickhead to fans watch stranglers play at rockpalast in 1983 and there is a prime example of him being a dickhead
As far as I remember, this is actually pretty standard t.v recording quality for live Rock music in a concert setting (as opposed to live in a tv studio) back then. Even as late as the mid 80s, shows in the UK such as "The Tube", more often than not, had poor sound - and that generally WAS based in a tv studio! "The Whistle Test" (in the U.K) was generally a little better but that was considered more of a "muso" programme anyway as opposed to "The Tube" which was more of a "Youth Culture" programme. Indeed, I can't remember much before "Later" in the U.K where you would get good sound as standard. I think there will be a few reasons poorer sound was standard in the 60s, 70s and 80s tv recordings of Rock: The equipment and P.As the bands used (often "House" P.As for live concert performances, originally designed for plays or cabaret type acts at best) were nowhere near as developed as today for one thing. Uneven live sound mixing by the house engineer (either on stage, front of house or both) would be another. Further, the fact that the t.v company recording engineers, - who, often would be older men with potentially, no experience of recording a live Rock band, had no interest in Rock per-se and certainly no interest at all in the individual band they were recording that night, - would add a third ingredient to the stew. The tv production companies and broadcast channels wouldn't have been overly bothered about the recording fidelity of a Rock performance in this era either; such broadcasts were the programming version of a "stocking filler" after all: broadcast late in the evening (11:00pm / 11:30pm) mid week and considered simply as something cheap to make that would fill a gap in channel down time. And that's a big point: not much money would be spent on a recording such as this, by design! It was INTENDED as cheap (for them), stop gap, broadcast material by the producers, programmers and channels alike. You have to remember that, ironically, before it became the "heritage" art form it is today, in the era when Rock was still a vital culture - mid 50s to mid 80s in general - it wasn't taken seriously as an art form what so ever by the establishment in the media or society as a whole. It was just something kids liked and, therefore, disposable commodity. Accordingly, who was going to care about the audio quality of a live sound recording from such as The Stranglers? Teenagers like myself at the time, were still going to lap it up however it sounded. We were watching on old Grundig and Radio Rental TV sets anyway which would inevitably only have one crappy mono speaker which was all muddy and boxey mid range. (And this is another aspect to consider: whatever attention to mixing and mastering was attempted, was made to suit the mono speakers in such t.v sets. You may find that, if you could access such a set nowadays and play this performance through it, it would actually sound a lot better than it does here!). No, the only way you were going to get good live recording of a Rock band in a concert setting back then was if it was a production by the artists themselves, and then, only the very rich, big bands like the Stones, Zeppelin and The Who etc could afford that. The Stranglers certainly couldn't. So, having come from that era myself, I've got to say... this sounds pretty good to me!...... Given everything I've written above, I guess we're lucky to have it (and all the other performances captured from the 50s, 60s, 70s and early 80s) at all.
Thumbs up if you are binge-watching RUclips videos of The Stranglers in memory of Dave Greenfield. 🎹🎼🐺
Amen to that!!
Yeah, then I suddenly remembered how gorgeous JJ was, and now I can't stop watching videos of him. I've been doing it for weeks ……….
@@treasurehunteruk9718 one of musical best friends managed to get some bass guitar lessons from him in London 🎵😀🎸....way back now.... Im currently chatting online while watching early Stranglers..i wil ask him when it was...getting old now, both of us are 55 now😵
🎹😔🎵🌌
Treasure Hunter UK.....my mate thinks it was in 1991-1993 when he went back to university as a mature student to do a master's degree and he had to do some more formal lessons as part of the overall course.....a lot of people I know did things like that then, including my long suffering wife💚😀, to get some more education before fees came in. I should have, as academia is easy for me, but I just didn't get on well in formal education...I find it boring ...even university was a drag😵
Where do you hunt in the UK?
We are all in Hampshire .. middle of nowhere in particular ... .near Winchester🐕🎵🎸
JJs bass is like a force of nature. Never heard a bass sound like it.
R. I. P. Dave Greenfield. Best keyboard artist ever. He gave The Stranglers
their marvelous, inimitable and distinctive style in music.
Most versatile band of all time. Every song is in a different style and the Musicianship is way above everyone else.
Wow' this is fantastic footage, thanks for uploading this to youtube'😊
The Raven is one of the best albums of 1979. Great concept, great songs, great production and great artwork (3-D picture of The Raven). They really hit the jackpot with that album!
