Editing The Saints (Australian band) (section)

==History==
===1973–1976: Formative years===
The Saints' original members were Brisbane schoolmates Bailey, Kuepper and Hay.<ref name="McF"/><ref name="ARDb"/> They had formed Kid Galahad and the Eternals in 1973 with Irish-raised Bailey on vocals, Brisbane-born Hay on piano and German-born Kuepper on guitar.<ref name="Howl"/> Their musical inspirations came from 1950s [[rock and roll|rock 'n' roll]] musicians such as [[Little Richard]] and [[Elvis Presley]] (their name referenced his 1962 film ''[[Kid Galahad]]'')<ref name="J Files" /> and 1960s [[proto-punk]] bands like [[the Missing Links (band)|the Missing Links]], [[the Stooges]] and [[MC5]].<ref name="McFML"/> They rehearsed in a shed at the back of Hay's place, which was opposite the local police headquarters.<ref name="Cockington"/> 

The band renamed themselves the Saints in 1974, inspired by [[Leslie Charteris]]'s character [[The Saint (Simon Templar)|The Saint]].<ref>{{Cite web|url=https://tomatrax.wordpress.com/2019/05/10/interview-with-ed-kuepper-from-the-aints/|title=Interview with Ed Kuepper from the Aints!|date=2019-05-10|website=Tomatrax|language=en|access-date=2019-05-18}}</ref> They played covers of [[Del Shannon]], [[Connie Francis]] and [[Ike and Tina Turner]] – "exploding them almost beyond recognition with energy".<ref name="Howl"/> Jeffrey Wegener joined on drums and Hay switched to bass guitar. Wegener had left by 1975, Hay moved to drums and Kym Bradshaw joined on bass guitar.<ref name="McF"/> Contemporaneous with [[Ramones]], the group were employing the fast tempos, raucous vocals and "buzz saw" guitar that characterised early punk rock. Kuepper explained that they played faster and faster as they were nervous in front of audiences.<ref name="Cockington"/> The police would often break up their gigs, and arrests were frequent.<ref name="Cockington"/> Unable to obtain bookings, Bailey and Hay converted the [[Petrie Terrace, Queensland|Petrie Terrace]] house they shared into the 76 Club so they had a venue to play in.<ref name="Howl"/> According to Australian rock historian, [[Ian McFarlane]], they had developed their "own distinctive sound as defined by Kuepper's frenetic, whirlwind guitar style and Bailey's arrogant snarl".<ref name="McF"/>

===1976–1977: ''(I'm) Stranded''===
In June 1976, the Saints recorded two self-produced tracks, "[[(I'm) Stranded (song)|(I'm) Stranded]]" and "No Time" with Mark Moffatt engineering (label credits for both sides say 'Produced by The Saints'). Unable to find any interested label, they formed Fatal Records and independently released their debut single in September.<ref name="Howl"/> Their self-owned Eternal Promotions sent discs to radio stations and magazines both in Australia – with little local interest – and United Kingdom.<ref name="McF"/> In the UK, a small label, Power Exchange, issued the single.<ref name="Howl"/> ''[[Sounds (magazine)|Sounds]]'' magazine's reviewer, [[Jonh Ingham]], declared it, "Single of this and every week".<ref name="Stafford"/><ref name="Jenkins"/> [[EMI]] head office in London contacted the Sydney branch and directed that they be signed to a three-album contract.<ref name="Jenkins"/> Over two days in December, the group recorded their first LP, ''[[(I'm) Stranded]]'' (February 1977), with Rod Coe producing.<ref name="McF"/><ref name="ARDb"/> It included a cover version of the Missing Links' track "Wild About You".<ref name="McFML"/> They supported [[AC/DC]] in late December 1976 and, early in 1977, relocated to Sydney.<ref name="McF"/> EMI re-issued the single, "(I'm) Stranded" in February and it reached the [[Kent Music Report]] Top 100 Singles Chart.<ref name="Kent"/>

