1977 July 2

THIS SINGLE - the last from The Saints' first, primal phase - tightens the mesh turther into an ultimate expression of teenage nihilism. Starting with a riff that echoes Paint It Black, Chris Bailey spits the words over a rock-solid rhythm section and Ed Kuepper's overdriven, monstrous-sounding guitar. Winding itself into a final paroxysm - "I don't need nothing/Nothing at all!" - This Perfect Day accelerated punk's furious speed into a brick wall, just as the movement reached its commercial and creative peak. The Saints' only Top 40 hit, it was promoted by a lamously static TOTP appearance. In that, The Saints were true to the negation that This Perfect Day freezes at its liberating zenith.

(Jon Savage - Mojo 2001)

Australia's best known punk export. who are currently midway through their debut Briish tour, have their third single released today by Harvest Records. The "A" side, "This Perfect Day," is culled from their debut LP, the flip side, "L-I-E-S," can only be found on the single. In an interesting marketing ploy, the first 12,000 copies of the 12" have an extra track with an apologetic warning sticker attached. It says that "Due to an administrative error.. .this 12" pressing contains a third, additional title not available on the normal 7" pressing. The additional title, 'Do The Robot,' has consequently been withdrawn from future release consideration and will now be available only on this 12" pressing."

"I wrote it on my father's classical guitar, on Christmas Day (1976) at my parents' place when everybody had gone to church."

Ed Kuepper, Saints - 1989

Currently taking a break from the road ain't been wasting their time. They have been doing things in the studio and suprisingly their by now recognisable sound turns up on a new single by a new band called CELIA & THE MUTATIONS. The new "group" is on UA (the same label as the Stranglers) and features Celia Gollan, a new singer discovered by the Stranglers' manager Dai Davies. She's singing the old Tommy James & the Shondells' hit "Mony Mony". It's coupled with "Mean To Me," which was written by J. Black, J. Burnel, H. Cornwell and one D. Greenfield. That should be a giveaway to any doubters.

CELIA & THE MUTATIONS:

"Mony Mony" (UA).

Celia who? Well, don't ask me 'cause the lady isn't saying anything. She's "very shy." Which is either true or her background is one she'd rather hide - like six years as a peroxide blonde singing family favourites at Butlins, or something. Anyway, what with all the mystery, at first I thought this must be the single young Tony Se-cunda has been cutting with Chrissie HyndeE. But no! Four bars into Tommy James and the Shondells' monster, decade-durable hit and all is revealed.

For a start, such a punch-dirty bass line could only be played by one Jean-Jacques Burnell. The raunchy 'yeah-yeahs' are unmistakably Hugh Cornwell on full throttle. The track hurtles along and the turntable shakes. In fact the Mutations are the Stranglers getting to grips with a rippin' piece of rock 'n' roll.

Celia, right up in the mix, has a voice like sandpaper-coated thunder. Earlier this year she leapt on stage at the end of a Stranglers gig at the Nashville. They all jammed into "Mony Mony".

It worked so well that a few days later they did it again in the studio with Andy "Kapounding" Authers producing. Chuck this single at the chart and it's likely to stick right at the top. Huge Hit Potential.

Caroline Coon

(Melody Maker July 9th 1977)