I dunno if anyone agrees, but I reckon this band is so great because each member was such an individual and showed it in the way they melded such individuality together...?
Virtuoso musicians, the four of them.
Stranglers, one of the top groups ever, brilliant musicians that could really play, they were fantastic. Thanks so much for posting.
Wizard Greenfield, bass god Burnel. Best band ever.
In 1976 and 1977 they were great. Between 1978 and 1981 inclusive, however,, they were somewhat peerless. Between the "5 Minutes" single and the "Just Like Nothing On Earth" single just about every single, attendant B-Sides, Albums and the two solo albums by Burnel and Cornwell, there were very few, if any, recording artists that could touch them.
The work between the years I've given above sounded like no-one else and it's very difficult to this day to pinpoint any influences they may have been drawing on. Whatever the influences were, they certainly weren't overt. You could argue that the 76 and 77 era band sounded somewhat like The Doors on amphetamine but, following this, between 78 and 81, I think one would greatly struggle finding comparisons either contemporary or prior.
I've noticed comments in various Stranglers postings on RUclips that state something along the lines of the band having been ahead of their time. I don't know if that's true: what's implicit to being termed as being "ahead of their time" is that we can now hear contemporary artists using approaches similar to those approaches employed by a given artist in an earlier era. I can't say I have heard anyone sounding like The Stranglers between 78 and 81. You can, for instance, hear Bowie's "Berlin Era" sound mined by contemporary artists (to be honest, certain bands started mining that approach within 18 months of Bowie's original work). You can hear everyone from The Beatles (obviously) to The Sex Pistols, from The Clash, Jam and Elvis Costello to The Who and King Crimson mined and echoed by artists that followed....... but not The Stranglers. So, no, I can't think one could define them as being "ahead of their time" at all. Which means, I believe, that they must just have been "of their time" albeit uniquely so.
Then we had a slow, but inevitable, withdrawal: from late 81 things started to return to Earth. "La Folie" and attendant singles and B-Sides were good, but not as good as anything that had come prior. "Feline", singles and B-Sides were just "fairly good". "Aural Sculpture" singles and B-Sides were, by and large "ok" and "Dreamtime", Singles and B-Sides just in so "passable" in parts. "10", singles and B-Sides were, pretty much, just rubbish however.
I've never bothered with the band post Cornwell's departure so can't comment but this disinterest isn't due to any thoughts that the band can't cut it without Cornwell: after all, from what I can gather, much of the band's 80s descent into middle of the road mediocrity was due to Cornwell's direction in the first place and I also find his solo work (other than the masterful "Nosferatu") incredibly weak.
Still, 76 to 81 (and 78 to 81 in particular)...... Wow!
Your analysis is spot on and I almost entirely agree with every single word. Indeed 76 to 81 production is immensely worth. Beside your concept I would like to add something. I believe that exactly in that period the lads have been sort of (unconscious?) medium and through them some other entities have voiced themselves. There are things which seen in retrospect are truly amazing. Think about the 1980 synchronicity effect between the ad libitum verse “for ever and ever” of “Hallow to our men”and the ad libitum sentence “come Danny and play with us for ever and ever” of the most disturbing movie of all time: “The shining” (also 1980). Think about song like “Sweden”, at that time the most boring place on earth while nowadays it is the spearhead of the NWO dystopia. Think about song like “Men in black”, decade ahead of David Icke and alike. Think about song like “dead loss angels”, and think about the catastrophic status of California city literally drowning in human fecis. Think about 1979 JJ album “Euroman cometh” made in a time in which nobody could predict of the UE (another dystopia I am afraid). Think about song like “Sha Sha a gogo”, and the importance that Iran has gained in the world chess board. This list is likely to grow by simply looking in retrospect while time keep on thicking.
Two months after I need to further integrate my post. It is unbelievable how so stringently actual all of the sudden "Curfew" has become. "Stay in your homes
Stay in your homes
Be off the streets by nightfall"
@@nicolagianaroli2024 I also agree with beefheart , a spot on observation and also nicola... during this lockdown i have been listening and watching a lot of old Stranglers .. I was into them from the start at age 10 when my brother bought Rattus and their songs seem very timeless and prescient ... honest artistes are hard to come buy so you cherish them...even at age 10 you know who's real ... I might just add that the Steve Albini recorded Totem & Taboo by Hugh is worth a listen....and theres a good video for that track T&T
Indeed, spot on analysis. They seemed to reach their pinnacle with the Gospel According to the Meninblack and fell prey to entropy thereafter.
