"La folie" is the sixth studio album by English new wave band The Stranglers, released on November 9, 1981, through EMI's Liberty label. The album marked a shift in the band's musical direction, reflecting a conscious attempt to craft a more commercially appealing product, following a period of waning success in the early '80s. It was co-produced by the band alongside engineer Steve Churchyard and mixed by legendary producer Tony Visconti, who was tasked by EMI to approach each track as a potential single.
By the time La folie was released, The Stranglers had been one of the most commercially successful bands of the punk and new wave era in Britain. However, their commercial fortunes had begun to decline, and the band made a deliberate effort to shift their sound in order to recapture some of their previous success. The album's French title, La folie (meaning "madness"), alluded to the theme of "The Madness of Love," with each track exploring a different facet of love and relationships.
The album's opening track, "Non Stop", was reportedly supposed to be titled "Non Stop Nun", a detail that lead guitarist Hugh Cornwell discovered only after the record company printed the incorrect title. The track was one of several that had a darker, more introspective edge to its lyrics. The song "Ain't Nothin' to It" featured lyrics that were adapted from the autobiography of jazz musician Mezz Mezzrow, blending elements of jive talk with The Stranglers' trademark punk-influenced style.
The most controversial and widely-discussed track on the album was "Golden Brown," which Cornwell later described as having dual meanings: one about heroin, the other about a girl. The song became one of The Stranglers' most iconic hits, a melancholic and exotic-sounding track that explored themes of addiction and love, with a distinctive harpsichord melody.
La folie was preceded by the release of the single "Let Me Introduce You to the Family" on November 7, 1981. The single performed moderately well, reaching No. 42 on the UK Singles Chart, and was followed by the album's release two days later. Initially, La folie looked set to be The Stranglers' lowest-charting album, but the band's fortunes turned around with the release of "Golden Brown", which came out on January 10, 1982, and climbed to No. 2 on the UK Singles Chart. The success of "Golden Brown", combined with its haunting melody and lyrics, propelled the album to No. 11 on the UK Albums Chart, where it spent 18 weeks in the top 100.
"Golden Brown" became one of the band's most commercially successful singles and remains one of their signature tracks. The single also became EMI's highest-selling single for many years. Following this, "La folie", the album's title track, was released on April 20, 1982, and reached No. 47 in the UK, although it did not achieve the same level of success as its predecessor.
Critically, La folie received a mixed to positive reception. Trouser Press described the album as "subtle, effective, mature, and energetic" but noted that there were no standout tracks that would solidify the band's legacy. AllMusic was more favorable, calling it a "fine and welcome" addition to The Stranglers' catalog, with tight, punchy songs that suggested an influence from American new wave bands. The album's commercial success was a boost to The Stranglers' career, especially considering the initial lack of interest upon its release.
Despite the mixed critical response, the album’s combination of sophisticated new wave and punk elements with radio-friendly pop sensibilities helped ensure its place in the band's discography as a significant release. La folie was ultimately a pivotal record in The Stranglers’ transition from their earlier punk roots toward a more mainstream, accessible sound.
