Dick Dank Challenge #1: Doesn't Matter if the Stranglers are Black and White

(Quick note from the desk of the FishLantern: Every so often Dick Dank and I will be "challenging" each other to listen to an album we haven't heard before, reviewing it after only a few listens. The hope would be that these lead to amazing revelations and deep insights that allow us to connect like covalent bonds over a new-found passion. In all likelihood, that will happen about a third of the time. More realistically, it will end up as a somewhat messy review packed with things we'll want to go back and change after one more listen or diving deeper into said album multiple times later in life. Let's see em'!)

Hey look, a quarter!

        So Mr. Dank tossed this recommendation my way and I'm semi-salivating already because it's a band I've never even heard of at all. So, what could go wrong? A quick perusal of the interweb tells me that The Stranglers are an English band, formed in the mid 70's and that are still around today thanks to a little nibble here and there of Keith Richards special life giving crumpets. My journey into their world begins with their 1978 recording Black and White, their third album in a string of seventeen. 
       After my initial listen, what became clear was that I needed to spend a little more time delving into the world of new wave (not to mention The Stranglers catalogue) if it has the potential to be this funky. Images of Devo and the Talking Heads danced behind my eyes, as the synths danced their way through the opening lines of the first track, "Tank". The lead vocal of Hugh Cornwell is exceedingly British (and with a name like Hugh Cornwell, I would expect nothing less). He uses a psuedo-chant style quite often throughout the album, almost militarily willing me to enjoy the melody. Now, due to a purposeful lack of investigation on my part, I had never explored the work of most new wave artists.  But that vibe came to mind early and often during an album that seemed to come at a time before the genre even existed. With the acknowledgement of my naiveté in this area out in the open though, the bass work of Jean-Jacques "JJ" Burnel stood out from the outset, especially on what critics claim to be the best track on the album, "Nice N' Sleazy". It's high in the mix, funky as hell and attracts me like a moth to a torch.
         Along with the juggling bass, the other main attraction is the keyboard/synth/organ, manned by Dave Greenfield, that meanders at times and pulverizes others, sounding carnivalesque one minute and urgent the next. Wikipedia claims that he "takes part in medieval battle re-enactment's", and I guess this shouldn't surprise me based on his King Arthur era arpeggios that appear throughout.  Musically though, it's fascinating to see how the keys play the role of the lead instrument (as opposed the majority of what I listen to which has the guitar in that capacity). It's lack of repeated riff and freedom caused for some unique musical moments that could be entertaining as hell, all the while throwing me for a loop.

Really wish you guys had told me about the sunglasses. 

          This seems to be in large part due to some very unusual song structures.  While there always appears to be the anchor of the basic verse-chorus-verse set up, there are little flourishes where offshoots of other genres, tempo changes and odd vocals break up any chance of familiarity that might exist. While this can be bracing at times, once you get used to the fact that it's heading your way, it comes as a welcome surprise. This is a band that embraced their unique style and went on to make a successful career out of it.
         What it boils down to though is that I'm not sure this is the type of music one can fully appreciate until they've have repeated exposures it and I have not had said luxury. My unfamiliarity with the genre and the sound cause me some musical discomfort. With that said, I came away from this fully realizing that I needed to be more open to new wave as a whole, and I'm especially looking forward to digging through the body of material these fine gents have cobbled together in the last 40 years.

Final Score: .66 Dick Danksing All Over Me's