Play It Loud 1970

Polydor Records 2382-026

This was the first album the group recorded as Slade and it was the first album produced by Chas Chandler. Released in the UK on 28/11/1970 it used the bands new skinhead image to make an impact. The band certainly made an impact, albeit negative, but in terms of sales and chart position the record did very little.


Play It Loud features mainly self-written songs at Chandler's insistence (some of which turn up later on the Sladest compilation) and drummer Don Powell features as one of the main co-writers. It's a shame he didn't stick with it because his songs have an earthy grit and longevity that keeps them sounding good to this day.

The songs on this album show early signs of the developing talent the band had. Noddy Holder is just starting to stretch his vocals. See Us Here, has some great bass, Dapple Rose featuring violin, both played by Jim Lea of course, and Dirty Joker with it's funky chicken scratch guitar work. Far more promising though, the awesome power of both Sweet Box and I Remember, which hint at the shape of things to come.
Express & Star31st October 1970

The group appeared on Disco 2 to promote the album. They made three appearances in 1970. The first featured Shape Of Things To Come and the second in October featured Know Who You Are and Sweetbox and was broadcast in colour. All three performances of Slade are, at present, missing.
New Musical ExpressDecember 19th 1970
SLADE: PLAY IT LOUD (Polydor, 2383 026, 42s 6d)
Aggresive - that's what the music and vocalising of Slade seems to be, though they vary the volume with great skill, at times quiet, then turning it up and shouting at the listener as in Know Who You Are. They also bark out a love song to Angelina, and get a good rhythm going with handclaps on Dirty Joker, and on Sweet Box they attack the music ferociously with guitars and voices.

Of the more tuneful items (and tune isn't given much of a chance on most tracks) is Could I. The lead vocalist is inclined to shout too much, but then, maybe that is the appeal of the group. Pity their names and the instrument they play aren't mentioned on the sleeve, where only their pictures appear. Chas Chandler gets the credit of producing. AE.

Other titles: Raven, See Us Here, Dapple Rose, One Way Hotel, Shape Of Things To Come, I Remember, Pouk Hill.
  • Raven
  • See Us Here
  • Dapple Rose
  • Could I
  • One Way Hotel
  • The Shape Of Things To Come
  • Know Who You Are
  • I Remember
  • Pouk Hill
  • Angelina
  • Dirty Joker
  • Sweet Box
The cover art is here 8.57 MB


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* Special thanks to Chris 'The Historian' Selby for the clippings.

Know Who You Are 1970

Polydor Records 2058-054




Slade's Polydor debut released on the 18th September 1970, a clear two months before the album, Play It Loud, got a release. It was written by Slade and produced by Chas Chandler but the song is a re-recorded version of their debut Fontana single, Genesis, which was recorded as Ambrose Slade. That version was an instrumental piece, self-produced along with Roger Wake, using stormy wind-like sound effects to conjure up a musical maelstrom.






On this version, lyrics replace the sound effects and Noddy Holder's extremely nasally vocal does a very effective job. Also worth a mention are Dave Hill's strange but effective vocal effects on the outro. Despite the powerful and catchy, sing-along chorus the record failed to chart.



The B-side is a beautiful 'ode to a horse' featuring some wonderful violin from young James Lea. This melancholy ballad tells the tale of a once impressive horse that has come to the end of it's useful life. The violin melody empathises with the horses fate in a manner that guarantees a lump in the throat of even the burliest of souls. This release would have been one to kill for had the two tracks not been included on the Play It Loud album?




New Musical Express: 19th September 1970
"SLADE: Know Who You Are (Polydor)
A powerful item from the skinhead group, making it's Polydor debut. The lyric is forcefully delivered, virtually snarled at times. It's a hard-hitting piece of philosophy with a walloping beat, which explodes into a wall of sound in the title hook. Insistent and gripping, but limited in its appeal."

"SLADE: Know Who You Are: Dapple Rose (Polydor 2058 054). Chas Chandler, ex-Animal bassist, states categorically that this group will make it. But then he's said that before. About Jimi Hendrix. Lost momentarily in a skin-head scene, this group is basically most musicianly. This is a strange, staccato sort of production ... lead voice stamping, as in bovver boots, on the lyrics. Stark simplicity behind. The effect is very good indeed. Darned near slayed me - CHART CHANCE."

