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The Stranglers formed as the Guildford Stranglers in the southern England village of Chiddingfold (near Guildford) in 1974, plowing a heavily Doors-influenced furrow through the local pub rock scene -- such as it was. Of the four founding members, only Hugh Cornwell had any kind of recognizable historical pedigree, having played alongside Richard Thompson in the schoolboy band Emil & the Detectives. According to Thompson, their repertoire stretched from "Smokestack Lightning" and the blues, through to "old Kiki Dee B-sides," while their gigging was largely confined to the Hornsey School of Art, where Thompson's sister was Social Secretary.
The Guildford Stranglers were confined to a similar circuit. It was 1975 before they ventured into even the London suburbs, although once there -- and having shortened their name to the less parochial Stranglers -- things began moving quickly. The established pub rock scene was dying and promoters were willing to give any unknown band a break, simply to try and establish a new hierarchy. Thus it was that as the first stirrings of punk began to make their own presence felt on the same circuit, the Stranglers were on board the bandwagon from the beginning.
Their early songs, too, radiated the same ugly alienation that was the proto-punk movement's strongest calling card. Material like "Peasant in the Big Shitty," "I Feel Like a Wog," "Down in the Sewer," and "Ugly" itself were harsh, uncompromising, and grotesque, a muddy blurge of sound cut through with Dave Greenfield's hypnotically Doors-like keyboards that was possessed of as much attitude as it was detectable musical competence. One uses the word guardedly, but "highlights" of this period were included on the 1994 archive release Live, Rare & Unreleased 1974-1976.
By mid-1976 the Stranglers already had enough force behind them to be booked as opening act at the Ramones' first London show, and Mark P., editor of the newly launched punk fanzine Sniffin' Glue, conferred further punk approval on the band when he wrote, "their sound is 1976...the Stranglers are a pleasure to boogie to -- sometimes they sound like the Doors, other times like Television, but they've got an ID of their own." Further prestige accompanied the band's opening slot for Patti Smith in October -- and that despite most of the audience walking out long before the band left the stage; by the time the band set out on their own first U.K. tour, they had signed with UA (A&M in America) and were preparing to record their debut album with producer Martin Rushent.
"(Get A) Grip (On Yourself)," the Stranglers' debut single, made the lower reaches of the Top 50; Rattus Norvegicus, their first album, confirmed the group as one of the fastest developing bands on the entire scene -- even as the scene itself still puzzled over whether the Stranglers even belonged on board. "Old hairy misogynists" was a common accusation to fling in their direction, and it was one which the Stranglers themselves delighted in encouraging. In a more PC climate, their first U.K. Top Ten hit, summer 1977's "Peaches," would never even have been written, let alone recorded, while the bandmembers' reputation as sexual bad boys was only exacerbated by other songs in their repertoire: "London Lady," "Bring on the Nubiles," "Choosy Susie."
The fact that much of their lyrical prowess was built around the darkest hued of black humors never entered many people's minds at the time, but listen again to their finest moments -- "Hangin' Around," "Down in the Sewer," the mindless boogie of "Go Buddy Go," and the sheer vile joys of "Ugly" -- and try to keep an even halfway straight face.
Unfortunately, though the Stranglers themselves reveled in an almost Monty Python-esque grasp of absurdity (and, in particular, the absurdities of modern "men's talk"), there was an undercurrent of violence that not only permeated their music, it also, inevitably, spilled into their live shows. Their fall 1977 British tour was marred by some very ugly scenes, while a trip to Sweden brought them into violent confrontation with the Raggere, that country's equivalent of Britain's punk-hating Teddy Boys. Hugh Cornwell's choice of T-shirts (a Ford logo reworked to read "F*ck") brought the band into conflict with London's local council, while the group's decision to line their stage with topless dancing girls when they played a concert in that city's Battersea Park brought women's groups screaming down on them, too.
Yet despite so much controversy, the Stranglers' grip on the British chart seemed unbreakable. "Peaches" was followed by "Something Better Change" and might easily have been joined by a passionate cover of "Mony Mony" had the band not opted to hide behind the pseudonym of the Mutations, accompanying singer Celia Gollin on the number. (A second Celia & the Mutations single, "You Better Believe Me," followed late in 1977.) "No More Heroes," the driving title track to the Stranglers' second album, was another huge hit, although the album itself was a disappointment -- recorded in a hurry, with little time to write new material, it was largely comprised of older songs that had been passed over for Rattus. Within months, a new Stranglers album was on the streets, and this time they got everything right. Black and White was previewed by the hits "Five Minutes" and "Nice'n'Sleazy" (self-mythology in a nutshell), and was swiftly followed by one of the band's finest moments, a murderously slowed-down version of Bacharach/David's "Walk on By."