The Saints resisted being re-modelled into the English punk look and were generally ignored by the Australian press.<ref name="McF"/> Mainstream public was warned that punk rock is "a sinister new teenage pop cult, based on sex, sadism and violence, [which] is sweeping Britain."<ref name="Cockington"/> In May 1977, the band released their second single, "Erotic Neurotic" and then moved to the UK, where they differed with their label over how they should be marketed.<ref name="McF"/><ref name="Cockington"/> EMI planned to promote them as a typical punk band, complete with ripped clothes and spiky hair – the Saints insisted on maintaining a more downbeat image.<ref name="McF"/><ref name="J Files"/> In June, bass guitarist [[Algy Ward|Alasdair "Algy" Ward]] replaced Bradshaw.<ref name="McF"/> Their next single "[[This Perfect Day (song)|This Perfect Day]]" (July) peaked at No.&nbsp;34 in the UK but further improvement was frustrated by EMI's failure to press enough copies to satisfy demand.<ref name="Stafford"/><ref name="British Hit Singles & Albums"/>

{{Blockquote
|text=They were kind of god-like to me and my colleagues. They were just always so much better than everybody else. It was extraordinary to go and see a band that was so anarchic and violent.
|author=[[Nick Cave]]<ref name="jenkins">{{cite book | author= Jeff Jenkins |title=50 Years of Rock in Australia|year=2007|page=291 
|publisher=Wilkinson Publishing |location=Melbourne |isbn=9781921332111}}</ref>}}

===1978–1979: ''Eternally Yours'' and ''Prehistoric Sounds''===
The Saints released their second album, ''[[Eternally Yours (album)|Eternally Yours]]'', in May 1978 on EMI/Harvest with Bailey and Kuepper producing.<ref name="McF"/><ref name="ARDb"/> The album showed the band moving towards a more [[Rhythm and blues|R&B]] style of rock, including a brass section on songs like "[[Know Your Product]]" which had been released as a single in February. Another track, "Private Affair", focussed on what the band members saw as the pigeon-holing, hype and commercialisation of punk. The album reached the Top&nbsp;100 on the Australian [[Kent Music Report]] Albums Chart.<ref name="Kent"/>

The jazz-blues influenced third album, ''[[Prehistoric Sounds]]'', followed in October 1978 (January 1979 in Australia).<ref name="Cruel"/> Its commercial failure led EMI to drop the band. During 1978, relations between Kuepper and Bailey had deteriorated, with Bailey preferring rock and pop songs and Kuepper pursuing less commercial and more intellectual material.<ref name="McF"/> Finally Hay, Kuepper and Ward left the group in early 1979. Kuepper returned to Australia and followed a more avant-garde direction with [[Laughing Clowns]], which would frequently feature brass, and later, the punkish [[the Aints]]. He is one of Australia's most influential and highly regarded musicians with over twenty solo albums to his credit.<ref name="Howl"/> Hay briefly returned to Australia to join Sydney-based [[the Hitmen]] and then rejoined Bailey in London for a later version of the Saints.<ref name="Howl"/> Ward became a member of English [[gothic rock|gothic]] punk band, [[The Damned (band)|the Damned]].<ref name="McF"/> Bailey continued the group with Mark Birmingham on drums, Bruce Callaway on guitar, Barry Francis on guitar and [[Janine Hall]] on bass guitar.<ref name="McF"/><ref name="ARDb"/>

