I think there may be a lesson or two when it comes to songwriting in this one. Many bands have been tempted to shake things up a bit in their career and do something else than they usually do musically. Quite often they fail, if not musically, so at least among their fans. Never change a winning team, they say, and in many ways this is very true for musical artists with one or two exceptions. Most should follow Slade`s lead on this one.
Until next time… have a good read!


Now`s the time for Slade

By Steve Peacock

“There`s a line in it that says `So you think my singing`s out of time, well it makes me money,`” says Noddy Holder, pausing to take in the effect of his words. And then he laughs.
`It` is “Cum On, Feel The Noize”, Slade`s new single, and is the reason that they were sitting around in a small dressing room at BBC TV centre last week, waiting for the technicians of Top Of The Pops to sort out some problems with Olivia Newton-John and the orchestra before the programme`s run-through started.
around showing off his Australian sun-tan – “actually it pissed with rain half the time we were over there” – and the anecdotes were flowing free. (This text started like this in the paper – not a mistake – Blog ed.)
A man from Scene and Heard bustles in clutching a tape recorder and asks them to do a quick trailer or two for the programme. Noddy shouts one into the mike – “This is Noddy Holder from Slade, we want you to listen to Scene and Heard because we listen to Scene and Heard, all right (crescendo) awrightawrightawrightawright! Keep On Rocking!” – and then he, Dave and Jimmy make up a couple of ditties based on Slade singles and bellow them into the mike with Nod strumming on acoustic.


They get a call that they`re on soon, and as Nod dons striped socks, tartan trews, tartan waistcoat and top hat to match. Dave disappears into the washroom to deck himself out in his latest creation. There`s a sudden hush as he re-appears, and the whole room dissolves in hysterics: he`s wearing a long black robe with mirrors stuck all over it, silver trousers underneath, and a kind of wire mesh headdress, silver, with more mirrors, that fastens under his chin. He looks like a Busby Berkely nun, and when someone stops laughing long enough to say he ought to be auditioning for a part in “The Sound Of Music”, he looks mock-hurt: “I was trying to look like Cleopatra.”
Listen he says as the helpless cackling starts to die away, “You write `em, I`ll sell `em.” A chorus of groans and “You`ve used that one before,” greets that one, and they`re off down the corridor into the cavenous studio for the run-through.
Watching on the monitors, it`s quickly apparent that the cameras can`t handle the reflected glare from all Dave`s mirrors – every time they turn on him the screen fills with dazzle. Back to the dressing room, manager Chas Chandler says he`ll have to strip it down a bit, and Dave looks suitably distressed.


There can be no doubt these days that Slade are stomping right to the top of the heap – a tight, exciting, fun rock band who`ve got the business of hit-singling, hit-albuming and sell-out concerting down to a fine art. They`re not breaking any frontiers of music, and they don`t much want to, but they`re rocking on, having a great time, and honing themselves up into one of the tightest and most expert rock bands we`ve ever had.
“The new single,” says Nod, “was made in much the same way as all the others – we went for a good commercial sound, and what we tried to get was something with a good singalong chorus. It`s got a lot more chords in it than we usually use – you can actually play it on Spanish guitars and it sounds just as good – and a strong melody, and I think it`s very easily remembered. It goes back to something we used to do a lot in a way, because we tried to use a lot of ringing chords, play them high up on the neck with a lot of open strings so they ring out.”
At its basic approach, “Cum On Feel The Noize” is quite obviously well in the traditional Slade mould, and they`re happy about that: “You can`t escape certain aspects of our singles,” says Dave. “I mean this one is very obviously Slade, and I don`t think you have to make a direct difference in your approach just because it`s your next single. You`ve got to keep it well within the vein of what`s being enjoyed nowadays, which is to get up and sing and really get on with it.”
Which is what they do, and the combination of enjoying what they`re doing at the moment and being successful with it, gives them little incentive to think about drastically changing their music. Though they hurry to point out that they`re not being complacent.


