ARTICLE ABOUT Slade FROM Record Mirror, June 17, 1972

There is no doubt that Slade were what we categorize as a rock band. Possibly in the glam variety, but still.. Today, the notion that a rock band would get in trouble for swearing on stage, would seem quite absurd. Not so in the conservative England at the start of the 70s… read all about it here. Enjoy.


They`re not rock or pop or anything else, they`re SLADE

Dave Hill talks to RM`s Val Mabbs

“OKAY”, says the hearty bellowing voice. “We want you all to clap along with us on this one, yes, everybody, let`s hear ya…”
The familiar kind of patter used by Slade on their live performances, building the audiences up to their almost frenzied height, when all the arms will stretch out to move in the mannerisms of Dave Hill, or Noddy Holder on stage, and the feet stamp relentlessly on polished ballroom floors.
They`ve long been the centre of a cult following, the heroes who provide the safety outlet for many a frustrated teenager, often pent up in a boring daytime job, just waiting for a chance to break out. And stomping along with Slade is better than smashing up trains, anyday!
But suddenly Slade are becoming accepted by a wider audience. They`re no longer thought of as an extension of a pop band – a description which never quite fitted anyway – and even the crowd at Lincoln`s Great Western Festival rose to their feet when the thundering little band hit the stage.
“It was the first big festival we’d done here,” explained the bouncy Dave Hill still happy despite having waited around for my arrival, following a muddle-up in communications. “We expected from your reports we’ve heard before that things would run late, but everything was very well organised, especially considering the bad weather they had to put up with.”
The group used the same on-stage act that they use regularly for their college and ballroom appearances, with one addition, “Move Over” by Janis Joplin. Apart from the obvious observation that Slade produced a good, controlled but rocking set, I wondered how Dave felt he might account for their victory (though he hates the thought of bands being put into a type of competition) on being tipped as the best group of the festival.

“I don’t think we played any better or any worse than we usually do,” he told me honestly. “But we’ve always gone out to get a mixed audience, and never wanted to be in any particular bag — we don’t want the rock label either, because we’re not a rock band, we only do one rock ‘n’ roll song.
“If you think about it we write our own numbers written through many influences, and I think where you’re brought up and the way you live influences things you write.
“I’d call our music beaty music, things you can dance to. I wish there was a new word, because when you say a rock band, to me that makes you think of the past, it’s attributed to Little Richard.
We aim to keep writing and keep fresh in our music all the time, we’ve got hundreds of tracks down in the studio now, and they’re nothing like what we`re doing on stage at the moment. We want variety in the act to appeal to many kinds of audiences. I really think that’s why we’ve won out because we can do that.”
From the outset of their career, Slade have always been individualistic. As Ambrose Slade, a quiet yet cheekily happy bunch of characters, they used violin on stage — an instrument that then was not as widely used as it has become today — and their title of being the first skinhead group, goes undisputed.
Even now, finding the correct words to apply to the group is difficult… they really can’t be labelled, except to say they’re Slade, and anyone who’s seen them work will know just what that means. Their live album “Slade Alive!” also gives an excellent indication of the band.
Slade are currently working in the studio recording tracks for a new album and single – all the tracks, Dave tells me, receive the same treatment, and are not recorded on a “this is going to be the single” pre-arranged basis.
Although being able to see the obvious shortcomings of recording all singles live, I echoed a reader’s view and asked Dave if he felt it could be beneficial for the group to record more live material.