===1980s: ''Paralytic Tonight, Dublin Tomorrow'' to ''Prodigal Son''===
The Saints' first release after Kuepper's departure was the EP, ''[[Paralytic Tonight, Dublin Tomorrow]]'', in March 1980 on Lost Records with Bailey producing.<ref name="McF"/><ref name="ARDb"/> It was followed by a studio album, ''[[The Monkey Puzzle (The Saints album)|The Monkey Puzzle]]'', co-produced by Bailey and Gerry Nixon for [[Mushroom Records]] in February 1981.<ref name="ARDb"/> It reached the Top&nbsp;100 on the Australian Albums Chart.<ref name="Kent"/> They had shifted to a more melodic pop-rock sound and included Hay on keyboards in the line-up.<ref name="ARDb"/><ref name="Dougan"/> Hay left again before the next album was released in Australia in 1982 as ''[[I Thought This Was Love, But This Ain't Casablanca]]'' on Mushroom Records and elsewhere as ''Out in the Jungle... Where Things Ain't So Pleasant'' on New Rose Records.<ref name="ARDb"/><ref name="CasablancaNotes"/> Production was credited to Ricardo Mentalban, and with Bailey, in the Saints, were Hall on bass guitar and Iain Shedden (ex-Jolt) on drums.<ref name="ARDb"/><ref name="CasablancaNotes"/> Additional musicians included Roger Crankwell on saxophone and clarinet, Denis Haines on piano, Paul Neiman on trombone, Steve Sidwell on trumpet and Jess Sutcliffe on piano. The Damned's [[Brian James (guitarist)|Brian James]] guested on lead guitar.<ref name="CasablancaNotes"/><ref name="McFCB"/>

In late 1982, the group toured Australia with Bailey, Hall and Shedden joined by Chris Burnham on guitar (ex-[[Supernaut (Australian band)|Supernaut]]) and Laurie Cuffe on guitar.<ref name="McFCB"/> In 1983, Bailey released his first solo album, ''Casablanca'', on New Rose. In 1984, Bailey was based in Sydney, and the Saints' album, ''[[A Little Madness to Be Free]]'', was released in July on [[RCA]] with production credited to Lurax Debris (Bailey's pseudonym).<ref name="ARDb"/><ref name="McFCB"/> It contains the popular track "Ghost Ships", which was issued as a single in May.<ref name="McFCB"/> ''A Little Madness to Be Free'' was "more rock-oriented, with extensive use of acoustic guitar, brass and strings set among tightly focused arrangements".<ref name="McFCB"/> In mid-1984, the band toured as Bailey, Burnham, Shedden and [[Tracy Pew]] on bass guitar, (ex-[[The Birthday Party (band)|Birthday Party]]), who was briefly replaced by Kuepper in July.<ref name="McFCB"/> By 1985, the Saints were Bailey, Richard Burgman on guitar (ex-[[The Sunnyboys|Sunnyboys]]) and Arturo 'Archie' Larizza on bass guitar ([[The Innocents (Australian band)|the Innocents]]), while Louise Elliot on saxophone and Jeffrey Wegener on drums (both ex-Laughing Clowns) completed the line-up.<ref name="ARDb"/><ref name="McFCB"/> A live album, ''Live in a Mud Hut ... Somewhere in Europe'', recorded in 1984 with production credited to Mugumbo, was released by New Rose in 1985.<ref name="ARDb"/><ref name="McFCB"/>

Hay returned and, with Bailey, Burgman and Larizza, the group recorded ''[[All Fools Day (album)|All Fools Day]]'' in Wales with [[Hugh Jones (producer)|Hugh Jones]] producing.<ref name="ARDb"/><ref name="McFCB"/> It was issued by Mushroom Records in Australia and [[Polydor]] in United States, in April 1986. The album reached the Top&nbsp;30 in Australia and included a Top&nbsp;30 single, "[[Just Like Fire Would]]" (March).<ref name="Kent"/> The group joined the [[Australian Made|Australian Made Tour]] in December 1986 – January 1987 with other local acts [[Mental as Anything]], [[I'm Talking]], [[the Triffids]], [[Divinyls]], [[Models (band)|Models]], [[Jimmy Barnes]] and [[INXS]].<ref name="Jenkins"/><ref name="Baker2"/>

