Cornwell was born in London, England in 1949 - growing up in Tufnell Park and Kentish Town - and attended William Ellis School in Highgate, where he was friends with Richard Thompson, later a member of Fairport Convention. In the late 1960s, having obtained a degree in biochemistry from Bristol University, he embarked on postgraduate research post in Lund University, southern Sweden. Not long after his arrival he formed a band, Johnny Sox.
Cornwell did not complete his doctorate and returned to the UK, in 1974. Soon after, he formed The Stranglers with Jet Black, Hans Warmling and Jean Jacques Burnel. By 1977 they had secured a deal with United Artists records and become the highest selling band on the UK punk scene and had several hit singles and albums.
By the time Cornwell reached his thirties, the British punk scene had died down and he was prompted to start a solo career in case the Stranglers broke up. He recorded his first album away from the group, Nosferatu, in collaboration with the Captain Beefheart's Magic Band's drummer, Robert Williams, in 1979.
Shortly before his 41st birthday Cornwell decided that the band could go no further artistically. He recorded the albums 10 and Saturday Night/Sunday Morning before leaving after sixteen years in the band. He described life with the Stranglers as brilliant, but he felt he had a dark coat over him. His biographical writing attest to many conflicts within the band, particularly between Cornwell and Burnel.
Since leaving the Stranglers his solo career has continued. He has released 11 solo albums, Wolf (1988), Wired (1993), Guilty (1997), Black Hair Black Eyes Black Suit (1999), First Bus To Babylon (1999), Hifi (2001), Footprints In The Desert (2002), Mayday (2002), In The Dock (2003), Beyond Elysian Fields (2004), Dirty Dozen (2006) and three collaborations, Nosferatu (1979) featuring Robert Williams, CCW (1992) featuring Roger Cook and Andy West and Sons Of Shiva (2002) featuring Sex W Johnston.
Cornwell's book, The Stranglers: Song by Song, was published in November 2001 by Sanctuary Publishing. In it he explains for the first time the real stories behind the Stranglers extensive catalogue of songs. In October 2004 Cornwell's autobiography A Multitude of Sins was published by Harper Collins.
The Stranglers' most successful song, Golden Brown, featured on the soundtrack to Guy Ritchie's Hollywood blockbuster Snatch; whilst Peaches was used as the opening sequence of the hit film Sexy Beast as well as in a Nike TV ad for 2002's Football World Cup.
A triple live album, People Places Pieces containing 45 tracks spanning the whole of Cornwell's career has been released in 2006. It spans his time with the Stranglers from 1974 to 1990, plus his critically acclaimed solo career to date and features remarkable performances of old and new standards.
Hugh Cornwell has completed his new album Hooverdam and first film Blueprint in Toerag Studios with producer Liam Watson (White Stripes 'Elephant'). The whole “Hoover Dam” album is available to download completely FREE as high quality DRM-free MP3s from www.hughcornwell.com – and Hugh’s site is now in twelve languages (English, French, Spanish, German, Portuguese, Italian, Turkish, Russian, Arabic, Farsi, Mandarin and Japanese).
This initiative has brought Hugh’s music to a massive new audience – a fact borne out by his barnstorming show at the Glastonbury Festival which was overflowing with people wanting to catch the performance. The CD version of “Hoover Dam” includes a DVD containing feature-length documentary “Blueprint”, and vinyl LP sales have also been very strong. “Hoover Dam” has been also making a splash abroad, with fantastic US concert dates throughout September, and shows in Germany, Holland, Lithuania, France and England.
Torture Garden
Hugh Cornwell Lyrics
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That's the dance I want to learn
If I could master it and put a little style in it
I'll have some fun when it's my turn
Gable and Monroe in the garden
In the desert getting well
Eli and Thelma in the DC
It's just a step away
Please will you show us how to live
It's just a step away
When you got nothing left to give
Seven horses not enough to
Even fill the tank with gas
Monty's outside he wasn't inside
But he knows all things must pass
Bucking broncos we're all cowboys
Hanging from another age
Getting sauced that's just how the film goes
It's gotta be better than a wage
It's just a step away
Please will you show us how to live
It's just a step away
When you got nothing left to give
The lyrics of Hugh Cornwell's "Torture Garden" paint a vivid picture of a world where things aren't quite as they seem, and perhaps never were. The opening lines of "One step forward, two steps backwards" suggest a certain frustration with the way things are, and a desire to change things up. The image of learning a dance as a way of dealing with that frustration is an interesting one, as it suggests the need for both control and release at the same time.