“We are progressing in many ways,” says Nod, “we`re getting better on stage, and in the studio we`re getting more relaxed and beginning to understand the techniques of recording better, and I think we`re writing better songs all the time. We don`t feel the style is getting worn at all, we just want to make it better all the time, adding ideas, and seeing what comes out of it all; what changes are coming will come gradually.”
As a guitarist, did Dave ever feel he needed more space to stretch himself? “No,” he said emphatically. “I think what I do inside the numbers is right at the moment. There are a lot of things I could do if I wanted to be a clever dick, but I think it would be pretty pointless.”
Nod: “The whole band works towards the vocals and the melody, and if anything cuts across that we scotch it. What we try to do at the moment is to make everything in the band complement the melody and the vocals – we don`t have to try to blow each other off or anything.”
Dave: “We haven`t got to prove anything to each other, we know exactly what we`re doing and what we can do.”
Nod: “We were listening to our very first album `Play It Loud` the other day, and the arrangements on it… just nothing complemented anything else. What we`ve been doing is simplifying everything down, so that you`ve got the bass and the drums keeping the rhythm going, and a strong melody, and then anything else you put in is really the icing on the cake.

“There are lots of things we can still use – like the violin, we`ve only used that on `Coz I Luv You` so far, so, we`ve got that to use still, and there`s vocal harmony which we used to do a lot, but we haven`t used much for a while. So we`ve got plenty of things still in the can that we can draw on.
“People in the business keep saying we ought to change soon because people will get sick of us, but the fact is that people aren`t getting sick of us – we`re selling more records every time we bring one out. The `Slayed` album sold as many in two weeks as `Slade Alive` did in nine months that it was in the charts, so things like that prove to us that we`re going the right way.”
What would happen if it came to a time when – as has happened to so many other groups – Slade wanted to change their music, but the record-buying people wanted them to keep on bashing out the same old story? “You mean if I wasn`t happy playing but people still enjoyed it? I don`t think that point will ever come. I`m happy playing at the moment, but if it ever did… well, we`d have to cross that bridge when we came to it. But I don`t think we`d ever get to the stage where we`d go on and play things we didn`t like just because other people like them.”
And remember, that cuts both ways.


I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Darryl Way (Curved Air), Sounds staff analyse David Bowie, Nazareth, Steve Marriott, Average White Band, Elton John, Geordie, Status Quo, Thin Lizzy, Stackridge,  Peter Gabriel, Mike Heron, Jesse Winchester.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail if you are interested. Send it to:
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ARTICLE ABOUT Slade FROM SOUNDS, November 25, 1972

A nice album review from one of the most popular rock bands ever coming from the UK. Enjoy!


Album review:

Slade: “Slayed?”
(Polydor 2383 163).

By Billy Walker

You can`t help but luv dear ol` Slade for just being themselves, no frills, just down to earth rock and rollers in it for the birds, booze, money and love of it all. They make good music, despite those who feel they`re just a good show and nothing else, and “Slayed?” has everything you`d expect; very few surprises but music that`ll get you up and jumpin` if you`re within a four to seventy four year old age group. “How Do You Ride” gets the boys off and kicking with a great Stones feel to the opening which rolls along within the number, Jimmy Lea gets some barrell house piano going in “The Whole World`s Goin` Crazee”, which is another great rock and roller, and the most obvious thing about the album is proof that Dave Hill`s a far better guitarist than you`d imagine and that Lea, along with Noddy Holder, writes some surprising lyrics. “Look At Last Nite”, “I Won`t Let It `Appen Agen” show this aspect of the band, but it`s numbers like Janis Joplin`s “Move Over”, played with complete confidence and understanding, and “Gudbuy T`Jane” that show what Slade`s about, their toughness and drive with “Jane” keeping up the very high standard of single releases they`ve set. “Mama Weer All Crazee Now” is included and “Gudbuy Gudbuy” flashes in like something from the Beatles` “Magical Mystery Tour” and then settles into a more Sladish theme, although Nod`s vocals here sound remarkably like John Lennon. No messin` from the boys here, a real nice rocker from Nod, Dave, Jimmy and Don. Long liv Slade.