“The album was recorded over three nights and an audience was brought in every night,” he told me, looking serious. “But it would be practically impossible to set that kind of thing up every time you wanted to record. Also you might not want an audience making a noise on the recording. All we wanted to do was produce a Slade live album showing how Slade are at present, not to get into any particular thing about recording live.”
Okay readers?
Slade themselves were particularly pleased with the outcome of their live sessions, recorded in the Command studios. But are certainly not so pleased about the current obscenity charge that they are faced with, following an appearance in Glasgow.
“As far as I know Nod didn’t swear,” Dave told me, leaning back and crossing his yellow clad knees. “We did the normal act that we do everywhere, so why all of as sudden, out of the blue, should someone come and pin that on us? I know there were a lot of hassles with people jumping on seats and running around, but nothing different happened on stage.
“The police just walked in to the dressing room and asked who was swearing, who was doing the announcing. I didn’t hear everything that was said when I was out on stage, but I don’t remember anyone swearing. We just don’t need that,” Dave’s anger at the whole situation was beginning to show, as he continued. “I might swear when I’m talking to you, it’s just part of speaking, people do swear. Girls in London swear, I’ve heard them, but if a group do they labelled as being obscene”

In the past, with their sometimes open talk on stage — Noddy occasionally will call for couples to get together, jokingly commenting “let’s see you having a fee” – the group have acquired the reputation for stepping out a little, and I pressed on to ask Dave if he felt they had been lucky in not being told to lessen their comments before.
“I’ve never thought about us being lucky, we don’t think about things like that. I hate people using the bit about being obscene, I couldn’t think of anything cornier, our music’s good enough.”
Indeed Slade are a highly successful and entertaining act who need no extra gimmicks.
“The way we are on stage is what we are,” says Dave. “I wear flashy clothes but I always wear flashy clothes, and Nod has always been the way he is. We haven’t gone out of the way to be anything different. We haven’t planned anything.”
Wouldn’t you agree that the members of Slade are good businessmen though? Dave gives a knowing grin, adding seriously: “We’re not out to con the public. We put out what we are. Now we’ll continue on as normal, we’ve always been the same.”


The original music paper this article came from (pictured at the top) is for sale!
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Now, this was a fun and very well-written article. Should be of interest to all, but of course the Slade fans will salivate over this. People today just don`t seem to realise how huge this band were in the 70s and part of the 80s. Very influential for other artists both in Europe, but also in the US. This article takes you back to when it happened and you can almost smell the concert hall (and the soiled underwear).
Read on!


Cum on, feel the boyz!!!

By Steve Peacock

Good grief, it`s hot in here. Here is the Colston Hall, Bristol. Here is a Slade concert. Here they have just completed the opening volley of their set. Here we go again.
“It`s really nice,” shouts Noddy Holder into the microphone as the last echoes of `Monkeys Can`t Swing` dies away. “It`s really gryte to be back in Bristol again.”
“And now we`re going to do one, going to do one called `THE BANG-GING MAN`…”
And off they jolly well go, pounding along on the crest of a very hard, deliberate riff, Noddy screaming the vocal and chunking out chords, Dave Hill adding accents and frills and prancing, Don Powell bashing away in a kind of reflex action, and Jim Lea doing the funky strut with his bass on the opposite flank. `Bangin` Man` stamps the Heavy Metal seal of approval on Slade.
Lights are strung all around the stage, with spots around the hall as well. Lighting plans are quite detailed, but the effects simple, giving you a kind of bright, slightly glitzy quality of a well designed TV variety show lighting set. Costumes are tailored to suit group images. Dave is in a black tailcoat, waistcoat and rolled up trousers, all studded with metal reflectors; Don is workmanlike in dungarees: Jim is in white satin; and Nod – a suit in red and yellow, with huge polka dots and a mile-wide tie that stretches to mid calf.
Third number up is `Gudbuy T`Jane`: “We`re doing all the ones you know,” bawls Noddy afterwards, “all the ones you know, so everyone gets sweaty and your knickers start sticking to you.”
“Now, we`re going to do one from the film now…”
“Did anybody go out to see the film?”
“Good, good. Now… me and James here…”
“We`re really good friends really…”

