Showing posts with label 70's. Show all posts
Showing posts with label 70's. Show all posts

NIGHT DREAMS ~ "Dreams, Fantasy and Illusions" NBC Television August 1975


Slade, during their self imposed exile to the United States of America beginning in 1975 took every available opportunity to them to project their image and music onto the population of the country. They toured relentlessly and criss crossed the country many times over in their effort to gain the wide raging acceptance that would equate to record sales and chart success in the hardest market of them all.
The band had enjoyed some minor national chart success on their early US tours and indeed had pockets of fans and even strongholds in New York and some parts of the mid west, but national success had, and was to continue to elude them for almost another decade.

They were given the opportunity for national exposure by NBC Television who had commissioned two 90 minute TV 'spectaculars' under the title 'Night Dreams'  and a bizarre and somewhat off the wall premis they seemed to be, I say seemed to be because no footage is known to exist of either of the two shows that were made and I only know about the shows and Slade's appearance on the second of the two, because long time Floridian fan and long time friend of Slade In England, Jen Mandli not only told me about it, but sent me a taped 'from the TV' audio recording of what she was able to record onto her tape recorder by holding the microphone in front of the TV speaker in the middle of the night!

The second show, which featured Slade, entitled Night Dreams "Dreams, Fantasy and Illusions" was broadcast by NBC on channel 2 directly following on from their top rated  Tonight show starring Johnny Carson. on 8th August but at 1am which would not have helped the viewing figures! The show starred Rex Reed, a hammy US film critic who linked the various acts throughout. 

Rex Reed, a Mike Reid lookalike US film critic who hosted the show from a large ornate wicker chair presented the various acts which included sketches, magic tricks/illusions and bizarre dream sequences set to poetry and 'experimental music'.

The show was commissioned by NBC to replace long running late night music show 'Midnight Special' and those in power at NBC clearly thought they were on to a winner when they announced the show and promised a musical extravaganza featuring top talent from around the world.

That talent  in this show consisted of  Slade, Freddy Fender; Hamilton, Joe Frank & Reynolds, a tribute to the Lone Ranger, magician Carl Ballantine, Tony Greco, Pepi Hernandez; Don Novello, the improvisational Groundlings, illusionist Lee Edwards; and a "Rock Dreams" sequence.

Rod Stewart gets a mention in the actual intro to the show that was broadcast, but no mention of him or what he performed appears in any TV listing or press release.

Musical numbers that would feature were  "Coming Down Your Way," "Kite Man," "You Can Leave Your Hat On" and "Til the World Ends." 
All performed by US veterans Three Dog Night  just before 'musical differences' split them up.

Little Richard, a hero of Holders, would appear and perform "I Saw Her Standing There," "Lovesick Blues," and "I Saw What You Did," 

Slade chipped in with three tracks that they were promoting at the time from their newly released 'In Flame' LP, those being "Them Kinda Monkeys Can't Swing," " Far Far Away" and "How Does It Feel." 

Freddy Fender, Hamilton, Joe Frank and Reynolds contributed with "Before the Next Teardrop Falls."  and "Falling in Love" and "Don't Pull Your Love." respectively!


In addition to the three tracks that the band played (live) they also appeared in a strange dream sequence dressed it would appear as extras from Mary Poppins singing 'I've got a lovely bunch of coconuts (rolla bolla bolla penny a pinch)...yes....that one!

This brings me on to Jen Mandli, who sneaked to the TV set in the middle of the night to watch Noddy, Don, Jim and Dave on American TV, she decided that it would be a good idea to try to tape the show, and she managed to catch for posterity both Far Far Away and a reprise of How Does It Feel.....as well as coconuts, unfortunately  'Them Kinda Monkeys Can't Swing' didn't survive the years and is lost.

Jen was one of the first US fans that contacted me via the newly posted Slade In England web site in 1997 and we quickly became firm friends and I was delighted to receive from her a battered old cassette tape from which I was able to rescue and enhance those decades old recordings which now reside in the Slade In england archives!