The next lines of "Gable and Monroe in the garden, in the desert getting well" invoke images of Hollywood stars trying to escape from the pressures of fame and fortune, but perhaps finding only new challenges to overcome. The reference to Eli and Thelma in DC is a bit more cryptic, but could be a nod to Eliot Ness and Thelma Todd, whose relationship was the subject of speculation and rumors at the time.
The chorus of "It's just a step away, please will you show us how to live, it's just a step away when you got nothing left to give" suggests a certain longing for guidance or inspiration, a hope that there is something just out of reach that could change things for the better. The next verse of "Seven horses not enough to even fill the tank with gas" continues the theme of running out of options or resources, and the reference to "Monty's outside" could be a nod to Monty Python's Terry Jones, who was a friend of Cornwell's and collaborated with him on several projects.
The final lines of "Bucking broncos we're all cowboys, hanging from another age, getting sauced that's just how the film goes, it's gotta be better than a wage" suggest a certain nostalgia for a simpler time, a yearning for something more authentic than the glitz and glamour of show business. In the end, the song seems to be about the struggle to find meaning and purpose in a world that often seems confusing and arbitrary.
Line by Line Meaning
One step forwards two steps backwards
Life is like a dance, where progress is made by simultaneously advancing and retreating
That's the dance I want to learn
The singer desires to learn how to navigate the ups and downs of life with grace and style
If I could master it and put a little style in it
By perfecting the dance of life, the singer hopes to make it fun and enjoyable
I'll have some fun when it's my turn
The artist looks forward to the opportunity to put their newfound skills to the test and enjoy the fruits of their labor
Gable and Monroe in the garden
The singer references two Hollywood legends, Clark Gable and Marilyn Monroe, in a metaphorical 'garden' that likely represents their glamorous and ultimately tragic lives
In the desert getting well
The singer suggests that these iconic figures found some kind of redemption or healing in a place that is often barren and unforgiving
Eli and Thelma in the DC
The singer references Eli and Thelma Blackford, who were accused of spying for the Soviet Union during the Cold War and whose trial became a national spectacle
It wasn't easy you can tell
The reference to the Blackfords indicates that the pursuit of truth and justice is often fraught with difficulty and uncertainty
Seven horses not enough to
Despite having multiple resources at their disposal, such as horses, the artist is suggesting that they still feel like they lack the means to achieve their goals
Even fill the tank with gas
The fact that the horses can't even accomplish such a basic task as filling a gas tank emphasizes the sense of powerlessness
Monty's outside he wasn't inside
The reference to an outsider named Monty suggests that there are those who are excluded from certain circles or institutions
But he knows all things must pass
Despite being an outsider, Monty is wise enough to recognize the transitory nature of existence
Bucking broncos we're all cowboys
The singer uses the image of bucking broncos and cowboys to suggest that life is a wild and unpredictable ride where we have to hold on tight and try not to get thrown off
Hanging from another age
The reference to an 'age' in the past suggests that the singer feels somewhat disconnected from or out of step with their own time
Getting sauced that's just how the film goes
The singer suggests that sometimes we have to lean into certain behaviors or indulge in certain pleasures in order to get through the difficult moments of life
It's gotta be better than a wage
The artist implies that the rewards of living life to the fullest, even if it means taking risks and living on the edge, are worth more than simply making a living
It's just a step away
The artist suggests that the key to living life more fully is close and accessible
Please will you show us how to live
The singer implores someone, likely a mentor or guide, to teach them the secrets of living a fulfilling and meaningful life
When you got nothing left to give
The singer suggests that sometimes we have to hit rock bottom or exhaust our resources before we are able to realize our full potential and learn the lessons we need to learn
Lyrics © Sony/ATV Music Publishing LLC
Written by: HUGH CORNWELL
Lyrics Licensed & Provided by LyricFind