I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Frankie Miller, Wishbone Ash, Steve Took, Edgar Broughton, Rod Stewart, Don McLean, Harry Chapin, Hookfoot, Lou Reizner, Allman Brothers, The organisers of the Isle of Wight Festival, Roy Harper, Gladys Knight, Tight Like That, Gentle Giant.

This issue is sold!

ARTICLE ABOUT Slade FROM SOUNDS, October 7, 1972

A strange phenomenon sometimes occur in the music business when a band who is very successful in their home country don`t “make it” in another country, even if their language, culture and shared history is the same. This is the story of Slade trying to crack America in a tale that countless other bands have experienced through the years. Slade did very well for themselves in Europe, but it is still a mystery why they never achieved the same levels of success in the US.


Just a spot of homely vulgarity

Noddy Holder talking to Steve Peacock

Well, they had to drop the knickers out of the show, but a bit of good old Wolverhampton vulgarity didn`t come amiss in New York.
“We had this press conference in New York,” said Noddy, the day after Slade got back from their first States tour, “and all these underground press people were there asking all these really mad questions. All they wanted to know about was our dope and sex habits, what sort of creams do we use, that sort of question.”
So what did they do? “Told them. They weren`t expecting that I don`t think, but we can be just as vulgar as them any day, so we were. The press conference got really well debased after that, it was great fun.”


After holding off from the States for a long time, for as long as it took them to achieve a string of hit singles and a solid on-stage reputation in this country, Slade had decided the time was right for them to go and start telling American audiences to Get Down And Get With It. It seems to have worked.
Their tour was opening the show for the likes of Humble Pie, J. Geils, and Boz Scraggs, and from all accounts – Noddy`s included – the audiences sat up and were interested.
“We had to work just like we did in England about a year ago – had to really work on them to get them interested and show them what we were all about. Opening the show, of course, we only had about 30 minutes, so it was a bit different, we had to change the act around a lot, cut out a lot of the humour, and make the music a lot harder.


“But the whole thing worked just like we hoped it would, and like we expected it to. Pie were bringing in the sort of audience who were likely to dig us anyway, so that was no problem, and they followed the instructions – right, they got up on their feet and danced. The only hassle we had was with the cops really – every time people got up to dance they pushed them back in their seats again. That was bad.”
Slade`s onslaught on the States seems to have been run as efficiently and cleverly as most of their operations. They picked the right time, the right tour, and – it seems – the right way of working.
Cutting the act down to 30 minutes, they wisely cut out a lot of the chat – “we had to leave out a lot of the humour thing anyway; some of it they could take, but some of it they couldn`t understand at all. The knickers thing for instance, that didn`t go over well at all” – and left in a set that ran “Hear Me Calling”, “Move over Baby”, “Darlin` Be Home Soon”, “Keep On Rocking”, “Tak Me Bak Ome”, and “Get Down And Get With It”.
If there was an encore it was “Mama Weer All Crazee Now”. If you`ve ever seen Slade on stage, you`ll know that would be a pretty impressive burst of rocking, especially from an opening act.


They got the audiences going: “Promoters and people were telling us they don`t often see a band, especially a bottom of the bill band, go on stage with the attitude we do, wearing all the clothes and the make-up and stuff, and make such a good impression with the audiences. It was just working hard that did it I think – they were surprised.
“But I think it`s improved the band an awful lot too. In Europe it was getting to the point where the act was getting more important than the music, but America really tightened us up. People over here seemed to want all the act stuff so we were getting more and more into that, but in America they really wanted the music so we had to work hard on that, detail it out.
“The audiences over there seemed to be much more interested in the songs than they are over here, they really wanted to get into what we did as well as get up and rave. We did two shows in a lot of the places, and you`d get a lot of young kids coming to the early house, but mostly older people at the second one. That was a lot harder, because they were usually pretty stoned – it was hard getting over to them.”
But whatever the local difficulties, the tour seems to have set Slade well on the way to establishing themselves in the States. Just as they were leaving for home, “Slade Alive”, the album, and their single over there “Tak Me Bak Ome”, had both started into the chart. From here, they have to finish their studio album, do a European tour, then a British tour, and then back to the States, in the new year.