One never knows what gems of television remain to be unearthed and brought to light, and despite my searching in various archives it seems that 'Night Dreams' featuring Slade is only mentioned in archive US newspaper TV listings, I was able to find the photographs that accompany this article for sale on a well known photo archive site, but the press release photo of Rex Reed and accompanying blurb, those TV listings, and the SIE archive audio recording is all that now remains of a long forgotten US TV spectacular!!

David Graham
Slade In England.








Text Link:

sexy divider

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. 

Welcome!

Staffordshire 1960


In the United Kingdom during the 1960's, Midland Beat was a genre of its own. The central area of England is logically referred to as the Midlands and it seemed to have more than its fair share of musical aptitude. Many, like Black Sabbath and Led Zeppelin, were born and bred there while others, like Cream, spent a lot of time learning their craft there.

This area would spawn one of the UK's biggest exports of the 70's, certainly in Europe. There is no doubt that the members of Slade grew up listening to the music of artists such as Buddy Holly, The Everly Brothers, Cliff Richard and The Shadows right through to the biggest icons of the 1960's. The Beatles influence would be prevalent throughout the group's career.

divider

Welcome!


The most authentic and accurate history of the rock group, Slade, on the web.  In the world. even. This site is dedicated to the best facts research can find.  Jump to the first page here.
Then, click on the "next page" links to read the story in chronological order.
There are Pop bands, there are Rock bands and then there are musical institutions. All three of these descriptions apply to this four man, hit making machine from the West Midlands. With a string of misspelt chart toppers, an outlandish wardrobe and a killer, live act that was second to none. Slade's achievements during the 1970's were little short of phenomenal: their crunching rock 'n' roll and crazee antics would inspire acts such as Kiss, Kurt Cobain, Oasis, Twisted Sister, Alice Cooper, The Ramones, The Sex Pistols, The Darkness and even comedians Vic Reeves and Bob Mortimer, to pick up guitars. And what's more, the stunning re-birth from a career slump during the following decade revealed an enviable stubborn streak and tenacity worthy of only the rare few.

Slade were a top notch group that were dragged into the black hole of Glam Rock, a short lived fad that deflected from who they really were, one of the world's greatest Rock bands. Loud, gregarious and, above all, entertaining with an affable, rabble-rousing demagogue up front.
"Slade were down to earth and honest, and it's a real shame there's not more bands around like them, as you won't find this kind of honesty in the record business these days; mores the pity."
Dennis Munday: Ex Polydor Marketing October 2012
Here, we tell the story of one of the UK's most underrated groups. This is the story of Slade, told in a genealogical manner with the factual evidence to back it up where possible. The main source information comes from:

'Feel The Noize' by Chris Charlesworth


'Genesis Of Slade' sleevenotes by John Howells




'Who's Crazee Now?' by Noddy Holder

( Paperback Version. )
( Hardback Version. )


Most of the 'new' info comes from the Wolverhampton (and surrounding areas) newspaper archives scoured by Chris Selby, without whom, this site would not be possible. Please bear in mind that local newspapers, like all newspapers, use artistic licence when reporting. For the purposes of this project, we are interested, first and foremost, in the date. The posts run chronologically, the early years are listed under 1971 because that's the earliest date Blogger can handle.





THE STORY STARTS HERE.

(To follow the story chronologically, click on the "next page" links!)


divider
Intro paragraph by Dave Ling. If any links do not work please let me know in the comments section.

Ray Kimpton re: The Phantoms 1963
Alan re: Dortmund Habenera 1965,
Allie Keith re: John Conlan at Sundown 1972,

Please get in touch. 

You can also find me on Facebook or several Slade forums. 

Mickey P. ;-)



The Making Of Flame

London, 4th September, 1974


In 1973 I was fortunate enough to attend the NME Pollwinners Concert at Wembley and the Earls Court concert, both of which were magnificient although I remember nothing of the actual shows now.