Listen to Enough Time from Black & White and tell me that ain't NIN.
I'm always checking the Stranglers live. This is a great show!!!
Excellent gig as usual RIP Dave the wizard.
Great stuff - I still see them now - but the Raven Tour back in '79 is still my fave!
I've been a Stranglers fan since day one. Still am. I've grown up in the best time. No like the world is today.
Excellent concert
R.I.P....Dave..🖤.
R.I.P. Dave
Thanks for posting. I really enjoyed watching this video. The sound is excellent and JJ is at his menacing best.
Brilliant band back then
thanks you very very much,40 years ago i saw this concert on my tv
whenst a a kid i loved how hard these were, looked like they wanted a fight
Thanks for posting this great footage ,,,,I seen them in 79 brings me right back to my youth
me too kings hall stoke. loved the Stranglers since hearing rattus on cassette in my mates dad's car. I was 17 before a got the chance to see them on the Raven tour 79
Excellent!!
From an artistic standpoint The Raven, The Gospel according to the Meninblack and La Folie is their best albums, hands down. Golden era!
No chance the the first 3 albums are the best by a country mile
Amazing !
AWESOME❤
I really love sum of thier stuff, especially the "Black and White" and "The Raven" L.P's and most of "Rattus Norvegicus" of course. Don't understand the appeal after Hugh left. R.I.P Dave Greenfield.
that cameraman was an artist
Epic
Got the ticket to see them play Caerphilly Castle earlier this year 2019 but, try as they might, not the same without Hugh and Jet! Love Baz Warne but he is no Hugh Cornwell!
I saw them on when they released they released their first eight albums (They started to lose it at Dreamtime, so never bothered after that), they were brilliant. I remember the No More Heroes tour, it was amazing, the energy, the sound ... there was nothing like at at the time.
Saw them on the Black and White tour a couple of years back, left half way through, it was depressing, it's just a job for them now and it shows.
@@rayenbow3281 Spot on & now Burnel at nearly 70 still carrying on as The Stranglers without any other original member (Shameful)..They ceased being The Stranglers after 12/08/1990.
@@ghmusic8116 They stopped being The Stranglers when they put out the turgid, HC-inspired "10" and then hired Del Boy to sing and write for a few albums. They started being The Stranglers again with Norfolk Coast. Baz is just as much a Strangler as Hugh ever was. And he hasn't (as yet) produced a "10".
@@MackemChops 😂🤣😴
Bon!
Hugh Cornwell COME BACK WITH JJ PLEASE (OR THE STRANGLERS IS DEAD)..........RIP DAVE
Ils auraient passé ça sur antenne 2 à l'époque ? Peut-être que j'avais ça à la télé mais je ne m'en souviens pas. J'avais neuf ans et je ne connaissais pas encore les Stranglers, j'ai dû attendre 1987 pour les découvrir.
Oui. Sur Antenne 2 tout les dimanches entre midi et 2. "Chorus - 37 minutes de musique live" annonçait à chaque fois Antoine de Caunes et ce qu'il diffusait était toujours super bien choisi, souvent des groupes à peine connus qui allaient cartonner quelques mois plus tard. J'y ai vu The Cure, Siouxsie & the Banshees, Stray Cats, Devo, The Ruts, entres autres, parfois des Français comme Marquis de Sade et des groupes confirmés au moment de leur passage dans l'émission (Stranglers, Ramones, Clash). Bref, de Caunes avait bon goût en matière de punk - new wave, en matière de rock, tout simplement. Il a aussi programmé des légendes du rockabilly comme Link Wray, Vince Taylor même si plus grand monde ne s'intéressait à eux à la fin des années 70.… Pour tout ça, merci Antoine
9:16
if someone tells you they weren´t that good, show them this : 16:20
This cant be the whole gig where is the rest of it ?
My opinion is that the Baz should rejoin the fun punk outfit The Toy Dolls and The Stranglers welcome back the one and only Hugh Cornwell. Jet, you are excused! Enjoy retirement mate. You deserve it!
I didn't realise that Baz from the Toy Dolls, you are right, he should rejoin them. Mind you, without Hugh,The Stranglers are a novelty band now so Baz fits in perfectly. Maybe they should include Nelly the Elephant in their set?
Not worth the ticket money anymore. If Hugh was with them, ah, well that's another story.
