John Lennon was reported to have said that he liked this song, (as he had heard it being recorded), because he said that it ".....sounds like me....."! But, then again, a lot of Noddy's vocals did sound somewhat "Lennon-esque"!
UK Picture Cover of "In For A Penny".
In For A Penny was the lead single from the band's sixth Studio Album, "Nobody's Fools". It reached Number 11, in the UK Singles Charts, remaining in the charts for eight weeks.
French Picture Cover of "In For A Penny", 7", Vinyl, Single.
Belgium - "In For A Penny" (Alternate Covers) - Polydor - 1975.
This was the second single to be taken from the band's first Soundtrack Album and fifth Studio Album, "Slade In Flame". It reached Number 15 in the UK Singles Charts, and it remained in the charts for seven weeks.
UK Picture Cover of "How Does It Feel?".
Apple Acetate!
Dutch Picture Cover of 'How Does It Feel?".
Belgium - "How Does It Feel?" - Polydor - 1975. - ( 2 versions of Picture Sleeve! )
Germany - Polydor - 1975.
Yugoslavia - Polydor - 1975.
U.S.A. 7" Single, with a different B-Side!
Poland - One-Sided Postcard Disc.
A Cover Version of So Far, So Good by MICHAEL BRUCE :- ( Recorded in 1974, off "In My Own Way" LP. )
My thanks to Chris 'The Historian' Selby for his relentless research. It is said, in certain circles, that Walsall Archives have a seat reserved specifically for him and that Wolverhampton archives consult him when searching the Express & Star.
How does it feel runnin' around round round How does it feel watchin' from upside down 'Cos many years from now there will be new sensations And new temptations How does it feel How does it feel right at the start And how does it feel when you are thrown apart 'Cos many years from now there will be new elations And new frustrations How does it feel? Oh! Oh! Do you know know know what it's like to be searchin' in your own time All your attempting experimenting all on the climb Do you know know know what it's like to be searchin' and suddenly find All your illusion, all your confusion all left behind How does it feel turnin' away And how does it feel facing another day 'Cos many years from now there will be newer poisons And new horizons
'Cos many years from now there will be new tomorrows And still some sorrows So Far So Good (Noddy Holder & Jimmy Lea) For twenty odd years I've taken everything that's bad For twenty odd years I've wanted things I've never had
Oh was it all in the mind? Is it living the life of a King making the best out of everything So far, so good doing what we could Taking chances, those chances, and I'm alive So far, so good, doing what we should Taking chances, those chances, and I'm alive For twenty odd years I've been working hard to have my say And now that it's here the fantasy has worn away Oh was it all in the mind? Is it living on Paradise Row making the best out of having a go Oh was it al...
Montreux Golden Rose Rock Festival Written by Haden Donovan:
Slade were booked to appear at the Montreux Golden Rose Rock Festival as we duly flew out on Saturday 12 May to appear the next day. The festival was due to be shown in forty different countries. A full list of all the artists would take quite a lot of space, but on 13 May the following artists appeared
Kajagoogoo, Pretenders, Spandau Ballet, Tracey Ullman, Rod Stewart, Elton John, Roger Daltrey, and of course Slade.
All the acts were miming and yet Slade still managed to create a tremendous atmosphere and blew everyone else away! The boys actually did 'Run Runaway', 'Slam the Hammer Down' and 'My Oh My' although only the first two were shown on British television.
The British press were pretty scathing about the show when it appeared on British TV. Their comments were fair, I thought, but Slade were praised by the critics for their performance. They were the only act to escape the writers ire.
Other performers on the show were equally unanimous in their praize of the 'Noize Boize'. Roger Daltrey was particluarly praising of Slade's show. Noel Edmunds, the compare, called Slade "the hit of the show". Yet another triumph!
After Sunday evenings show the celebrations in the local club lasted until very late on Monday morning and it was a bleary eyed party who assembled for the one hour drive to the airport. We made it by the skin of our teeth and we arrived back in London at lunchtime.