Over a cup of breakfast in the Bristol Holiday Inn at noon next day, Jimmy Lea says it`s strange, but everywhere they go these days people seem to think he and Nod fight and hate each other just like Stoker and Paul do in the film of `Flame`. He says they never expected Slade fans to believe that `Flame` was the story of Slade, but they did. That`s why they make a stage announcement every night.
It`s hardly surprising that Nod, Jim, Dave and Don are closely identified with their film parts Stoker, Paul, Barry and Charlie: the director and scriptwriter spent weeks hanging around with them on the American tour and drew the screen characters, speech patterns and much group atmosphere from what they observed. A lot of the situations came from stories the group told.
So if Flame isn`t Slade, it was based on… a caricature. And if the plot never happened it was based on… a collage. But Nod loves Jim really, and he says so every night in front of a hall full of witnesses. And Jim isn`t leaving because of musical differences – not now they`re back on the road.
It was really strange when they`d finished filming, Jim says, they got so into the parts that they were beginning to live them, beginning to behave like the characters they played. It`d been their first break from the usual grind of recording and touring for several years, and that in itself was a slightly unnerving experience. “Afterwards,” said Jim. “I just didn`t want to go back to fucking Slade.” It passed of course. Paul let go his hold on Jim and Slade survived.
Noddy confirmed there had been seepage: “For the seven weeks of the film you`d be playing those people all day and you`d get back to the hotel and still be acting the same way. Jim was the most uptight about the actual film and he took it the most seriously, whereas I didn`t take it that seriously at all, I just went and did it.”
But it touched raw nerves? “Oh yea, of course it did. That was the whole point of making the film, was to show that we`re `uman, that groups are `uman. It may not be how we act off stage, but it`s how a lot of groups act… I mean we have rows, but not to the extent that would make the group split up. All the groups who came to the premiere said “that could have been us”. They recognised theirselves in those situations”.

It`s getting hotter in the Colston Hall as Slade move into `Far Far Away`: it`s one of the quieter numbers in the set, but even so a mother with two small children beats her retreat. One of the kids is in Cub`s uniform.
“We`re going to do our new record now,” bellows Nod.
“We took it to the BBC and they banned it…”
“Because they said it had… dirty words in it…”
“So I went back last week and put new words on it…”
“But tonight – ”
He needn`t have finished the sentence, but he did anyway. Tonight they would hear the uncensored version. The `ban` happened when they gave the first play of their new single – `Thanks For The Memory` – to Emperor Rosko, whose producer asked the bosses for clearance on the line “love smell on your sheets”.
The BBC decided this wasn`t quite the sort of thing Rosko`s listeners should hear, but apparently they are happy about the substitution line.
Which is: “Honey on your meat.”

We`re back in the Colston Hall, and the temperature`s rising. The lights go down, a spotlight hits the Victor Sylvester Ball above the stage, casting iridescent dandruff all over the hall, and Jim starts into the piano intro to `How Does it Feel`.
The heat is getting to the group on stage. Don, in particular is feeling it.
“We`re going to do one now, going to do one now…” Nod is getting ready to stir them again… “featuring David this time, featuring David…”
“Featuring David…”
The dispassionate observer begins to notice that something which should have happened, hasn`t happened. Nod steps forward again and begins to frame the letter `f` – ahah, the cue must be `featuring David`. He gives up and turns round to Don, who looks slightly dazed at the drumstool.
Don jerks into action with a fast 4/4 figure featuring hi-hat, and the band rolls into `Little Bit Of Your Love`. The finale sees Dave up on a pedestal to one side of the stage (Jim has one too) with a spotlight on him and a searchlight behind him playing solo, feedbacky guitar a la Hendrix `Star Spangled Banner` except that… oh, never mind.
As that reverberates, Nod steps into a red spot, strumming guitar, and goes into `Everyday`, the out-and-out melody spot. When he gets to the “And you know…” line he urges the audience to join in, and they take over. It`s SingalongaNod, and it sounds a bit like a crowd scene from `Oliver`, but it`s also a very moving section of the show.
“Right! We`re going to feature David again n-….”
A frantic 4/4 featuring hi-hat drowns out the inevitable RAAAAH!!!!


