"Norfolk Coast", the Stranglers' 15th studio album was released in the UK on February 16th 2004 by EMI records. This album is the first studio work featuring Baz Warne as the band's guitarist. It was co-produced by Mark Wallis (who has worked with Travis, U2 and Talking Heads, among others) and ex-Ruts drummer Dave Ruffy. According to Wallis, this represents a "new and contemporary album, but with all the classic Stranglers trademarks". The track-listing for this release is: Norfolk Coast; Big Thing Coming; Long Black Veil; I've Been Wild; Dutch Moon; Lost Control; Into the Fire; Tucker's Grave; I Don't Agree; Sanfte Kuss; Mine All Mine.

The first single from the album, "Big Thing Coming", reached number 31 in the BBC UK singles charts in February 2004.

A sample of "Norfolk Coast" can be found on the Audio Files page.

The album has received the best reviews in years, as evidenced by these quotes that appeared on the CD package:

"A must-have for any Stranglers fan". Mojo
"Easily their best work". Q
"Their best album in years". Uncut
"Fantastic, Norfolk Coast is going to surprise a lot of people". Guitarist
"Classic Stranglers release". Bullit

For Europe (including Eastern Europe), South East Asia, Latin America, New Zealand, Japan and South Africa, "Norfolk Coast" was released on Roadrunner Records shortly after the UK release. A major deal with Universal Canada saw the release in that country on 12th October 2004.

A review of the album by BBC Nottingham can be found here.

Fan Reviews

Note: the views expressed herein may not be those of SIS, the Stranglers, their management or agents.

Submitted by Gary Kent
The edited version of this review appeared in issue 294 of Record Collector (February 2004).

The Stranglers were probably the biggest selling band from Britain's punk years. Recently scooped by EMI on their 30th anniversary, new album "Norfolk Coast" sees them displaying chunky aggression with a touch-up of the old roots. The eponymous "Norfolk Coast" opens up with a rip-roaring Gothic whirlwind of venom and spurned love amongst the screaming birds and sea splashed sky. Hunstanton will never be seen in the same light again. In "Big Thing Coming", the 'Get It On' guitar and swirling carousel organ explode like Burnel's Bonneville up the M11 with wide-eyed, child-like innocence and bully bravado. Nostradamus meets the Cosa Nostra. The Stranglers meet Top Of The Pops? Most definitely. "Long Black Veil" is dark 'n' sleazy, sung in a menacing Shirley Manson serpentine drawl: if Garbage cover this, it could go Top Five quicker than you can say "I Think I'm Paranoid..." Highlights include "I've Been Wild", "Dutch Moon" and "Into The Fire", a devilishly deep throated growl with quirky acerbic lyrics: "I need a woman like a stag needs a hat rack…"

The Stranglers' 'big thing coming' might be their second coming: better than "The Raven", more interesting than "The Gospel According To The Meninblack" with more singles potential since "Dreamtime". Even JJ admits that this is the album 'people wanted them to record for years.'

Submitted by Ben Carlish
The edited version of this review appeared in issue 504 of The Big Issue In The North (14th - 21st February 2004).

OK, I'm biased. For years I idolised the Stranglers not believing their assertion there were No More Heroes. The "Men-In-Black" were always mine. For me, their unique sound pulsating with aural aggression and ambience, was second to none and live, they were simply driven, never failing to spark a riot - on one famous occasion in Nice, quite literally!

Then I saw them at Maine Road (supporting Simple Minds of all people) with a new line-up following the departure of lead singer and guitarist Hugh Cornwell. They were bloody awful; they looked jaded, sounded laboured and resembled a band, well past their sell-by-date. That was it for me, Stranglers RIP.

A couple of years ago, my interest was rekindled, following an interview I did with the Strang's karate-kicking bass player Jean Jacques Burnel (JJ). Out of curiosity, I went to see them live for old time's sake at Manchester University. All tension and energy seemingly restored, punctuated with some humourous stage antics, they appeared reborn.

Norfolk Coast continues the resurrection. It recaptures all that was great and good about the Strangs' potent chemistry of yester-decade and draws on their musical diversity. On the album's neck-hair lifting title track, JJ's juggernaut bass is back with a vengeance, as is Dave Greenfield's dizzily gyrating keyboards and the 'man-wall' Jet Black's alligator-snapping drums. There are shades of Iggy Pop in Paul Robert's towering lyrics, particularly evident in the growling chorus of the single, Big Thing Coming. This thunderous track sails upward on some vintage Greenfield keyboards lashed onward with Baz Warne's sinewy guitar. Long Black Veil is a classic Stranglers Goth-fest dipped in uneasy melancholy and rallying with a sing-a-long Spaghetti Western chorus. There are songs of real craft and wit here too. Sanfte Kuss (sic), for example, is a suave skiffle-polka affair marrying meandering Spanish guitar with lilting Eastern violin, while Into The Fire is a tongue-in-cheek romping celebration of the band's supposed reputation for wanton lechery, featuring the immortal line: "I need a woman like a stag needs a hat rack" - whatever that means. The album's uplifting close in All Mine finishes Norfolk Coast as it started - in spectacular style marking a phenomenal return to form for one of rock's most enduring and outspoken outfits. Hear it: the Men-In-Black are firmly back.