"Slade are what a rock band should be - the ultimate rock band!" - Roger Daltrey
"It was an honour and a pleasure to be on the show with them - we were all members of their fan club ten years ago." - Spandau Ballet
So that was Montreux. As a musical event it was probably no great shakes - there were too many varied types of acts to call it a true rock festival, and of course, it was all mimed, but it was shown in forty different countries to an estimated audience of 400 million, so for the stars of the event not bad exposure!!!!
Another section of the mag is actually from Jim himself
He speaks of his illness (hepatitis) where he had contracted it before the American tour (in summer 83) and so the My Oh My christmas promotion, etc. was not a 'healthy time'. He speaks of the tour and how he had to take his complete rest after he couldn't continue.
He then writes:
"The first thing that we have done as a band since there (although Nod and I have been writing) was the Golden Rose of Montreux Pop Festival.
This was a three day TV event, in which virtually every act that you can think of participated. We enjoyed it, but there wasn't much to do after rehearsals except for hanging around the various nightspots giving a chance to meet old friends like 'Quo and Queen', as well as making new acquaintances.
Nevertheless, most TV and promotion work is interminably boring, so it was a relief to have the company of other British artists who were in the same position.
On our return home we shall be going into the studio to start work on tracks for various usage and work begins again.....
Series of highlights from the 1984 Montreux Rock Festival held in Switzerland.
LLVG570S 1/2 MONTREUX GOLDEN ROSE POP FESTIVAL: 1 BBC 28/05/84
Noel EDMONDS intros Golden Rose Pop Festival with performances by rock & pop stars inc. Elton JOHN, Nena, Ultravox, Cliff RICHARD, Tracey ULLMAN, Slade,
UB40 Roger DALTREY, Bananarama, Adam ANT, Pretenders, Howard JONES, & Queen.
> VTSONGS: SPANDAU BALLET "Only when you leave" (4m35s)
ABC "Beauty stab" (2m04s)
Elton JOHN "Sad songs" (4m00s)
NENA "Let me be your pirate" (3m10s)
ULTRAVOX "Dancing with tears in my eyes" (3m45s)
UB40 "Red red wine" (2m45s)
Howard JONES "Pearl in the shell" (3m10s)
Cliff RICHARD "Ocean deep" (4m51s)
Tracey ULLMAN "My guy" (2m45s)
SLADE "Run run away" (3m16s)
Roger DALTREY "Parting would be painless" (4m30s)
BANANARAMA "Rough justice" (3m31s)
Adam ANT "Goody two shoes" (3m16s)
PRETENDERS "Thin line between love & hate" (3m24s)
QUEEN "It's a hard life" (3m54s) & "I want to break free" (4m08s)
Alan Price's Monster Music Mash (The first of Slade's many appearances at the BBC!)
Martha My Dear
Wild Winds Are Blowing
The Shape Of Things To Come
Know Who You Are
Do You Want Me
Get Down And Get With It
Coz I Luv You
Look Wot You Dun
Take Me Bak 'Ome
Fellow "Brummies", Blackfoot Sue, doing their very best Slade impression, with Standing In The Road! Blackfoot Sue also supported Slade on tour!
Mama Weer All Crazee Now
And Geordie, doing their very best impersonation, with All Because Of You!
Gudbuy T' Jane
Cum On Feel The Noize
Skweeze Me, Pleeze Me
My Friend Stan
Merry Xmas Everybody
Everyday
The Bangin' Man
Far Far Away
How Does It Feel
Thanks For The Memory (Wham Bam Thank You Mam)
In For A Penny
Let's Call It Quits
Gypsy Roadhog
My Baby Left Me / That's All Right (Mama)
Give Us A Goal
Rock 'N' Roll Bolero
We'll Bring The House Down
Lock Up Your Daughters
My Oh My
Run Runaway
All Join Hands
Hey Ho, Wish You Well
Myzsterious Mizster Jones
Radio Wall Of Sound
Universe
"SLADE * BBC - TOP OF THE POPS 1970-72" Bootleg LP Sleeve.