What I do remember is getting the invite to the filming of the live scenes for the Slade in Flame movie. I was so excited and also so worried that my Mum would not allow me to go. The filming was taking place at Finsbury Park Rainbow on a schoolday. I had to think long and hard about whether I should tell my Mum or just bunk off school and go to London?
Photobucket
Fortunately I told her and she was cool about it. It turned out that there were 3 days of filming, the 4th, 5th & 11th of September 1974. You needed tickets to get in and they were given to us as we left the gig. I recall they were pissed off because the flame shaped guitars, made by Framus in Germany, didn't arrive early enough for the first day of filming.
Photobucket
The filming sessions were choreographed, of course, and there was a lot of stop/start going on. Noddy addressed the crowd in civvies and explained to all that there would be a lot of waiting around but be patient and the group would be back soon to play some of their Slade hits. He also made it clear that no Slade stuff should be showing and that the names Noddy, Dave, Jim and Don were banned while the cameras were rolling. We were encouraged to shout out Stoker, Barry, Paul and Charlie but I don't think many people felt comfortable with that. Most people just screamed "FLAME" which was odd enough anyway.

About 40 minutes later they came out in their Flame costumes and played a few songs. Try as I might, I cannot recall with any certainty what they were but I think Mama Weer All Crazee Now, Cum On Feel The Noize and Skweeze Me, Pleeze Me were played. I seem to recall them playing Far Far Away too but I'm really not sure? It makes sense I guess, obviously this was a warm up for the group and also to get the audience into character. It was also the film crews chance to monitor the levels and frame the shots, etc.

Between the stage and the crowd was a space for a cameraman to walk along. In my head I remember a metal barrier and a guy with a Steadicam but I don't think they were invented yet so he may have been on a dolly but I couldn't see it. I remember the camera had a light on it and I could see his face pushed into the viewer.

In the movie there is a scene where a blonde girl gets onto the stage and gets carried off by security. We were standing right behind her in the crowd. We could hear the film crew telling her what to do and when to do it. I tried talking to her but she was so focused on what was about to happen that I might as well not have been there. She had a home made Flame banner, red letters on yellow silk which she asked me to hold onto for her. I never saw her again except in the movie but I kept the banner, I probably still have it in my attic?


Slade Fan Club Newsletter

October/November 1974


REPORT FROM THE RAINBOW
"During the filming of Slade's new film 'Flame' they shot a live performance at the Rainbow Theatre in front of an invited audience from the Fan Club. At 3 o'clock they took their seats in the stalls. They looked great; lots of them had sewn sequins and foil to their T-shirts and 'Flame' burns from a hundred vests. Banners and Noddy Hats, Streamers and even cardboard guitars sprayed with silver. Lots of reflecting colour, lights and crackling foil ribbons. They had really worked hard. 'Everybody's gonna be film-stars today' Nod hollers at the audience. Dave's had his hair cut. Jim looks very cool and together, Don looks well and happy and Nod is Nod. Today though, he's called Stoker, Dave is Barry Jim's called Paul and Don is Charlie. 'Flame' is a group picked up by a management and told what to do. I don't think it works like that now. The period is 1967 and that sort of thing went on then. 'Flame' entered from the bows of the stage wearing tremendous suits, yellow and red sort of jester outfits. Smoke seeps meaningfully around them. They sing 'Wishing you were here' from their new album."

"The banners are waving, the sequins are flashing, the security men are sweating. 'A good one that' shouts Noddy, 'there's cameras all around ya focused on you lot, you're all stars tooday, so lets ERE YA NOIZE'. 
COMPETITION
"The response from last month’s competition was tremendous and I spent many an hour reading your fascinating stories. The winner was chosen by Nod during one of the few breaks in the filming of ‘Flame'."
A WORD FROM JIM
"... 
Stardust was also on our agenda, the film was very sad and I now do believe that it has received an AA Certificate. I wonder what certificate the censors will give our film? Perhaps one day Dave Essex and ourselves could get together and make a film?"