More importantly, Black and White was the last Stranglers album to even flirt with the socio-sexual shock troop imagery that fired their first records; with the live X Cert album (their first for IRS in America) rounding off 1978 with a final flurry of gruffness, the band was now free to experiment beyond even the most indulgent fan's wildest imaginings.
1979's The Raven saw them moving toward both psychedelia and radio-friendly pop -- "The Duchess," Top 20 that summer, was a classic tune by anybody's standards and, while a flurry of solo activity from Jean Jacques Burnel (The Euroman Cometh) and Hugh Cornwell (Nosferatu) raised rumors that the band was reaching the end of its lifespan, in fact it was their non-musical activities that came closest to bursting the bubble, after Cornwell was sentenced to three months imprisonment for drug possession in January 1980.
The band regrouped following his release and banged out two albums in a year, the concept Meninblack and the extraordinarily ambitious La Folie -- home of their biggest hit single yet, "Golden Brown." It reached number two in Britain, although two other singles from the same album, "Let Me Introduce You to the Family" and "La Folie" itself, contrarily proved among their least successful so far.
"Strange Little Girl," specially recorded for the hits compilation The Collection 1977-1982, returned the band to the Top Ten the following summer and, having moved from UA to Epic, the Stranglers rounded out 1982 with the "European Female" single and Feline album, defiantly pop-heavy albums flavored by the group's own special take on the then-prevalent synthesizer sounds. This phase of the band's development reached a nadir of sorts with 1984's Aural Sculpture, the least engaging of their albums to date, and the least successful -- it faltered at number 14, with the exquisite "Skin Deep" single drawn up one place lower.
Two years of near silence followed, punctuated only by a succession of under-performing British 45s -- American releases were even rarer. "Nice in Nice," a commentary on a six-year-old misadventure in the French city of that name, "Always the Sun," "Big in America," and "Shakin' Like a Leaf," drawn from the 1986 album Dreamtime, ensured the band remained very much a sideshow into the late '80s, but 1988 finally brought a massive turnaround in their fortunes. That January, a wildly churning cover of the Kinks' "All Day and All of the Night" powered the Stranglers back into the Top Ten, to be followed by a new live album of the same name.
Another long silence followed but, sticking with covers, the Stranglers were back to their best with ? & the Mysterians' "96 Tears" in early 1990, a taster for the album 10. A second hits collection, Greatest Hits 1977-1990, stuffed stockings across Europe that Christmas, but any serious attempt at a lasting revival was stymied by the departure of Cornwell for a solo career. He was replaced by John Ellis, a former member of fellow pub-to-punk graduates the Vibrators, and Sniff 'n' the Tears frontman Paul Roberts, and the new-look Stranglers re-emerged on the China indie in early 1992.
A new album, Stranglers in the Night, appeared that fall, together with the minor hit "Heaven or Hell"; by year's end, however, drummer Jet Black, too, had departed. He was replaced by Tikake Tobe and, in this form, the group recorded yet another live album, Saturday Night Sunday Morning, before Black returned for 1995's About Time. The group's studio set Coup de Grace was issued in 1998, after which Ellis left the band, to be replaced by Baz Warne. Their next album, Norfolk Coast, was a surprise success in 2004, spawning a Top 40 hit in "Big Thing Coming." After this record, Roberts departed and the group released Suite XVI in 2006. Six years later, they put out their 17th album, Giants.
Each of their UA/Epic albums was reissued with generous helpings of bonus tracks, while 1992 saw the release of a classic 1977 live show, Live at the Hope & Anchor, together with a collection of the band's (surprisingly inventive) 12" singles and a fabulous box set drawn from the 1976-1982 period, The Old Testament. Further live albums have since appeared, as has a remarkable document of the band's three BBC sessions, from 1977 and 1982.