I
Sadly, considering the acrimony between the band & HAC, that's not gonna happen, even more so since The Meninblack have announced their farewell UK Tour..... :'(
@@rayenbow3281 Never going to happen to much bad blood between the pair after The Rome incident in 1985 changed their relationship forever according to Cornwell's Autobiography.( & I wouldnt blame him for quitting either when he did tbh)
Outtakes here from an amateur film recording if interested :
ruclips.net/video/z2LGERYJgT8/видео.html
at 19:00 JJb throws water at the audience, taunting and frustrating his fans was his thing.
yes yer probably right , certainly at 14:45 he is definitely in the audience and emerges back on stage "'cause we're gonna survive". i think i was confusing this footage with the Guildford gig that went so horribly wrong both inside and outside of the band.
it was kind of like being in an unhealthy relationship, abuse and love all mixed together hahahahhaha lol...still my one of a handful of favourite bands all time .... and i mean that
Hugh does come across as a wanker to fans, I remember someone telling me they said hello to Hugh and Hugh responding with, "Do I know you?". Nice.
@@katoness yep absolutely true he is known just to be a dickhead to fans watch stranglers play at rockpalast in 1983 and there is a prime example of him being a dickhead
@@katoness met hugh coupla times in BFS after gigs - tremendous guy ...always happy to have a few words post gig in the bar afterwards
would there be a case for the return of hugh now with the sad demise of dave
if to kiss goodbye to he strangs
The frenchies dont get it lol plastic bertrand was their punk superstar
The bass player of The Stranglers was actually... a frenchy.
Cheers from a frenchy. 😉
Bertrand was/his from Belgium
Sounds like it was recorded on a mobile! Atrocious sound quality! Shame!
As far as I remember, this is actually pretty standard t.v recording quality for live Rock music in a concert setting (as opposed to live in a tv studio) back then.
Even as late as the mid 80s, shows in the UK such as "The Tube", more often than not, had poor sound - and that generally WAS based in a tv studio! "The Whistle Test" (in the U.K) was generally a little better but that was considered more of a "muso" programme anyway as opposed to "The Tube" which was more of a "Youth Culture" programme. Indeed, I can't remember much before "Later" in the U.K where you would get good sound as standard.
I think there will be a few reasons poorer sound was standard in the 60s, 70s and 80s tv recordings of Rock: The equipment and P.As the bands used (often "House" P.As for live concert performances, originally designed for plays or cabaret type acts at best) were nowhere near as developed as today for one thing. Uneven live sound mixing by the house engineer (either on stage, front of house or both) would be another. Further, the fact that the t.v company recording engineers, - who, often would be older men with potentially, no experience of recording a live Rock band, had no interest in Rock per-se and certainly no interest at all in the individual band they were recording that night, - would add a third ingredient to the stew.
The tv production companies and broadcast channels wouldn't have been overly bothered about the recording fidelity of a Rock performance in this era either; such broadcasts were the programming version of a "stocking filler" after all: broadcast late in the evening (11:00pm / 11:30pm) mid week and considered simply as something cheap to make that would fill a gap in channel down time. And that's a big point: not much money would be spent on a recording such as this, by design! It was INTENDED as cheap (for them), stop gap, broadcast material by the producers, programmers and channels alike.
You have to remember that, ironically, before it became the "heritage" art form it is today, in the era when Rock was still a vital culture - mid 50s to mid 80s in general - it wasn't taken seriously as an art form what so ever by the establishment in the media or society as a whole. It was just something kids liked and, therefore, disposable commodity. Accordingly, who was going to care about the audio quality of a live sound recording from such as The Stranglers? Teenagers like myself at the time, were still going to lap it up however it sounded. We were watching on old Grundig and Radio Rental TV sets anyway which would inevitably only have one crappy mono speaker which was all muddy and boxey mid range. (And this is another aspect to consider: whatever attention to mixing and mastering was attempted, was made to suit the mono speakers in such t.v sets. You may find that, if you could access such a set nowadays and play this performance through it, it would actually sound a lot better than it does here!).
No, the only way you were going to get good live recording of a Rock band in a concert setting back then was if it was a production by the artists themselves, and then, only the very rich, big bands like the Stones, Zeppelin and The Who etc could afford that.
The Stranglers certainly couldn't.
So, having come from that era myself, I've got to say... this sounds pretty good to me!...... Given everything I've written above, I guess we're lucky to have it (and all the other performances captured from the 50s, 60s, 70s and early 80s) at all.
Sound on this is atrocious. Think Hugh was the weakest link musician wise and seemed very bored with it live by 5he early eighties!
R.I.P. Dave