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Radio Nordring, Helgoland 1970

International Sommerradio August 15th, 1970


"Late summer of 1970, a newborn Slade headed for Germany to play the Pop & Beat Koncert Festival in Nordseehalle, Helgoland on August 15th. Golden Earring, Pan and Made In Sweden were among the many other groups who also played at the festival. Radio Nordring sent in excerpts from the festival the same day on Danemark Radio's P1 as 'Radio Nordring, Helgoland - International Sommerradio'. "

Prior to this occasion, the BBC had always sent a singer to represent Britain. The previous year had seen Clodagh Rogers in the role but Slade were the first British group. The festival of song was apparently broadcast over most of Europe according to the media. Remember that this was the Europe of 1970, somewhat different than today due to politics and a certain wall.


Express & Star: Thursday 20th August 1970

The Nordring, Heligoland (notice how we add an i.) recordings are Dutch, but they were aired on Danish radio. DANSK BEAT was Denmark's most upfront radio show for some time, Showcasing 'so-called' Beat Music, it invited each week, a Danish beat group into the studio with the edict of broadcasting 'the sound of now' (my understanding of their philosophy, not their words). DANSK BEAT (the radio program) began in 1969 on Thursday September 4th and the shows were generally produced and recorded in RADIOHUSET, Studio 11, Copenhagen, by Erik Boseholm and later, by Freddy Hansson and others.


Express & Star: Thursday 20th August 1970

Apart from DANSK BEAT, there were pre-announced recordings by Danish and foreign bands of the time. All shows are documented using Danish National Radio "white programmes" which were forwarded to the press.



The Pop & Beat Koncert Festival was aired live from Radio Nordring on Helgoland in Germany all over Europe including Denmark. The show had to be broadcast from Helgoland as it was the only place from where all the countries could receive a radio signal. The show was billed as a European "event" where rock groups from 7 countries were invited to play. Slade were featured on a BBC radio programme 'Pop Music From Europe' hosted by Chris Grant a month later. It's unsure whether this is a recorded broadcast or a seperate event?


Express & Star: 26th September 1970

Slade represented England at Helgoland but there is no indication as to why they were chosen. They had no hit records at the time and few bookings because of their skinhead image. They had done a lot of Radio One studio sessions though and were very well liked for their professional behaviour. It is possible that they were being helped through their transition. Their hair needed time to grow back and Europe did not have such strong feelings against skinheads. It's possible that Chandler called in a few favours and got them this opportunity.

I think the Danish radio station DR P1* that aired the show in Denmark is the only radio station that has the show on tape as they would have recorded it "What the fuck is wrong with being a skin head?" It was broadcast directly to the entire European continent at that moment. One to search for, a recording of that would be a great find?


while it was being broadcast. The radio station had to include a break in the show between 11 p.m. and 11.10 p.m. in order to make room for the Danish news, so what was aired after 11.10 p.m. was with a 10 minutes delay. The broadcast also included live interviews with the bands and during Slade's chat, the guys got asked about their skinhead looks and Don got himself kicked out of the studio for saying

Featuring a unique version of Hear Me Calling including 'that siren', a splendid rendition of Shape Of Things To Come and an energetic performance of Know Who You Are. this may be a short set but it's essential.
"I first heard the tracks, around '72, there were three that were included on a cassette tape of a show that seemed to only feature three tracks from each band. I remember Golden earring had 5 tracks but they were the head-liners.

Researching decades later, my understanding is that the band never played a full set, just a three track showcase that was broadcast live on air.

There is very little information to be found but I did get in contact with Golden Earring fans and they told me the same thing... my gut feeling is that we have it all."
Dave Graham
"Don Powell told me the band "used to love going to Heligoland because they sold the cheapest booze and fags so they'd stock up".
Stu Rutter

  • Hear Me Calling
  • Shape Of Things To Come
  • Know Who You Are


The Download Link is here: Download
Filename: Slade Archive 02.rar Filesize: 15.01 MB

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*DR P1 is currently billed as "thought-provoking radio": factual programming, reports, discussion and debate on public affairs, society and the community, plus in-depth news.

Thanks to Claus Rasmussen, whose documentation supplied the info, and Lise Lyng Falkenberg who supplied the translation and explanation.