''[[Prodigal Son (The Saints album)|Prodigal Son]]'' followed in April 1988, which reached the Top&nbsp;50.<ref name="Kent"/> The line-up was Bailey, Francis, Larizza, Shedden and Joe Chiofalo on organ.<ref name="ARDb"/><ref name="McFCB"/> It was produced by Bailey, Brian McGee and [[Vanda & Young]].<ref name="ARDb"/> The single, "Grain of Sand", from ''Prodigal Son'' peaked at No.&nbsp;11 on the United States ''Billboard'' [[Alternative Songs]] chart.<ref name="BillboardSingles"/> In March 1989, the Saints had an Australian Top&nbsp;40 hit with a cover of [[the Easybeats]]' song "[[The Music Goes 'Round My Head#The Saints version|Music Goes 'Round My Head]]", which also featured in the 1988 film ''[[Young Einstein]]''{{'}}s soundtrack.<ref name="McFCB"/><ref name="AusCharts"/> Their version of "The Music Goes Round My Head" reached No.&nbsp;19 on the US Alternative Songs chart.<ref name="BillboardSingles"/>

===1990–present: Later years, reunions, spinoffs and deaths===
The Saints issued a compilation album, ''Songs of Salvation and Sin 1976–1988'' in 1990 on [[Raven Records]] with liner notes penned by [[Glenn A. Baker]].<ref name="ARDb"/><ref name="Baker3"/> Over the years, Kuepper had grown unhappy with Bailey's ongoing use of the Saints name and, in particular, with Baker crediting Bailey for the band's original creative direction.<ref name="Baker3"/> In April 1991, Kuepper formed [[the Aints]], which performed versions of vintage the Saints' material.<ref name="McFTA"/> The Saints issued ''Permanent Revolution'' in 1991 on Mushroom Records, and while Bailey released solo albums, the group went into hiatus.

By 1994, Bailey had moved to Sweden where he recorded a solo album, ''54 days at sea'', and in 1996 issued the Saints' album, ''[[Howling (The Saints album)|Howling]]'', which was produced by the band for Blue Rose Records.<ref name="ARDb"/><ref name="McFCB"/> Bailey provided vocals, guitars and organ, and was joined by Andreas Jornvill on drums, Joakim Täck on bass guitar, Ian Walsh on guitar and Mons Wieslander on guitar.<ref name="ARDb"/><ref name="McFCB"/> The group toured Australia in February 1997 – their first tour there in eight years.<ref name="McFCB"/> ''[[Everybody Knows the Monkey]]'' followed in May 1998 on Last Call Records with Bailey were Michael Bayliss on bass guitar, Martin Bjerregaard on drums and Andy Faulkner on guitar – it was produced by Bailey and Martin Hennel.<ref name="ARDb"/>

Mushroom Records celebrated their 25th anniversary with the [[Mushroom 25 Live]] concert in November 1998; Bailey performed "Ghost Ships" and "Just Like Fire Would", and a duet with [[Paul Kelly (Australian musician)|Paul Kelly]] on "[[Wide Open Road (The Triffids song)|Wide Open Road]]", as a tribute to [[David McComb]] of the Triffids.<ref name="Lee"/>

''[[Spit the Blues Out]]'' was issued in 2000 in France by Last Call Records with production credited to Debris.<ref name="ARDb"/> It displayed "'60s-era blues-rock" and "Brit-pop" influences, with Patrick Mathé of French label New Rose providing [[harmonica]] and guitar.<ref name="AMGSpit"/>

On 11 September 2001, the original line-up of the Saints came together for a one-off reunion when the writer [[Clinton Walker]], a long-time friend and champion of the band, inducted them into the [[Australian Recording Industry Association]] (ARIA) Hall of Fame.<ref name="ARIA2001"/><ref name="Reunion"/>

By 2005, the group had re-located to [[Amsterdam]], Netherlands - with Bailey were the line-up of [[Marty Willson-Piper]] on guitar, Caspar Wijnberg on bass guitar and [[Peter Wilkinson (drummer)|Pete Wilkinson]] on drums. They issued ''[[Nothing Is Straight in My House]]'' in 2005, and after Willson-Piper left they released ''[[Imperious Delirium]]'' in 2006. They undertook a European tour to promote it and continued to tour America through late 2007.

