Review: The Saints - (I'm) Stranded
Label: Sire (re-issued on Captain Oi!)
Released: 1977
The Saints first popped up outside of their native Australia in 1976, somewhere between the demise of the pre-punk era of the New York Dolls, MC5 and Stooges and the punk explosion that would occur the following year. Their now classic "(I'm) Stranded" b/w "No Time" self-released single made it to Britain just as British punk was gaining steam with the likes of the Sex Pistols, the Clash and the Damned. The single was such a hit that EMI-Australia quickly signed the band and rushed the recording of the (I'm) Stranded LP (released in the US on Sire) which came out the following year. As a result, the two songs from the first single were a bit more polished than the rest of the album. Nonetheless, the album is a great example of early punk rock in its purest form.
The title track kicks the album off with an energetic, raw pop song. The band is pretty tight on this one, but not too tight. The better recording is evident, yet it likely wouldn't make anyone's list of great moments in production history. It remains one of my favorite songs from the early days of punk and is the Saints' entry on the seminal punk compilation, Burning Ambitions: A History of Punk. The opening ringing chord on "One Way Street" is all that's needed to know that it came from a different session than the opener. Even with lower production value, the song has fantastic intensity relying on the breakneck rhythms and power-chord punch that comprises so much of what's great about punk rock. The sneering version of Elmore James' "Wild About You" continues in much the same vein and includes a guitar solo that, unlike James, demonstrated little technical skill, but, very much like James, shows all kinds of passion. Although the Ramones did have a few slower songs, they really didn't have a bona fide ballad until 1978's "Questioningly." None of the British punk bands did much in the way of slower songs either, but the Saints pull it off. "Messin' with the Kid" is a slow bluesy ballad that still retains the rawness evident throughout the album despite nearly stretching to the very un-punk six minute mark. The pace picks back up again with the unrelenting "Erotic Neurotic," a classic example of punk's ability to demonstrate alienation in all facets of life. The production improves momentarily for "No Time," the b-side from their earlier single. Once again, the better production does little constrain their energy and coarseness. "Kissin' Cousins" is a cover of the Elvis song from the movie of the same name. When the Saints take hold of it, you'd never know it was from Elvis' dismal movie period. "Story of Love" is the album's second ballad. Not so bluesy as the "Messin' with the Kid," it's a much better prototype for the low-key punk tune. "Demolition Girl" is a faster tighter song that actually hints a bit at punk's hardcore future. The original release's closer, "Night in Venice," is a longer song (over five and a half minutes) that shows a bit more songwriting complexity, at least by punk standards. It may hint at the Saints’ departure from punk rock a year or so later. The re-issue also includes two bonus tracks, a hopped up version of the Connie Francis classic "Lipstick on Your Collar" as well as punk rock take on "River Deep, Mountain High." Bother are fine recordings, but do little to enhance the near punk perfection of the original release.
Perhaps the greatest testament to (I'm) Stranded's status as a punk classic is that the Saints are mentioned among the early greats of punk even though they hailed from Australia rather than England or New York City. Other great centers of punk creativity were still a year or so away when the Saints made their noise out of Brisbane thirty years ago. Their sound fell somewhere between the musical embodiment of anarchy that the Pistols and Damned represented and the hook-laden AM pop-influenced sound of the Ramones. The Saints’ closest ties musically were probably the edgy yet melodic Buzzcocks and (particularly) the Jam. While their punk years didn't last as long as some other bands, the Saints have continued to record on and off over the years with a fair amount of their work receiving positive reviews. Still, none had the impact or energy of this first release.
Addendum: I did a bit more research and the two bonus tracks were recorded four months after the LP in April 1977 for the "1,2,3,4" double 7".
Released: 1977
The Saints first popped up outside of their native Australia in 1976, somewhere between the demise of the pre-punk era of the New York Dolls, MC5 and Stooges and the punk explosion that would occur the following year. Their now classic "(I'm) Stranded" b/w "No Time" self-released single made it to Britain just as British punk was gaining steam with the likes of the Sex Pistols, the Clash and the Damned. The single was such a hit that EMI-Australia quickly signed the band and rushed the recording of the (I'm) Stranded LP (released in the US on Sire) which came out the following year. As a result, the two songs from the first single were a bit more polished than the rest of the album. Nonetheless, the album is a great example of early punk rock in its purest form.
The title track kicks the album off with an energetic, raw pop song. The band is pretty tight on this one, but not too tight. The better recording is evident, yet it likely wouldn't make anyone's list of great moments in production history. It remains one of my favorite songs from the early days of punk and is the Saints' entry on the seminal punk compilation, Burning Ambitions: A History of Punk. The opening ringing chord on "One Way Street" is all that's needed to know that it came from a different session than the opener. Even with lower production value, the song has fantastic intensity relying on the breakneck rhythms and power-chord punch that comprises so much of what's great about punk rock. The sneering version of Elmore James' "Wild About You" continues in much the same vein and includes a guitar solo that, unlike James, demonstrated little technical skill, but, very much like James, shows all kinds of passion. Although the Ramones did have a few slower songs, they really didn't have a bona fide ballad until 1978's "Questioningly." None of the British punk bands did much in the way of slower songs either, but the Saints pull it off. "Messin' with the Kid" is a slow bluesy ballad that still retains the rawness evident throughout the album despite nearly stretching to the very un-punk six minute mark. The pace picks back up again with the unrelenting "Erotic Neurotic," a classic example of punk's ability to demonstrate alienation in all facets of life. The production improves momentarily for "No Time," the b-side from their earlier single. Once again, the better production does little constrain their energy and coarseness. "Kissin' Cousins" is a cover of the Elvis song from the movie of the same name. When the Saints take hold of it, you'd never know it was from Elvis' dismal movie period. "Story of Love" is the album's second ballad. Not so bluesy as the "Messin' with the Kid," it's a much better prototype for the low-key punk tune. "Demolition Girl" is a faster tighter song that actually hints a bit at punk's hardcore future. The original release's closer, "Night in Venice," is a longer song (over five and a half minutes) that shows a bit more songwriting complexity, at least by punk standards. It may hint at the Saints’ departure from punk rock a year or so later. The re-issue also includes two bonus tracks, a hopped up version of the Connie Francis classic "Lipstick on Your Collar" as well as punk rock take on "River Deep, Mountain High." Bother are fine recordings, but do little to enhance the near punk perfection of the original release.
Perhaps the greatest testament to (I'm) Stranded's status as a punk classic is that the Saints are mentioned among the early greats of punk even though they hailed from Australia rather than England or New York City. Other great centers of punk creativity were still a year or so away when the Saints made their noise out of Brisbane thirty years ago. Their sound fell somewhere between the musical embodiment of anarchy that the Pistols and Damned represented and the hook-laden AM pop-influenced sound of the Ramones. The Saints’ closest ties musically were probably the edgy yet melodic Buzzcocks and (particularly) the Jam. While their punk years didn't last as long as some other bands, the Saints have continued to record on and off over the years with a fair amount of their work receiving positive reviews. Still, none had the impact or energy of this first release.
Addendum: I did a bit more research and the two bonus tracks were recorded four months after the LP in April 1977 for the "1,2,3,4" double 7".
posted by bob_vinyl at 4:08 PM
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