B4 Slade

Unreleased & Rare Recordings 1966 - 1972


In 1969 Chas Chandler (The Animals) took the position of manager for Ambrose Slade. Chandler shortened their name to Slade & told them to write more of their own material. He also suggested they go for the new "skinhead" image. Prior to Cos I Luv You reaching No.1 in the charts in November 1971 the band were working hard to get heard on the radio. The success of that song written by Holder & Lea established a successful writing team, which made the group the most successful in the UK since the Beatles, probably deprived the rock world of some interesting musical development.

In order to get the necessary airplay, the band, in there various guises, recorded many of the cover numbers they were performing in their live act at the time. Comin' Home, a Delaney & Bonnie track, was intended for inclusion on the Slade Alive album. Most of the tracks were recorded at the BBC Studios for radio exposure. The P. Dello penned 'Honeybus' cover, 'Delighted To See You' was part of an Abbey Road session for EMI on the back of Kim Fowley's interst in the band. It finally came to light in the 90's on a little known EMI release 'Psychedelia at Abbey Road'.
You Better Run (Cavalierre & Brigatti) & Evil Witchman were originally released by The 'N Betweens 0n the 2nd December 1966 as a 7" single, Columbia DB8080, produced by Kim Fowley. Evil Witchman is credited to Fowley & Slade but it was musically plagiarised from The Artwoods 'I Take What I Want', a song that the group played in their live set. You Better Run was also part of their live set and was originally performed by The Young Rascals. Fowley also produced Security (Otis Redding) released by The 'N Betweens on a promo 7" single, Highland Records 1173, in the US.

Nights In White Satin, penned by Justin Hayward and originally performed by The Moody Blues, was recorded for BBC Radio 1's 'In Session Tonight' around 1969 and probably as Ambrose Slade although that is unconfirmed.

Wild Winds Are Blowing (Winsley & Saker) & One Way Hotel (Lea, Holder & Powell) are from the original mono Fontana Records 7" released 24th October 1969 as TF 1056. Produced by Chas Chandler for Montgrove and performed as The Slade. One Way Hotel is the original version, not the later Polydor recording.

Getting Better is a Lennon & MaCartney number, originally by The Beatles of course, recorde circa 1969 probably as Ambrose Slade. Comin' Home, written and performed by Delaney & Bonnie Bramlett, Coloured Rain (Winwood, Capaldi & Wood) originally by Traffic, This Is The Season (Hutchings, Nicol, Thompson, Lamble, Dyble & Matthews) recorded by Fairport Convention, recorded at the BBC Studios for Radio 1 'In Session Tonight' circa 1970. Omaha, written by Skip Spence and originally recorded by Moby Grape, recorded for 'In Session Tonight' on 25th April 1970 for broadcast on 24th of August 1970 on The Mike Harding Show. The BBC recordings disappeared long ago but fortunately the broadcasts were recorded. The reception was not great and in places dropped out completely and I have edited and in the case of Omaha, rebuilt a section to, hopefully, improve the listening experience. The original material can be found on the 'Short Hair, Big Boots' bootleg.


  • The N'Betweens - You Better Run
  • The N'Betweens - Evil Witchman
  • The N'Betweens - Security
  • The N'Betweens - Delighted To See You
  • Ambrose Slade - Nights In White Satin
  • The Slade - Wild Winds Are Blowin’
  • The Slade - One Way Hotel
  • Slade - Getting Better
  • Slade - Coloured Rain
  • Slade - Omaha
  • Slade - Comin’ Home
  • Slade - This Is The Season
  • Slade - C’mon C’mon
  • Slade - Gospel According To Rasputin
  • Slade - Do You Want Me
  • Slade - My Life Is Natural
  • Slade - Candidate
  • Slade - Man Who Speeks Evil
  • Slade - Wonderin’ Y


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Shape Of Things To Come 1970

Fontana Records TF 1079

On Saturday 21st March 1970, the band appeared on BBC2's Disco 2 (the forerunner to the Old Grey Whistle Test) introduced by a young Tommy Vance.

Express & Star: March 19th 1970

They performed Shape Of Things To Come for the first time on television although at this time of night it's not surprising nobody saw it.

Daily Mirror Sat. 21st March 1970

Slade's first appearance on Top Of The Pops was in full skinhead regalia. Shape Of Things To Come had not charted but that wasn't necessary then. What was a problem though, was the fact that the producers son had been 'beaten up' by a group of skinheads recently. After some discussion, they were reluctantly allowed to appear on the Thursday 2nd April show (which was recorded the day before at Wood Lane).