Jim Lea: Newsletter Oct/Nov 1974




Photobucket

Slade Fan Club Newsletter

December/January 1974/5
"After the very successful filming of 'Slade in Flame' at the Rainbow Theatre in September, there was to be another filming there in October. This was for a different scene but because of technical difficulties and the fact that they could not arrange a film crew for that day, we had to cancel it. The boys wish to apologise for the disappointment caused, and hope that seeing the film on the screen will make up for it."
Photobucket

I guess that means they used (or cut) the 'not good enough' scenes?
Photobucket




I found this business card in the Rainbow, never found out what it was for. I looked throughout the movie, in case it was a prop, but haven't spotted it?
Photobucket

SLADE IN FLAME
FILM 
FLAME traces the story of a rock band's gruelling struggle to stardom, their brief span of success, and subsequent disintegration due to external pressures and internal conflict. 
Treading the boards of the north country are JACK DANIELS AND HIS DT’s, a 'second-rate band working a third-rate audience, with a fourth-rate agent creaming 10%' CHARLIE (Don Powell) auditions for the job of drummer, joining BARRY (Dave Hill), and PAUL (Jimmy Lea). JACK DANIELS (Alan Lake) monotonous circuit of North Country clubs, aided by BARRY's sometime girl friend, ANGIE (Sara Clee), and managed by a small-time crook of fading hopes, RON HARDING (Johnny Shannon). 
The group's venues bring them into contact with a rival outfit, ROY PRIEST AND THE UNDERTAKERS, a quasi-rocky horror band starring STOKER (Noddy Holder) as lead singer. DANIELS sabotages The Undertakers' performance by locking STOKER in his stage coffin in the middle of their act. A chase ensues, culminating in a bizarre fracas, which lands both groups in jail. PAUL and STOKER, the composing elements of their two respective bands, wind up in the same cell, and following their release the group reform as THE IRON ROD -- with STOKER replacing DANIELS, and involving BARRY's old school-mate, RUSSELL (Anthony Allen), as their unpaid roadie. 
The group's début at a local dance hall ends in near disaster when a violent clash develops between HARDING and STOKER. HARDING has never looked upon the group with much enthusiasm and uses the incident as a convenient excuse to drop them from his catalogue of dubious talent. However, their efforts have been noted by TONY DEVLIN (Ken Colley), working on behalf of a successful London advertising executive, ROBERT SEYMOUR (Tom Conti). After initial testing SEYMOUR has the band brought to London where he proceeds with much the same methods as he applies to cigarettes. The group are polished, groomed, fitted, dressed, and finally launched as FLAME on an unsuspecting public.  
The publicity programme is given a boost when the group become involved in a pirate radio attack in the Thames estuary, and their subsequent rescue brings them nationwide attention.  
FLAME's growing success has also been brought to the attention of their former manager, HARDING. He re-surfaces at a celebration party to inform SEYMOUR that the group are still under contract to his agency. SEYMOUR arranges for the offending document to be discreetly removed from HARDING's office and continues undeterred. HARDING tries to threaten the contract on SEYMOUR's behalf and has him beaten-up. SEYMOUR growing conflict between STOKER and PAUL, and while HARDING struggles with SEYMOUR for control, the group begins to slowly disintegrate. In addition to the creative conflict, they are becoming increasingly disillusioned with the life they are forced to lead. 
A nationwide tour is launched but despite FLAME's success SEYMOUR is pressurized by his backers to either come to terms with HARDING or else pull out. Realizing that the group themselves will shortly break up, SEYMOUR finally agrees. On the last night of the tour he returns home to call HARDING only to find he's too late. HARDING has sent in his operators to desecrate his child's bedroom.  
The following morning, HARDING arrives at the group's hotel to inform them of their return to his agency. He too left empty-handed: STOKER blandly tells him that FLAME no longer exists.  
Filmed in Panavision and Colour, with an original score by SLADE, FLAME will engender the audience with the feeling of having participated in what might have been a slice of a pop band's own life. 
ALBUM - The album Slade in Flame was released on 29th November - it was scheduled for the 22nd., but Polydor could not produce enough copies to cover the advance orders in time. The album contains 'How does it feel', the theme song from the film, 'Them Monkeys Can't Swing' is the first number performed in the film by the group under the name of Iron Rod. 'So far so Good' - this is used in the film as the initial number one hit for the group, FLAME. 'Summer Song' is performed in the final sequence of FLAME as the villain of the piece turns up at the seaside hotel to try to force the group to return to his agency. 'O.K. Yesterday was Yesterday' - for those who like their SLADE with all stops out. 'Far Far Away' - already a monster hit as a single for SLADE bringing them a silver disc within two weeks of release. 'This Girl' - in the film there is another group, Roy Priest and the Undertakers, and they play this number - though in FLAME the lyrics differ from those in the album. 'Lay it Down' - used in the film as the background prior to the beating up scene. 'Heaven Knows' - a picked - guitar intro to this easy tempo song. 'Standing on the Corner' - strictly boot-music, heavy instrumental backing laid down for Noddy Holder's cast-iron-lung delivery.  
Once again, SLADE have achieved a Silver and Gold award for this album even before release date.  
BOOK - The book FLAME has been written by John Pidgeon, and is published by Panther in January, available from all Bookshops at 50p. There has never been a book which captured the sweaty ambience of the Rock business so authentically. Seedy clubs, dishonest managers, catastrophic fatigue, the painful clash of personalities and the cynical manipulation of the media. It's all here in a hard-hitting novel by an author uniquely well placed to tell it like it is.  
I hope you all had a happy Christmas and I take this opportunity of wishing you a Happy New Year. That's not only from me but the boys as well. 
NEW SINGLE 
'How Does It Feel', taken from the film, is Slade's latest single, released February 7th. The 'B' side is 'So Far So Good' which in the film is Flame's first hit single. Once again, the single is wrapped in a colourful sleeve. I personally think that 'How Does It Feel' is the best song from the film, even better than 'Far Far Away'. The album Slade in Flame sales are tremendous, and have just surpassed the 200,000 mark in just over one month. By all accounts it looks as though it will be Slade's biggest selling album. 
Still available are the Slade In Flame T. shirts in small, medium and large sizes at £1.20p including p & p and VAT. The Slade In Flame film viewers have gone exceedingly well and we are having to order another batch. These contain 20 colour frames of scenes taken from the movie. These are obtainable from me for 50p plus 5p p&p. The Slade in Flame poster magazine is only available from newsagents. If you have difficulty in obtaining a copy please inform your newsagent that it is distributed by New English Library."