Submitted by David Johnson:

Here it is at long last, some 6 years since Coup De Grace -- Norfolk Coast finally arrives over a year since first promised. Back with EMI where it all started, it is good to see a band like The Stranglers get the recognition they deserve from a major label again. Let’s hope that the company put some decent promotion into the record and used their clout to force the radio stations to air what is an excellent single in Big Thing Coming.

Has it been worth the wait?? Since Coup we have had the usual plethora of re-releases, old live stuff etc., although the official Live 01 and the Laid Black re-workings gave some welcome filling. For most of us we have been hearing much of this new live material since as far back as 2000. The title track, Mine All Mine, and Tuckers Grave as familiar set-favourites already, so to hear the studio versions of these at long last, in some ways, is quite strange. When you actually think about it, Paul has now been at the helm nearly as long as Hugh was, and outside those of us who genuinely appreciate and know this band, he still struggles to get the recognition he deserves, such is the success the band had. As someone who first saw this group back in early ‘78 as an awestruck 14-year-old, sure it is hard to compare the two eras of the band in terms of success, but the band achievements, particularly live, in the last 13 years are seriously undervalued. As a live unit, I feel they are tighter and more powerful now than they have ever been. On record, Black & White and particularly the superb Raven still sound as fresh today as they did when they were released and deserve to stand alongside the best albums of the last 30 years.

Post ‘91, has seen some creditable releases, but alas, without the push of a decent record company. In my opinion, Sinister, Still Life, Time To Die would still make my top 10 of favourite Stranglers’ songs. To me, going right back to probably the 4th studio release is that there were always one or two tracks that didn’t quite pull their weight with the other tracks. This was particularly the case with Written In Red & Coup. I’m sure the long wait has contributed to this opinion, but Norfolk is the most complete album the band has released in a while. The guys themselves, we hear, are excited about this one, and EMI certainly have a quality package to promote. The previously-mentioned single is a gem. Us fans don’t care about the crap in the singles chart these days, but it would be nice to see this one do well. Catchy chorus and Dave’s instantly recognisable keyboard twirl make this track a classic. On the album it’s preceded by the title track, Norfolk Coast, another powerhouse of a song. Long Black Veil, Lost Control and Into The Fire have all grown on me since first hearing them. All are what you would expect from the band at their best: strong well written songs, all memorable in their own way. Lost Control being one of my favourites on the album. "I need a woman, like a stag needs a hat rack" snarls Paul on the opening to Into the Fire. Some great lyrics in this one. Dutch Moon is a re-working of a song Baz originally recorded on his solo album. This I feel is the weakest on the album, but by no means classed as ‘dead wood’ in what I referred to previously. I’ve Been Wild, a live favourite, packs a punch here as it does in concert. Short and sweet. Tuckers Grave, originally touted as the first single, separates itself from the other tracks. It’s a six-minute atmospheric, haunting piece that suits Paul’s voice so well. (A la Grand Canyon: Hugh could never do justice to a song like this.) Not ideal as a choice for a single, hence the switch to Big Thing. This is a track that you don’t want to end. Turn the lights down and play loud for maximum effect. I Don’t Agree, yet another strong track,(another one that really grows on you after a couple of airings!) is followed by a bit of light relief in the way of Santfe Kuss, a mixture of jazz, and a bit of swing with double bass and violin prominent throughout. Paul’s moves from German to French to English with a devilish, "…I’ll hold you in my arms. Let us see what happens and little by little I will fuck you". The closing number is another live favourite, Mine All Mine. A thumping closing number with another memorable chorus, perhaps a tad slower than the live version we are used to.

None of these songs are what you can describe as forgettable. You will find yourself singing all of these in the bath, in the car or wherever. The band have picked, worked and come up with 11 terrific songs here. The production is up front and clear. With a crisp sound. If I'm going to offer one slight criticism, the 11-track album comes in at just 40 minutes, but then again it’s better to have quality in those 40 minutes than forego that for the sake of quantity. To complete the review, it’s worth mentioning the new version of Peaches, which is included on the B-side of the single (originally recorded and intended for release in 2002, now re-named Peaches 2004). I have got to say this is a wonderful version of what is truly a classic. Buzzing guitar and Paul giving this his typical dry vocal style, this is on a par with anything the Mark 2 band has done. We've all downloaded it during the past 2 years; its good to see this one get an official release.