On 14 July 2007, Bailey, Kuepper and Hay re-united for another one-off gig at the [[Queensland Music Festival]], with current member Wijnberg on bass guitar.<ref name="Connors"/> In January 2009, as part of the [[All Tomorrow's Parties (music festival)|All Tomorrows Parties]] touring festival, in this instance curated by [[Mick Harvey]] formerly of The Birthday Party, the Saints with Bailey, Hay, Kuepper and Larizza played shows in Brisbane, Sydney and in [[Mount Buller (Victoria)|Mount Buller]], Victoria. This was followed by a Melbourne show on 14 January as part of the Don't Look Back sideshow concerts, where they performed the ''I'm Stranded'' album in its entirety.<ref name="ATP2009"/> In 2010 the band returned to a three piece with Wilkinson returning as drummer and to the line-up, and the addition of new bassist Jane Mack. In May 2010, Kuepper and Bailey reunited for a month-long tri-residency series of shows in Brisbane, Sydney and Melbourne. With Kuepper on electric guitar/vocals and Bailey on acoustic guitar/bass guitar/vocals, they played a selection of songs from early Saints, both solo careers, and post-Kuepper Saints, as well as a few covers.

2012 saw the recording of "King of the Sun". The album was recorded at the Trackdown studios in Sydney, where Bailey had previously recorded "Savage Entertainment". Released in Australia in late 2012, "King of the Sun" was delayed in European countries until April 2013.

On 7 November 2013, the Saints appeared as a 4-piece at the Borderline club in London, England. Alongside Bailey were stalwart Saints Barrington Francis and Peter Wilkinson. The band was augmented with Chris Dunne on keyboards.

In 2017, a mural dedicated to the Saints and their song "(I'm) Stranded" was enacted on [[Roma Street, Brisbane]]. The mural included lyrics from the song and is situated close to 4 Petrie Terrace, the location previously used by the band as an unlicensed venue.<ref>{{Cite news |last=Renault |first=Hailey |date=2017-12-06 |title=Mural honours Brisbane punk royalty The Saints |language=en-AU |work=ABC News |url=https://www.abc.net.au/news/2017-12-06/brisbane-mural-honours-musical-legacy-of-the-saints/9230768 |access-date=2023-05-22}}</ref>

In 2021, the [[State Library of Queensland]] named its copy of "(I'm) Stranded" as one of the treasures from its John Oxley Library collection, citing the 7” vinyl single represented a piece of Australian and Queensland music history, influencing generations of bands around the world.<ref>{{Cite SLQ-CC-BY|url=https://www.slq.qld.gov.au/blog/im-stranded-no-time-saints-1976-treasure-collection-john-oxley-library|title=(I'm) Stranded / No Time, The Saints 1976: treasure collection of the John Oxley Library|author=Anna Thurgood|date=24 February 2021|website=John Oxley Library Blog|access-date=21 May 2021}}</ref>

Chris Bailey died on April 9, 2022, aged 65.<ref>{{cite news |title=Chris Bailey, lead singer of The Saints and 'co-creator of punk', dies |url=https://www.abc.net.au/news/2022-04-11/the-saints-chris-bailey-dies/100981356 |website=ABC News |date=10 April 2022 |publisher=Australian Broadcasting Corporation |access-date=10 April 2022}}</ref> 

In mid-2024, a remastered box set edition of The Saints' first album was announced, with Kuepper and Hay forming a new spinoff, The Saints 73–78, to tour the 50th anniversary of ''(I'm) Stranded''. The band also featured [[Mick Harvey]] of [[Nick Cave and the Bad Seeds]] on keyboards and guitar, [[Peter Oxley]] of [[Sunnyboys]] on bass and [[Mark Arm]] from [[Mudhoney]] on vocals.<ref>{{cite news |title=Original The Saints Members Reunite With Special Guests For Australian Tour |url=https://themusic.com.au/news/original-the-saints-members-reunite-with-special-guests-for-australian-tour |website=The Music |date=12 June 2024 |publisher=The Music Press |access-date=11 July 2024}}</ref>