The change has been refreshing in a way – as they predicted, it was like starting again. “The nice thing about it is that I think everyone steps into the States with an equal chance. Like people had heard a bit about what we`d been doing over here, but I think you really have to prove yourselves, to the audiences and to the press. They want to see for themselves.”
Did that apply to T. Rex as well, did he think. “I think it does. Nobody really asked us much about them or seemed to think they were much different from any other band going over there and trying to crack it.”
How did he feel it was going, comparatively?
“I think we`re winning.”


I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Dan Hicks, Home, Tom Paxton, Camel, Dave Davies, Chick Corea, Mott The Hoople, Jimi Hendrix, Stackridge, Alan Hull, Lindisfarne, Danny Seiwell, Natural Acoustic Band, Dando Shaft.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail if you are interested. Send it to:
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.


Yet another album review. Slade tried to crack the American market with this one. They didn`t have much success there, and the album only went to number 14 in the English charts and disappeared after only 4 weeks. Not what Slade were used to at the time, but they would make a strong comeback later in their career.


SLADE: Nobody`s Fools

By Tony Stewart

Who really knows why Slade haven`t released an album for well over a year?
One guess is that they deliberately withdrew from England as a tactical manoeuvre after “Slade In Flame” because of declining fortunes and over-exposure.
And to prevent a total collapse of their stature a new market had to be opened, and so their energy was directed towards America. But apparently their trojan work schedule excluded recording.
Now, with “Nobody`s Fools”, which is really their first proper group album of new material since the `73 release of “Sladest” (“Old, New, Borrowed And Blue” and “Flame” can be discounted in this scheme of things) they`re back.
But as what? Now that does seem the pertinent question.
Slade were very much a singles band, worshipped by the kiddies who turned first to the BCRs and more recently to Slik. Now Noddy and the boys have been deposed, without even the help of hearts growing fonder due to their absence, it`s likely that “Fools” is meant as a serious crack at the album market.

In certain respects their present position is not totally dissimilar to that of the Who in the 60s. As a singles band they eventually discovered they could only go so far before peaking and as a necessity realised they had to gain album respect.
The Who made it. But will Slade?
After all, can you really imagine Slade`s music receiving the same critical discussion as “Who`s Next” or “The Who By Numbers”? Eh?
Well, if this album is an accurate representation of their album-making ability I doubt it very much. Oh, Slade are an exciting band. Plenty of grit and kick, and an unrefined charm which has been captured from their live performances in the studio environment; but though superficially the music is of a reasonable standard, there`s not a lot of depth. Really the album is just a collection of hooky little singles (like “Let`s Call It Quits” and “In For A Penny” which have already appeared as such, and the title track and “L.A. Jinx” that could well do) and passable B sides (“Get On Up” and “Scratch My Back”).
Most of the lyrics are banal and drab, and the only feature which cuts through with any effect is Holder`s vulgarity, expressed on “In For A Penny” and “Did Ya Mama Ever Tell Ya.”

Whether their potential is greater than this is arguable, but as Slade exist on this album they`re working within extreme confines of style; restrictions best illustrated by the ripoff of Toussaint`s “Brickyard Blues” for “Let`s Call It Quits”, and the hybrid of a Diddley rhythm and Lennon`s “Give Peace A Chance” for “I`m A Talker”.
So there`s at least two instances of the ol` inspiration being short. Perhaps there are more.
And even the way they play the material could do with a bit of beefing up.
As it is, Holder, the poor man`s John Lennon, pretty well carries the band through, with Dave Hill sticking close to him like a piece of chewing gum and relentlessly strangling the same figures out of his guitar. Don Powell and Jim Lea (drums and bass respectively) keep a solid backbeat.
To be seriously considered as album artistes they`ve certainly got to come up with something more substantial than this.
But at least the Who can relax a while. There`s no competition.