Slade Fan Club Newsletter

February/March 1975


SLADE IN FLAME
"The following is a breakdown of release dates for the film. Please check it with your local paper or the cinema.
January 19th - Tyne Tees
January 19th - Yorkshire
February 16th - London North & South
February 23rd - Southern
February 23rd - Westward
February 23rd - Anglia
March 16th - Lancashire
March 16th - Scotland

The London premier is at the Metropole Victoria on the 13th February. Slade will be making promotional appearances in most of the areas."


Even more amazing was the invite to the London Première at The Metropole Theatre in Victoria. I got Jim Lea's autograph, Rob, Ray & Les Gray from Mud and the incredible Suzi Quatro. I thought I'd died and gone to heaven, especially when I stuck my face in Diana Dors cleavage and she still signed. The surprise was that her husband Alan Lake did too, I'm surprised he didn't lump me?

Photobucket

Photobucket
I remember turning up in Victoria and there were loads of people crowding the street. A spotlight lighting up the front of the theatre and we guessed that they were waiting for the group. As it turned out, this fire engine turned up driven by a fireman with a big, bushy bright ginger beard.
Photobucket

WHAT THE PAPERS SAY ABOUT 'SLADE IN FLAME'
"'SOUNDS' - This film suffers less than most from the obvious imbalance of having musicians in the lead roles, surrounded by experienced actors. Slade play themselves at least as well as they usually do, and in Noddy Holder in particular, they have a natural scene-stealer. Flame' is basically the same old story, told more accurately and wittingly.
Unlike 'Stardust', it has strong music and stage image at the centre of it all, proving that Slade haven't lost their touch, and the music shines through.