They would soon become regulars on the show but right now they were actually feeling small and intimidated by Elton John. In my humble opinion, their tale of teen angst and revolution is far more memorable than Border Song.



Shape Of Things To Come was released on the 6th March 1970. This powerful song, originally by Max Frost & The Troopers, featured in the 1968 cult classic movie *Wild In The Streets, that same year. Written by Barry Mann and his wife Cynthia Weil (Dyad Music), who would later become a Grammy Award winning songwriting team.


New Musical Express 23rd March 1970
SLADE: Shape Of Things To Come (Philips).
The Midlands group whose main claim to fame is their skinheads. But in this rip-roaring rocker, the quartet also displays abundant musical ability. The fervently shouted solo vocal rides above the thundering beat and racous guitar sounds, to create a dynamism and a fiery attack reminiscent of the early days of the Who.

The importance of this release is the B-side of course. C'mon C'mon is credited on my 7" as Holder/Lea but I know the original release credits just Holder. See Dave Graham's original below and Chris Selby's copy concurs.

The song shows their potential well, opening on a powerful riff and incorporating intricate harmonies and a vocal push that leave the listener somewhat gobsmacked. It's far from the stomp and clap style that they would soon develop but it does bear all the gutsy hallmarks, a 'seriously in-your-face' (bordering on overbearing) bass line, ferocious chorus harmonies and an incessant melody with gorgeous Dave Hill lead fills to die for.


I searched for many years, trying to get hold of this B-side and I'm pleased to say that it was, very much, worth the wait. My copy is a much later repress but oddly enough, the B-Sides collection also credits Holder & Lea but continues to describe the song as a "Noddy Holder original"?

  • Shape Of Things To Come
  • C'mon C'mon

Shape Of Things To Come
(Mann & Weil)

There's a new sun
Rising up in the sky
There's a new voice
Crying we're not afraid to die

Let the old world, make believe
It's blind and deaf and dumb
But nothing can change the shape of things to come

There are changes
Lying ahead on every road
There are new thoughts
Ready and waiting to explode
When tomorrow is today
The bells made all fuzz up
But nothing can change the shape of things to come

The future's coming on now sweet and strong
And no-one gonna hold it back for long

There are young dreams
Crowding out old realities
Revolutions
Sweeping in like a fresh new breeze

Let the old world
Make believe it's blind and deaf and dumb
Nothing can change the shape of things,
Nothing can change the shape of things,
Nothing can change the shape of things,
Nothing can change the shape of things,
Nothing can change the shape of things to come


C'mon C'mon
(Holder)

You can take up the lead, if you're feelin' the need, de-la-lee-li
There's a thousand behind with peculiar minds, de-la-lee-li
We got no need to worry, got no need to hurry
Certain to win, certain to win
If you feed for the speed, you can keep up the lead, de-la-lee-li

C'mon, c'mon, c'mon, c'mon
C'mon, c'mon, c'mon, c'mon
C'mon, c'mon, take time for fun
C'mon, c'mon, take time for fun

We can go on an' on, 'til our energy's gone, de-la-lee-li
Don't go actin' the fool, just keep everythin' cool, de-la-lee-li
We got no need to worry, got no need to hurry
Certain to win, certain to win
If the end is in sight, it's the end of the fight, de-la-lee-li


C'mon, c'mon, c'mon, c'mon
C'mon, c'mon, c'mon, c'mon
C'mon, c'mon, take time for fun
C'mon, c'mon, take time for fun


Now the feelin' has passed, it has all bin a gas, de-la-lee-li
It's-a always up hill for a natural thrill, de-la-lee-li
We got no need to worry, got no need to hurry
Certain to win, certain to win
When you reach a-the peak, there's a-no need to speak, de-la-lee-li


C'mon, c'mon, c'mon, c'mon
C'mon, c'mon, c'mon, c'mon
C'mon, c'mon, take time for fun
C'mon, c'mon, take time for fun

C'mon, c'mon, c'mon, c'mon
C'mon, c'mon, c'mon, c'mon
C'mon, c'mon, c'mon, c'mon
C'mon, c'mon, c'mon, c'mon

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*Trivia: The movie features a young Richard Pryor playing the drums. My thanks to Chris Selby & Gary Jordan for info and media. A copy sold for £34:50 on Ebay in August 2010.