1. Raven 2. See Us Here 3. Do You Want Me 4. The Gospel According To Rasputin 5. Dirty Joker 6. The Man Who Speaks Evil 7. Get Down And Get With It 8. In Like A Shot From My Gun 9. Take Me Bak 'Ome 10. Look Wot You Done 11. Darling Be Home Soon 12. Sweet Little Rock 'N' Roller 13. Move Over 14. Mama Weer All Crazee Now 15. Nights In White Satin 16. Getting Better 17. Omaha
CD 2 Live at the Paris Theatre, London August 17 1972
01 Introduction
02 Hear Me Calling
03 In Like A Shot (From My Gun)
04 Look Wot You Dun
05 Keep On Rocking
06 Move Over
07 Mama Weer All Crazee Now
08 Lady Be Good
09 Coz I Luv You
10 Take Me Bak 'Ome
11 Get Down And Get With It
12 Good Golly Miss Molly
( To Download "Good Old Desk", which was omitted from this collection, click on here! )
Coming Home ( Clapton / Bramlett ) Been out on the road 'Bout six months too long I want you so bad I can't hardly stand it I'm so tired and I'm all alone We'll soon be together, that's it I'm coming home to your love Hitchhiking on the Turnpike all day long Nobody seemed to notice Just passed me on by To keep from going crazy I gotta sing my song Got a whole lotta loving And, baby, that's why I'm coming home to your love I'm coming home, yeah Coming home, coming home Coming home, coming home Home, coming home, coming home Coming home, coming home... Coloured Rain ( Winwood / Wood / Capaldi ) Yesterday I was a young boy Searching for my way Not knowing what I wanted Living life from day to day 'Till you came along There was nothing but an empty space and a pain Feels like coloured rain Tastes like coloured rain Bring on coloured rain Yeah! I can see a sail of changing Filling with surprise United with a feeling Bringing love into my eyes 'Till you came along There was nothing but an empty space and a pain
Omaha ( Skip Spence ) Listen, my friends! Listen, my friends! Listen, my friends! You thought never but I'm your's forever Won't leave you ever Now my friends What's gone down behind No more rain From where we came Get under the covers, yeah! All of your lovin' Beneath and above ya Bein' in love! Nights In White Satin ( Justin Hayward ) Nights in white satin, Never reaching the end, Letters I've written, Never meaning to send. Beauty I'd always missed With these eyes before, Just what the truth is I can't say any more. 'Cause I love you, Yes, I love you, Oh, how I love you. Gazing at people, Some hand in hand, Just what I'm going through They can't understand. Some try to tell me Thoughts they cannot defend, Just what you want to be You will be in the end, And I love you, Yes, I love you, Oh, how I love you. Oh, how I love you. Nights in white satin, Never reaching the end, Letters I've written, Never meaning to send. Beauty I'd always missed With these eyes before, Just what the truth is I can't say anymore. 'Cause I love you, Yes, I love you, Oh, how I love you. Oh, how I love you. 'Cause I love you, Yes, I love you, Oh, how I love you. Oh, how I love you. It's Alright Ma, It's Only Witchcraft ( Hutchings / Thompson ) Looking through the window To see which way the wind blows It seems as though a hurricane is due today Sunny on the outside Stormy on the inside Stormy weather's always best for making hay In comes everlasting Looks like he's been fasting With his friends in a den with director's robe Like a bandoliero With his cigarillo Robs the rich, robs the rest, brings it all back home Please don't get us wrong, man This is just a song, man No matter what we say This is the season Stormy weather's on the way This is the season Stormy weather's on the way You better start worrying, witchcraft's here to stay It blows snow white The dwarves are kind of off-white The vision's his decision so they're out of luck Associates are reeling The wallpaper is peeling He doesn't see the paperwork that's come unstuck Please don't get us wrong, man This is just a song, man No matter what we say This is the season Stormy weather's on the way This is the season Stormy weather's on the way You better start worrying, witchcraft's here to stay In comes Saville Had his fill of travel Grabbed a