Nod turns round: “Quiet you… Oi! It`s called, it`s called `OK, Yesterday Was Yesterday` yay.”
RAAAH!!!! Bring on the powerchords.
“And now, and now… Jesus Christ it`s hot in here…” but Nod`s not wilting. “I tell you what, I want all the girls, all the girls, to take their knickers off…”
“… and I want all the fellas, all the fellas, to take their trousers off…”
“And then we can, then we can all lose our… lose our INHIBITIONS!!!”
“This one, this one is a brand new one. It`s the B-side of our new single, the backside of our new single, and it`s called… `IT`S RAINING DOWN IN MY CHAMPA-A-A-A-AGNE`”.
The tune (which some of the group and entourage favour as the A-side of the single) is a perfect stage number, allowing them to introduce a touch of stiff bluebeat and a chorus or two of `The Banana Boat Song` before we come back to Nod.
“This next one, this next one features Don.” He turns to the drummer who holds aloft a giant inflatable packet of Wrigley`s chewing gum. “He brought along some of his favourite food…”
“… because he doesn`t eat anything else.”
Nod begins to hum the theme tune from the adverts, singing: “stick it up your bum, bum, bum, stick it up your bum, bum, bum”, which inevitably is taken up by the audience. The band kick straight into a long, raving `Let The Good Times Roll`, featuring a drums / bass duet, and a drums / solo passage with Nod yelling “keep me rolling” over the top. And then it`s finale time.

“We`re going to do one now… is everybody upstairs crazee?”
“And is everybody downstairs crazee?”
You`ll never guess which song they`re finishing up with.
“Right. Mama, we`re all crazee now… ”
Naturally enough, the number ends with a storm of applause. For a couple of minutes after the band has left the stage, the audience set up a chant of We Want Slade… and they get `em. The cheers go up as they return, and even the appearance of Nod`s stovepipe hat (with mirrors) gets a special cheer. Nod teases the crowd, calling for supporters of Bristol Rovers (RAH!!) and then Bristol City (RAAAAAYY!!!!), before he leads the congregation in a rendition of `You`ll Never Walk Alone`, as they sway in unison, hands in the air.
“Louder,” yells Nod. Louder sang the crowd. The band did `Get Down And Get With It` as the encore and the theatre stamped along. But by the end they were exhausted, limp rags. Cheers for a second encore weren`t too convincing and the houselights soon went up. But Slade have never inspired their audience to second and third encores – the energy level is so high everyone is drained.
An average gig? Pretty much, says Jim, and assistant manager John Steel puts it this way: “I`ve never seen them do a bad gig. They`re pros.” Which must make it hard for them to do better than a good, professional show. The previous weekend`s gig in Birmingham had been what Nod called one of their best gigs ever, and that was a relief to them, because when they laid off to do the film they realised that towards the end of the gigs before then they`d been getting stale.
“We realised that at certain points we were working to format, which we`d never intended to do. Then just before Christmas we went on a six-week tour of Europe, and we hadn`t played live for five months or more, which is the longest lay-off we`ve ever had – even when Don had his car crash we weren`t off that long. Our first gig was in Iceland, and it wasn`t perfect by any means, but we got a complete new vitality. Something completely new was there. It was the best European tour we`ve ever done.”

