cover version of The Missing Links' track "Wild About You". On the single tracks "(I'm) Stranded" and "No Time", Kuepper's guitar was tuned up a semitone, to emulate Bo Diddley. The other eight tracks were recorded over a weekend in December 1976. Kuepper used Mark Moffatt's 1960 Fender Super amp with no effect pedals on (I'm) Stranded and No Time. On the remainder of the album he used a vocal PA as his guitar amp, after his live amp had "blown up", and an MXR Distortion Plus pedal. The band recorded the tracks live, though with the guitar amp in the corridor to avoid spill. The band supported AC/DC in late December 1976 and, early in 1977, relocated to Sydney. EMI re-issued the single "(I'm) Stranded" in February 1977 and it reached the Kent Music Report Top 100 Singles Chart. 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. 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. In 2007, (I'm) Stranded was reissued as a CD with bonus tracks including the EP One Two Three Four and the single version of "This Perfect Day". In August of that year band members Bailey and Kuepper described their work for SBS-TV's documentary Great Australian Albums. Reception Contemporary reviews Kris Needs in ZigZag May 1977 called it a "rip-snorter of an album" and "one hell of an album, although it's a bit patchy." Robot A. Hull in Creem December 1977, reviewing the US edition released on Sire, said the Saints "easily match the savage revolt of bands like the Clash and the Jam" and called (I'm Stranded) "a pistol shot of an album worth getting stewed over." The Village Voices Robert Christgau wrote, "intermittent hooks, droning feedback, shouted vocals, and oldie about incest, this album from Australia achieves the great mean of punk style". Retrospective reviews In his review of (I'm) Stranded, Jack Rabid of AllMusic declared that "[T]he Saints sparked the Far East punk rock movement with a blasting, blistering, scorching sound no one had heard before". Although eight of the tracks showed a "heavy, buzzing racket ... borders on unintelligible, they're so cheaply recorded". McFarlane described it as "full of rough, exhilarating