bite on the flight, just touched down today Looking drawn and haggard Through the door he staggered With a sound that he found over Frisco way Please don't get us wrong, man This is just a song, man No matter what we say This is the season Stormy weather's on the way This is the season Stormy weather's on the way You better watch out, witchcraft's here to stay Getting Better (John Lennon & Paul McCartney) It's getting better all the time I used to get mad at my school (No I can't complain) The teachers who taught me weren't cool (No I can't complain) You're holding me down (Oh), turning me round (Oh) Filling me up with your rules (Foolish rules) I've got to admit it's getting better (Better) A little better all the time (It can't get no worse) I have to admit it's getting better (Better) It's getting better since you've been mine Me used to be angry young man Me hiding me head in the sand You gave me the word, I finally heard I'm doing the best that I can I've got to admit it's getting better (Better) A little better all the time (It can't get no worse) I have to admit it's getting better (Better) It's getting better since you've been mine Getting so much better all the time It's getting better all the time Better, better, better It's getting better all the time Better, better, better I used to be mean to my woman I beat her and kept her apart from the things that she loved Man I was mean but I'm changing my scene And I'm doing the best that I can (Ooh) I admit it's getting better (Better) A little better all the time (It can't get no worse) Yes I admit it's getting better (Better) It's getting better since you've been mine Getting so much better all the time It's getting better all the time Better, better, better It's getting better all the time Better, better, better Getting so much better all the time Good Golly Miss Molly ( Marascalco / Blackwell ) Good golly, miss Molly Yeah you sure like to ball Well good golly, miss Molly Yeah you sure like to ball When you're shakin' And a shoutin' Can you hear your mama call Well from the early, early morning To the early, early night When I caught miss Molly rocking At the house of blue light, Oooh Good golly, miss Molly Yeah you sure like to ball When you're Rocking and a rolling Can you hear your mama call Well now Mama, papa told me, son You'd better watch ypur step What I knew about miss Molly Gotta watch my daddy myself Good golly, miss Molly Yeah you sure like to ball Well good golly, miss Molly Yeah you sure like to ball When you're shakin' And a shoutin' Can you hear your mama call Wah Well from the early, early morning To the early, early night When I caught miss Molly rocking At the house of blue light, Oooh Good golly, miss Molly Yeah you sure like to ball When you're Rocking and a rolling Can you hear your mama call Yeah good golly, miss Molly Ah good golly, miss Molly, Oooh Oh good golly, miss Molly Yeah you sure like to ball When you're shakin' And a shoutin' Can you hear your mama call
Black Country rock promoter Maurice Jones, who played a major role in organising the Live Aid concert at Wembley Stadium in 1985, has died aged 64.
Maurice, whose first “office” was the public phone box at John Thompson’s Bilston works, where he was an apprentice, rose to become head of Walsall-based MCP – Midland
Concert Promotions.
He died yesterday afternoon after a long battle with cancer, leaving widow Diane and daughters Kristy and Nicola.
Born in Wednesbury, Maurice started off managing The ’N Betweens, who later became Slade, and became a full-time agent aged 19 by joining Wolverhampton’s Astra Agency.
He booked top names including Yes and Led Zeppelin on a weekly basis for Wolverhampton’s Club Lafayette, and took personal charge of several bands, including Argent,
before leaving to form MCP.
Starting the Black Country Night Out show, he built up a business which handled rock stars from Britain, the US and Europe.
He retired a few years ago.
Fellow promoter Tony Perry, his business partner during the 1960s and 1970s, today paid tribute. “He was very well respected in the business,” he said.