Driving back from the gig to the Holiday Inn, personal roadie Graham Swinnerton glides the Rolls right past the front door.
“Swin, you`ve gone past it.”
“I have,” says Swin, “an arrangement with the security people.”
“But there wasn`t anyone around at the front door.”
We get round the back, and a bunch of fans converges. Perhaps they too had an arrangement with the security people.
Next day, the tour hits Southampton, and the group leaves at midday to get there in time to record a spot for Southern Television in the afternoon. It`s for a kids` programme compered by Mike `Ugly Duckling` Reid (who is not there). Nod, at the suggestion of producer Colin Nutley, interviews the band. “Today in the studio we have as our special guests the Slades pop combo, weddings and parties catered for, funerals a speciality… “… now Mr. Hill, I see you have a smart suit there, the only trouble is I see you ain`t got no taste…”
This British tour was arranged more or less at the last minute. They hadn`t intended to do any dates before going to America, but then they realised that it would be ages before they could do another one. They have to stay out of Britain for a while to avoid paying heavy taxes, and anyway they feel it`s time to crack America. Nod feels they haven`t concentrated enough there, which is why they haven`t had the record sales success they feel sure could be theirs if they made a determined effort.
Their lack of attack on America has been deliberate strategy for the past year because they`re trying to let the promotion Polydor gave them fade from people`s memories. “They tried to build us up like we were the biggest thing since the Beatles…” Nod says. “That`s what killed Bolan over there.” They`re now with Warners, and the strategy is to build on the live reputation they`ve already established and plug away in the States until the momentum rolls a record into the chart and keeps it there. They`re confident.

Opening the show to a Slade audience must be a nerve-wracking job, but Bunny had been pleasantly surprised on the first few dates. They`d gone down quite well, and fears that they`d get boos and catcalls had been groundless. At Southampton Gaumont their luck changed.
It had been going OK – Kenny Parry, guitar, Dave Dover, bass and Terry McCuster, drums had been playing hard and tight, and Linda Millington was out front, singing strong and rabble rousing with feeling. She`d done a good (and courageous) version of `Piece Of My Heart`, and the band struck up the intro to `With A Little Help From My Friends`, a la Grease Band. It went on just that bit too long, and the natives got restless. When Linda sung the line: “Would you stand up and walk out on me?” there was a clearly audible:
It`s a fairly good natured crowd, and the barracking is as much in the manner of a jest as it is anything else. It is nonetheless upsetting for Bunny. Their time, no doubt, will come.
Slade`s set at Southampton is pretty much the same as it was in Bristol, except for the addition of `Standing On The Corner`, the switching around of `Get Down` and `Crazee`, and bringing forward the football singalong to the spot after `Everyday`. As John Steel muttered during `You`ll Never Walk Alone`: “fucking good job Noddy didn`t decide to go into politics.”
Promoter Mel Bush came up to me while I was watching the set from the back of the theatre. “Have you ever looked out from the back of the stage while Noddy`s talking to the audience? It`s something I only ever see with this group, and that`s that every pair of eyes is turned towards Nod. Not 90 per cent, but every one. The communication Nod has with those kids is… unique. The kids identify with him – he`s not the most good looking guy in the world, he`s not the ugliest, it`s like there`s one of them up there and he`s talking their language. He`s not talking down to them, he`s talking to them.”
“Somehow when we come to Southampton,” says Nod (he`s already said that it`s gryte to be back in the town), someone always brings a bottle of Scotch to the dressing room, and we seem to drink it. So if you see a wet patch on my trousers you`ll know what it is, because I haven`t got time to go off…”
“But if the roadies bring me a bucket I might give you a quick flash later…”
Towards the end of the set, a pair of knickers lands at Jim Lea`s feet. He picks them up and holds them to show the kids they`ve got SLADE written across them.
“Smell `em,” said Nod.


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: Back Street Crawler, Mallard, Leo Sayer, Mud, Jet, Average White Band, Al Green, Ray Charles, Chinn and Chapman, Hawkwind, Slade, Genesis, Dr. Hook, Helen Reddy, Alex Harvey, Bachman Turner Overdrive, Bill Munroe, Kraftwerk, Kinks.
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.


No doubt that Mr. Holt had the time of his life watching Slade!
Read on.


