Strawberries

Strawberries stands as the Damned’s fifth studio album, released in October 1982 amidst the band’s momentary rise to a higher public profile, largely thanks to Captain Sensible’s solo success. The record offers a mixture of bright, upbeat melodies and a diverse sonic landscape—incorporating everything from sitars to cellos. However, beneath the positive tones, the album’s creation was marked by internal tension, leading to lineup changes and the eventual departure of bassist Paul Gray.

Sensible’s influence on Strawberries is palpable. He contributed lead vocals on tracks like “Life Goes On” and “Don’t Bother Me” while also experimenting with new instruments, including a cello played by his girlfriend Rachael Bor. Despite the band’s efforts to move beyond punk into more experimental territory, Strawberries was not without conflict. Tensions between Gray and drummer Rat Scabies over management and songwriting responsibilities led to Gray’s exit before the end of the tour. Keyboardist Roman Jugg, who would later switch to guitar, became the band’s fifth member during this period, steering them toward further experimentation with sampling and loops.

Strawberries is notable for the brief appearance of Robert Fripp of King Crimson, who joined the Damned in the studio during the recording process. Although the collaboration only resulted in a track, “Fun Factory,” which was excluded from the album, Fripp did appear with the band live, adding a layer of mystique to the record’s legacy.

The album’s working title, Strawberries for Pigs, reflected the band’s frustration with audiences who, according to lead vocalist Dave Vanian, were more interested in the band’s older punk hits than the newer, more adventurous material. This idea of giving “strawberries to pigs” became a symbolic expression of the band’s struggle to evolve creatively amidst their established fanbase.

Musically, Strawberries is a colorful, eclectic record that blends punk, psychedelic pop, and gothic rock. While it was praised for its musicianship and experimental approach, there was a divide in critical reception. Some reviewers lauded its rich harmonies, orchestration, and melodic structures, while others criticized it for not living up to the expectations set by their earlier works. Despite the mixed reviews, the album was a commercial success, becoming the Damned’s first to crack the Top 20 in the UK charts.

Notably, Strawberries contains playful and quirky elements, like the inclusion of unexpected sounds at the end of several tracks, including an egg whisk and a flushing toilet—further showing the band’s irreverent approach to rock music.

Strawberries is an album that showcases both the Damned’s experimentation with different genres and instruments and their internal band conflicts, making it a fascinating listen for fans of the band’s eclectic and ever-evolving sound.