That it is those earliest years that remain the Stranglers' most popular is not surprising -- 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. That people are still offended by it only adds to its delight -- if rock & roll (especially punk rock & roll) was meant to be pleasant, it would never have changed the world, after all. The fact that much of the Stranglers' message was actually hysterically funny -- as they themselves intended it to be -- only adds to their modern appeal. And the fact that their fans are still called upon to defend them only proves what humorless zeroes their foes really were.
The Stranglers are an English punk rock music group.
Scoring some 23 UK top 40 singles and 17 UK top 40 albums to date in a career spanning four decades, the Stranglers are the longest-surviving and most "continuously successful" band to have originated in the UK punk scene of the mid to late 1970s. Beginning life as the Guildford Stranglers on 11 September 1974 in Guildford, Surrey, they originally built a following within the mid-1970s pub rock scene. While their aggressive, no-compromise attitude identified them as one of the instigators of the 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 through the sophisticated pop of some of their 1980s output.
They had major mainstream success with their single "Golden Brown". Their other hits include "No More Heroes", "Peaches", "Always the Sun" and "Skin Deep".
The Stranglers' early sound was driven by Jean-Jacques Burnel's melodic bass, but also gave prominence to Dave Greenfield's keyboards at a time when the instrument was seen as unfashionable. Their early music was also characterised by the growling vocals and sometimes misanthropic lyrics of both Jean-Jacques Burnel and Hugh Cornwell. 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."
Formation and mainstream success (1974–1979) 
The group was originally called The Guildford Stranglers, and operated out of The Jackpot, a Guildford off-licence run by their drummer Jet Black (real name Brian Duffy). 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. None of the band came from Guildford: Black is from Ilford, Burnel from Notting Hill, Cornwell from Kentish Town and Greenfield from Brighton, while Wärmling came from Sweden and returned there after leaving the band.
Cornwell was a blues musician prior to forming the band and had briefly been a bandmate of Richard Thompson, Burnel had been a classical guitarist who had performed with symphony orchestras, Jet Black was a jazz drummer, and Dave Greenfield had played at military bases in Germany. Their early influences included pre-punk psychedelic rock bands such as The Doors 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. 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."
The band's early albums, Rattus Norvegicus, No More Heroes and Black and White 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')." 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.
During their 1978 appearance at the University of Surrey on the BBC TV programme Rock Goes To College, the group walked off stage because an agreement to make tickets available to non-university students had not been honoured. 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, with further performances at The Red Cow, Hammersmith, and The Nashville Rooms, West Kensington, in early September.
In the later 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 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 focussed around S-KEN Studio in Roppongi, and The Loft venues in Shinjuku and Shimokitazawa from 1977 to 1979. The scene included bands such as Friction, and they became friends with the band, Red Lizard, who they invited back to London, where the band became known as Lizard. 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. Burnel toured with ARB for 5 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".
Second phase (1979–1982) 
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 then current management team. Meanwhile Burnel released an experimental solo album Euroman Cometh backed by a small UK tour and Cornwell recorded the album Nosferatu in collabaration with Robert Williams. Later that year the Stranglers released The Raven, which heralded a transition towards a more melodic and complex sound which appealed more to the album- than the singles market. 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, "The Meninblack". The Raven saw a definite transition in the band's sound. The Hohner Cembalet - so prominent on the previous three albums - was dropped and Oberheim synthesizers were deployed on most tracks. A Korg Vocoder was used on the track The Meninblack whilst acoustic piano was used on Don't Bring Harry . The Raven was not released in the U.S.; 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, although it is believed it could have made No.1 but for an error in the chart. The Police hit No.1 despite their album not yet being released, leading to controversy that the Police album was mis-credited with sales of The Raven. The Raven 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, but "Bear Cage" also only managed No.36 in the charts.
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 supposed connection between religious phenomena and extraterrestrial visitors. It was preceded by a single "Who Wants the World", which didn't appear on the album, and only just made the top 40. The Gospel According to The Meninblack was very different from their earlier work and alienated many fans. 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. 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.
After a slow start, the Stranglers recovered their commercial and critical status with La Folie (1981) which 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 Mediterranian origin and her skin was golden brown." It became their biggest hit, charting at No.2 in the UK Singles Chart. 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"; however "La Folie" was chosen after Burnel convinced his bandmates of its potential. 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. The tracklisting for The Collection 1977–1982 included the new single "Strange Little Girl", which had originally been recorded on a demo in '74 and rejected by EMI. It became a hit, charting at No.7 in July 1982.