Slade – Kings of rock

Concert review by Phil Holt

Slade`s shows have an atmosphere all of their own, and the nearest comparison is that of a football match. The fans bring along their scarves, rosettes, top hats and either chant impatiently for their heroes to emerge or just simply sing Super Slade. Then, when the set gets underway, we have singing, shouting, stomping, swaying, choruses of `You`ll Never Walk Alone`, all led by the Kop cheerleader-in-chief, Noddy Holder. The control he exerts over the crowd is amazing and as successful as ever – he keeps the mood light and good natured with not a hint of aggro anywhere. Perhaps Noddy should be Tommy Doc`s next signing.
The music itself fits neatly into this package storming along at a vast rate of knots and containing the simple but effective hookline – either a riff or via the lyrics – that have made Slade the undisputed kings of commercial rock.
All the old favourites were there `Goodbye To Jane`, `Bangin` Man`, `Every Day`, plus a couple from the film, plus a couple of new numbers that fit into the Slade vein perfectly. The act itself was carefully structured with pedestals for Jimmy Lea and Dave Hill to mount and ramps extending into the audience.
But any doubts that may have existed about everything being too arranged was shattered by the spontaneous energy of Slade`s finale. This was a complete rock segment starting with `Let The Good Times Roll` and finishing with`Get Down And Get With It` that shook the Birmingham Odeon to its foundations. So Slade finished with a reception that they will find hard to equal anywhere in this country, never mind America.


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: Frank Zappa, Gladys Knight, Women In Rock, Betty Wright, Steve Harley, Peter Frampton, Labelle, Peter Skellern, Ray Davies, Larry Uttal, Chris Spedding, Anne Murray, Sweet Sensation, Bernard Purdie, Mike Harding, Ronnie Lane, Yes.
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.

ARTICLE ABOUT Slade FROM SOUNDS, October 19, 1974

Here is a nice one with the drummer in Slade, Mr. Don Powell. Hope you like it!


Slade: the final challenge

Yet another round of London hotel interviews for Slade. They must have stayed in (and subsequently been banned from – through no fault of their own) almost every hotel in town. It`s just as well they keep building new ones. This time Slade are here to finish off their “Flame” movie and to see the rough version of the finished film. Bill Henderson spoke to drummer Don Powell.

Slade interviews rarely produce much in the way of controversy – a bit of chat, a few laughs, reiterations of the Slade manifesto.
Basically, there`s never a lot new to speak about. Another hit single another hit album, another sell out tour of Britain, of Europe, of Australia and Japan. There isn`t a lot of contention there. The only sore point that ever arises is America, and the group`s relative lack of success there. And that is always dealt with the standard statement of intent (which I`ll return to later).
Now, at least there`s something different in the pipeline – a film. But even that could hardly be described as a variation from the norm of pop star progress from Bing Crosby/Frank Sinatra onwards. But at least it`s something new to talk about.
The film is about a group called Flame, as you probably know. The story of Flame is basically the story of Slade with a little scriptwriter`s licence.
“The writer, Andrew Birkin, and the director travelled with us during our last States tour, talked with us about our early days and wrote the story line basically around that,” explained Don. “They got to know us individually and wrote our characters to the parts.
“The worst part was wondering how the real actors were going to take to us but it was incredible. It was a bit strange at first but they helped us along.”
So basically it`s the story of Slade with the lads playing themselves. It`s not strictly a comedy but, as you might imagine, adlib Slade humour does surface throughout. We should be seeing it early in the New Year, perhaps even in time for Christmas.