Slade Nobody's_Fools_(Slade_album_-_cover_art)

I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of New Musical Express also contains articles/interviews with these people: David Bowie, The sexual language of rock Part 2, Phil Spector, General Johnson, Climax Blues Band, Gil Scott-Heron, Slik.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail if you are interested. Send it to:
2. The offer should be 15 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.


I have personally transcribed this from the original paper and you are free to use it as you like. If you use it on your own webpages – please credit me or put up a link to my blog.

Here is a really fun interview with Noddy Holder. He talks about touring and groupies and shares some inside stories from the road. I really liked to read this one – and I hope you do too!

bilde 1

One chick holds you down. The other has the scissors.

Slade prepare to tour: Julie Webb hears how.

It`s little-known that a certain member of Slade`s road crew, was, to quote Noddy Holder, “called in by the police for assault” after the band had played a gig at Southampton. And if that sounds like the band are surrounded by heavies who go around manhandling Slade fans, you ain`t heard the half of it.
“The charge was finally dropped because of the circumstances”, expounds Mr. Holder, today looking respectable behind shades and a black pully.
The alleged incident took place as the band were arriving at the gig. Holder says: “It`s a major operation for us just getting in and out of places. Anyway, on this particular occasion two girls got hold of me by each side of my hair and pulled me to the ground. They would not let go. And Rob had to sock them to make them let go – they were killing me.”

After three years of major hit singles/albums in Britain, the band are well aware of the tricks their followers get up to. Back to Mr. Holder: “One of them grabs hold of you and pulls you down while another one cuts your hair off with a pair of scissors. They get a big chunk of hair and split it between them afterwards.”
And just how does one cope with scissor-happy young ladies?
“You can`t really punch them – I wouldn`t think of punching them. You know why they`re doing it and you have to put up with it. But a lot of kids just don`t seem to realise why you don`t stop and sign autographs on the way to the car – it`s simply because you can`t, because some of them go berserk and rip you to shreds. It`s dangerous. Not only that, it does hurt.”

Holder says one of their most frightening experiences was the night Dave Hill sustained a broken leg at Liverpool.
“That night I thought we`d had it. I don`t know how many people were there – probably four or five thousand – but it looked like they were all coming at us.
“We had 90 bouncers in front of the stage, and even they were finding it difficult to hold back. The stage was in the middle of a boxing arena, right in the middle – and it was a real long walk to the dressing room.
“We had to go through the crowd – we had bouncers linking arms to give us a gangway, and the crowd just broke through.
“Dave was first down the stairs off the stage and he was the first one to cop it – and when he went to the floor we all fell on top of him.”

Clearly British tours (the band start their first one for 10 months in April) are memorable. And this time round you`ll be paying more for your Slade tickets. Holder explains some of the reasons why:
“We`re not expecting to make a lot of money on this next tour – in fact we`ll probably break about even. Ticket prices have gone up but that bread isn`t going into our pockets. It`s costing more to take the show on the road – petrol`s costing more, everything`s costing more. The halls are costing more to hire, advertising costs more and so the price must go up – if only to break even.
“You have to understand the economics of a tour. In Britain we`re taking 12 ton of equipment with us, with the lights and everything, and that`s going to take a lot of getting around. There`s a crew of basically 10 people, and their wages and expenses have to be paid, and hotel bills and food on the road. Our own hotel bills, our own transport, repairs to theatres…”

Repair bills to theatres? What`s all that about?
“At Earls Court we had to pay about £5,000 in damage bills. Seats, hand-rails, that sort of thing. Balconies crack – the Palladium balcony cracked, although I think the promoter was insured against that. At Greens Playhouse, (now the Apollo) in Glasgow, the balcony cracked. We do insure against it, but the insurance people know what`s going to happen so obviously they don`t give us cheap insurance.”
So how much do they reckon to pay out for damages on a British tour?
“Works out between two and five hundred a night.”
Tax deductable?
“Oh yeah, of course. It`s money you pay out – it`s not coming into your pocket, is it? It`s an expense of the road. We don`t mind paying, but it`s one of the examples of why tour prices are going up.”