New label and sound (1983–1990) 
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. It gained much critical success but fell well short of La Folie in terms of sales and failed to produce another hit after "European Female". Nonetheless Feline broke the Stranglers in Europe and reached No.4 in the UK chart in January 1983 (their last studio album to break the UK Top 10).
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 and 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 Hugh Cornwell's departure in 1990. Aural Sculpture was only a moderate success in the UK album charts, peaking at No.14 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 U.S., Dreamtime was again only 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 '60s cover, "96 Tears" as their first single from 10; it reached No. 17 in the UK. Despite this success, 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, however Epic Records decided against it when The Stranglers failed to secure a tour in America. Since 10 was recorded with the intention of breaking America, this was a major blow.
Post-Cornwell era (1990s) 
In August 1990, founding member Hugh Cornwell left the band to pursue a solo career. In his autobiography, Cornwell stated that he felt the band was a spent force creatively, and cited various examples of his increasingly acrimonious relationship with his fellow band-members, particularly Burnel. 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 
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 with the acclaimed Norfolk Coast album and a subsequent sell-out tour, together with their first Top-40 hit (No. 31 UK) in fourteen years, "Big Thing Coming". In 2005, Coast to Coast: Live on Tour was released, the live album contained songs recorded during their tour the previous year.
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 a number of shows, particularly where extended travel was required. On such occasions Ian Barnard, Black's drum technician, deputised.
On 4 November 2007, the band (with Black) played a sell-out gig at the Roundhouse in Camden, North London, marking the thirtieth 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.
In mid-2008, The Stranglers played various major festivals around Europe. Barnard again filled in for Black at several gigs while Black continued his recuperation. However, Black was back with the band for their UK tour later in the year.
In 2008, Jean-Jacques Burnel has made comments in interviews which indicate that the band could be heading into semi-retirement after the completion of their European tour in 2009.
He said: "Our drummer Jet Black is 70 now. It blows me away, the fact that he continues to play 90-minute sets. He's been unwell a couple of times and his drum tech has stood in at a few festivals, but if he was permanently out, well, I don't know what I'd do, actually. We could still record, but this is our last big tour, I think.
"I think all things have to come to an end at some point, although we'll do one more album. I would love to think it will be the most beautiful album we've done."
In 2009 the band played at the biggest open-air festival in Europe (400.000 - 500.000 rock fans every year) - Przystanek Woodstock in Poland
Fifth decade (2010-present) 
2010 for the Stranglers continued their recent resurgence, starting 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 from The Midlands.
A new 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 sixteen studio albums and two new tracks, "Retro Rockets" and "I Don't See the World Like You Do" was released in February. 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; 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 the band played a number of festivals, including Weyfest and Glastonbury and T in the Park in the UK and 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,. 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.
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.
Giants was released in 2012, consisting of the first instrumental on an album since "Longships" on The Raven. 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 Jet Black playing the second half at most gigs (Jim Macaulay taking the first half). Several festivals have been booked for 2013, including a session at the BBC Proms on 12 August.
Members Current membersJet Black - drums (1974–present)Jean-Jacques Burnel - bass guitar, lead vocals (1974–present)Dave Greenfield - keyboards, vocals (1975–present)Baz Warne - guitar, lead vocals (2000–present)Former membersHugh Cornwell- Guitars, lead vocals (1974–1990)Hans Wärmling - guitar, keyboards, vocals (1974–1975; died 1995)Paul Roberts - lead vocals (1990–2006)John Ellis - guitar, backing vocals (1990–2000)
In the late 1980s, the Stranglers regularly featured a 3-piece brass section in their live line-up.
Selected song legacy 
"No More Heroes" was covered by Violent Femmes, used for the film Mystery Men and was also featured on the first episode of the BBC series Ashes to Ashes, as well as in the third episode of the second season of the American TV show Queer as Folk. The song title itself was used as the title for the Japanese video game No More Heroes created by noted Punk music fan Goichi Suda, also known as Suda51. "Peaches" appeared in Sexy Beast by director Jonathan Glazer. "Golden Brown" featured in Guy Ritchie's film Snatch and was used extensively in the Australian film He Died With A Felafel In His Hand. Tori Amos covered "Strange Little Girl" on her 2001 Strange Little Girls album.