My thanks to Chris 'The Historian' Selby for his relentless research. It is said, in certain circles, that Walsall Archives have a seat reserved specifically for him and that Wolverhampton archives consult him when searching the Express & Star.
So, we had some embarrassing shouting while Noddy was talking. Somebody else shouted out "Shut up!" which got a round of applause. The talk was mostly the usual 'Rent-A-Nod' monologue, no disrespect intended, but he did add a few things that kept it interesting.
Apparently, Noddy's interview is the longest they have ever had. Briggy Smalle, in general, kept quiet and let him roll. Previously, with Martin Baker, she had to hold the conversation continuously but Nod, she just prompt now and then when he lost his thread. I like her, she knows when to keep quiet.
Unfortunately, we lost Q&A time. I didn't realise and foolishly allowed a couple of people to speak first. I was next on the mic when they called a halt.... totally gutted. I wouldn't have got more than the one question though.
So, I noticed he was signing a few autographs and slipped in to the line. Nod was given a pile of photos to sign, time and time again. His face was tired and going through the motions. When I got my turn I asked about the Earls Court footage and the Videography, everybody went quiet and listened. It was pretty good, he answered very sensibly.
The Earls Court footage wasn't released because of the poor audio. He's aware that the BFI have a copy but unless they can do something about the audio it's unlikely to get a release?
The Ultimate Videography is still an ongoing project. "It's a legal minefield! They are still looking into it."I said "You mean Colin's looking into it?" and he said "Yes." So I said "Colin's an accountant Noddy, he works for you." and he said, "Yes, but Colin will find out if it's financially worthwhile. If it can be done, Colin will know. It costs a fortune to put these things together. The BBC won't let anything go." I said "You can licence it though." Nod says "Yeah but it costs an absolute fortune."
I said to him. "Salvo done a marvellous job on the remasters, I believe they are selling quite well?" Nod confirmed so I said "You're getting more airplay on Radio 2 now than you've had for decades." he agreed. I said to him "Surely there's a market then, it'll sell, now's the time Nod."
Then I got moved on by one of the organisers....
The important thing was, he was talking seriously and he was interested in what I was saying and he was also interested in what I was hearing too... It wasn't meant to fob me off, he was sincere and would have continued to talk about it, he was still talking as they moved me on.
It was a pleasant experience but Nod has aged a lot since 'Mr & Mrs'...
To read more about Noddy Holder at The Space 2012 click on Slade40Years.
My thanks to Joy Sewell for making it happen. She puts up with all my nonsense, bless her.
There is nothing new on this blog, everything here has been previously available elsewhere, in one format or another. My aim here is to try to ensure that the information is available to all Slade fans everywhere.
My thanks to Chris Selby (without whom I would know nothing)and anybody else that has supplied anything personal to this or any other media collection. I must apologise to Chris Charlesworth for taking liberty's with his book. Anybody who is interested in the group's history should invest in a copy of 'Feel The Noize', generally considered to be The Slade Bible by most fans. And last but by no means least,Keith Farley ('N Between Times) and John R. Woodhouse (Brum Beat) who have provided much background information by way of their on-line research, These should be studied by anybody with any interest in the 60's Midland Beat era. More general 60's info can be found at Marmalade Skies, a source of invaluable pop essentials.
Any offer of missing artwork would be gratefully received. My main concern is to get 'readable text' for the trainspotters.
All of Slade's official releases have been remastered and released on CD with good quality packaging and comprehensive sleeve notes by Salvo for Union Square. I would recommend the purchase of this collection to anybody who is interested in the group. This blog will not be making any official music available for download.
Images are for review or research purposes only. All images, audio, video, text, etc. is copyright. Apart from fair dealing for the purposes of private study, research, criticism or review as permitted under the Copyright Act 1968, no part may be reproduced, copied, transmitted in any form without the prior written permission of the copyright holder.
The Historian
I would like to take this opportunity to thank Chris Selby for his input. This site owes much, if not all, to his relentless research and charitable nature. Keep up the good work mate.