Noddy Holder

Noddy Holder

Despite the wreckage and havoc Slade fans cause at each gig, Holder maintains they rarely get banned from venues.
“Not as long as we pay the bills. We`ve been banned from a few places – like Liverpool has been very difficult to find a hall to play in. The last time we played there was when Dave broke his leg, and the damage bill to the stadium was enormous. Still we`ve found somewhere for this tour.
“It`s not that the kids go wantonly in and smash the place up. Things just get broken in the course of events. Seats get broken, lights get pulled off the wall, things like that. You have to foot the bill if you want to keep working at these theatres.”
From up on stage, is Holder aware of the chaos he and the band are wreaking in audience?
“Not really. We see the damage afterwards. Although we realise it`s going on of course.”

And with a large audience, stewards/jobsworths aren`t always that big a help.
“I don`t like them, although I realise they`re a necessity. Even so, if it was left to me I wouldn`t have them – because a lot of times they cause more bother than they stop. We`ve cleared them out from the front of the stage at loads of venues, and it`s been a lot more easy going.”
If he sees an open case of violence, Holder endeavours to stop it from on stage – “If I see somebody getting beat up by a bouncer.”
However, there are sometimes casualties.
“Oh yeah, two bouncers in Glasgow on the last tour got their arms broken. Dave got his leg broke as mentioned – but casualties like that you have to live with. Sometimes we`ve had cops bringing the Black Marias up to the door, and when you get inside you feel the kids all banging on the sides – and it feels like the van is going to go over.”

Such tight security at gigs – whipping the band in and out of venues with such speed – would I venture, mess up the Slade groupie scene.
“We`re not really into that much now. I think we`ve grown out of it. We get our fair share of women, but it ain`t the same sort of groupie scene we used to revel in at one time. At one time we used to go out of our way to pull birds. Now we just let it happen now, if we meet the chicks – we don`t go out of our way to pull them.
“But then with a lot of chicks you meet on the road, their last thought is to sleep with you. Some of them genuinely want to be mates with you. We have just as much fun with the chicks who don`t sleep with us.”
The American groupie scene, being from all accounts a very organised thing, freaked Holder out when he first came across it.

“They are much more open about it in America. If they want it they`ll ask you for it. They`ll say, `have you got a girl with you tonight?` and you either say `yes` or `no`. If you say `yes` then they`re cool enough and they`ll just blow, unless they really fancy you lot – and then they`ll try to give the other chick a hard time.”
If the U.S. groupie scene freaked out Holder, then America at long last appears to have been freaked out by Slade.
“Concert-wise we`re very big; record wise, well, the records haven`t taken off yet. The first gig of the last tour was at the Philadelphia Spectrum. That`s an 18,000 seater, and we got 16,000 in. And when we`ve gone back to places like Philadelphia we`ve packed `em out.
“On the first couple of tours it was real hard going, because they hadn`t heard of us at all and we`re probably a much more typically British group than most. That made us much harder to latch on to. So now we`ve learned to adapt a bit. We don`t do so much fooling around – it`s a much more straight-forward rock act.
“On the British tour we`ll be adding the American things we`ve learned as well as the British things. Like lights. We`d never concentrated on lighting, never had a lighting system on the road, until America. But we`ve got used to it – so we`ll have one in Britain now.”

The British stage act will of course vary considerably from their act on the last tour here, with the inclusion of several numbers from the “Old, New, Borrowed And Blue” album – which contains “Everyday”, the band`s new single.
“`Everyday` was by demand, really – like a stop-gap single. We don`t usually bring stuff off an album – we put singles into albums. But everybody wanted us to bring it out and we agreed. It is a completely different thing and we don`t really know how it`s going to do, because that album has sold over 200,000 already.”

One impressive double page ad for Mott!

One impressive double page ad for Mott!

This number of the NME also contains articles/interviews with these people: Mott the Hoople, Maddy Prior (Steeleye Span), The Shadows, Van Morrison, Wayne County, Wet Willie and Sly Stone, Edgar Broughton, Robert Plant.

This edition is sold!