And of course there`s an accompanying soundtrack album, recorded two weeks before the film:
“We knew the basic storyline of the film so Nod and Jim wrote the songs to fit. We didn`t have any free time so they had to write it on our last American tour and then we rehearsed them as we went along – getting to the halls earlier and in hotel rooms and things. Then we spent like two weeks solid in the studio putting it together.”
The diversification of the Slade sound that has been apparent over the last album and recent singles will continue. This time they use brass.
“It`s the first time we ever used anything outside the group before, it was really strange having other guys in the studio and then listening back to it afterwards. We sound like a real group! We used the brass – Georgie Fame`s horn section – to augment a few things. And Nod and Jim`s writing is getting a lot better, trying to be a bit more experimental now.”
Chas Chandler is mixing the album in New York at the moment, then when the “odds and sods” are completed for the film, Slade begin yet another tour. This time of Europe, starting in…. Iceland. To be followed by a tour of America in the New Year. (Nothing planned for Britain at this stage).
But America, the cloud on the Slade horizon, the only blot on their success escutcheon, Through steady touring they`ve got to the stage where they sell out wherever they play but their records still don`t mean a light. Discouraged, Don?
“No, not at all. I mean, we`re actually getting to like working there now. When we first went we didn`t like the country – we liked working there but we didn`t like being there, until lately.”
America is the challenge, perhaps the only challenge they`ve got left. Their records still seem to fall between the AM and FM radio stools, in spite of the change in the Slade sound. The Slade answer to the dilemma as ever seems to keep on plugging away until America capitulates.


“We really need to work there a long time, we haven`t worked there very much really. It`s a weird place, it`s so big. We`ll be spending quite a lot of time over there in the New Year.”
But after all, touring is the only way Slade know. It`s their prime motivation.
“We`re the kind of group that it`s hard for us not to work, to actually tour `cause we get bored if we don`t. I mean, it`s great to have some time off when we`ve finished but it`s great to get back. That`s the big kick we get, doing one-nighters.
“Making records is OK but you can`t beat being on stage. I like working in the studio but it gets kind of  mechanical. Studio work has gotta be done obviously but I don`t like going in for one or two days as we usually have to do. I like to work up and do what we gotta do and get back to the stage again.
“Even travelling I like, although we never get time to see anywhere. We spent some time in New Orleans last time – an amazing place, so unlike America. I couldn`t believe it: the hotel we were staying in, the Platters were playing downstairs in the bar, Clarence Frogman Henry was next door and somebody else next door again. And they`re the originals – not like what you get here at the Top Ranks!”
But in spite of Slade`s uncompromising attitude to America, playing there has changed them.
“We play longer and different numbers in America than in England. They want to hear the hits here, obviously you don`t get that in America.
“We went over there completely unknown – and we still are basically – so we tried new things and also got back to how we used to be in the early days, trying out new things and playing longer.”
Ah yes, the old days. Nostalgia.

“Last time in the States we managed to drive between some cities which was better. I think back to the old days of travelling in the van, stopping off at a tranny caff in the middle of the night for greasy bacon sandwiches and a big mug of tea – with no saucers!” (A reference to the genteel hotel crockery.)
“Back in Wolverhampton we still knock around with the old gang, always bringing up about the old days when we used to play the pubs and were always told to turn down. We still use those pubs and Wolverhampton`s still basically the same, the same groups playing.”
Roots is what you call it, I suppose. Slade still live in Wolverhampton, still aren`t quite used to the big city. And it`s the awareness of these roots that makes Slade a genuine “people`s band”, that chatting to them doesn`t bring out much in the way of profundities but is more like speaking to the guy next door and what keeps them touring with no urge to do anything else. Playing live like they always have, like they always will.
Speaking of the current scene, Don spoke of his liking for the Sparks and Bad Company records but that he would prefer to see them on stage. He likes 10cc and having worked with them in America has seen them live – the only time Slade ever get to see anybody: “Personally I`ve got that thing of seeing people live before making comments about them.”
The only way he knows how. When I asked him what innovations he might like to introduce to the band`s sound, the reply was entirely fitting: “Personally I like to use an old kit with pigskin heads to get back to that old, earthy sound.”
Which sums it up pretty well.


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: Humble Pie, Stephen Stills, Robin Trower, Big John Vary, Aj Webber, Rolling Stones, Syreeta Wright, Wishbone Ash, Mike McGear, Bert Jansch, Rufus, Minnie Riperton, John Coghlan, Bob Henrit.

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.


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:
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.