Rob Mackie.
'DISC' - Before the film has been released, the album has already sold over 170,000 copies. The book is a different story again. To produce its paper, 550 trees were cut down which weighed in at just under 30 tons. A quarter of a million copies have already been printed. It is the largest print that the book publishers, Panther, have done for the home market alone, in their entire history. I found the film interesting, purely to judge Slade's acting talents Noddy came out best He obviously found the whole thing a cinch, and was surprisingly natural. Don was good too. Jim was a runner- up, and gave a fair performance.
A film that Slade fans can't miss, a film that will make very interesting viewing if you like to see a handful of the scenes that go behind the making of a pop star. Judge for yourself!"
Lynne Thirkettle. 



divider

Next Page

Coz We Luv Them

Black Country Bugle – Thursday, January 13, 2011






By Brian Nicholls 

OK; so it's a bit of a play on words for determining an attention grabbing headline for this Bugle article, but .the title of Slade's 1971 number one single "Coz I Luv You" - written in just twenty minutes by Noddy Holder - was just that too good to resist! 

Seriously though, the title sums up perfectly the dedication and contagious enthusiasm of fans Carole Williams and Chris Selby, who are keeping the flame alight for 1960's local Black Country pop groups The 'N Betweens, and then through their metamorphosis first into Ambrose Slade and finally, international recording and TV stars, Slade. 

But the 'stars' of this article though are not the aforementioned groups, but Carole Williams and Chris Selby! 

I met Carole at her home in Heath Hayes, near Cannock, along with Chris, from Aldridge, in July, for this story about the important role that a loyal fan base provides for both aspiring and successful local talent. In my quest as a local music historian I get to meet loads of musicians eager to tell a story (or a yarn), but rarely do I get the privilege to interview the most important element of those hedonistic days - the fans! It may sound like a cliché, but, without the relentless support of the fans like these who ventured out in all kinds of inclement weather and travelling on public transport or walking literally miles to see their favourite pop groups, there would have been no pop groups, venues or promoters! 

I asked them both about where it all began.

Carole Williams, The ‘N Betweens fan club secretary, with some original flyers.

Carole: "I originate from Wolverhampton and I worked for Len Rowe and Stan Fielding (both former band leaders turned promoters) at the Astra Entertainment Agency in Waterloo Road, Wolverhampton. Stan offered me a job at Astra when he met me whilst I was attending a gig at The Woolpack Restaurant in Salop Street, Wolverhampton. Stan felt I would suit the Astra offices and so I jumped at the opportunity to work there. 

The 'N Betweens outside The Tiger pub, Princess Street, Wolverhampton, in 1965.

During my very first week in the job, drummer Don Powell and lead guitarist Dave Hill from the 'N Betweens came in to the reception at the Astra office to pick up the group's wage cheque for that week. I'd seen them play at The Ship and Rainbow on the Dudley Road and also The Woolpack so obviously knew of them. 

They asked me to say  "Hello" next time I was at one of their gigs. I did just that and soon after, went on to become great friends and ultimately secretary of their busy fan club from 1965 through to late 1968, just as I'd met my future husband (whom I married in 1971), whereupon my fan club involvement naturally petered off.  

… and beside the fountain in St Peter's Gardens.

My husband was a DJ and I remember Jimmy Lea knock king our door and saying "Carol, we need a copy of Get Down and Get With it - how quick can you get it on tape for me?" - I did the tape for him and, the rest as they say, is history".

I ran the UK-wide fan club from the time of the original line-up comprising Johnny Howells, lead vocal and harmonica, Cass Jones, Mick Marson, Dave Hill and Don Powell - through their first line-up change of Noddy Holder, Jimmy Lea, Dave Hill and Don Powell, who went on to become Ambrose Slade and then Slade. You just knew they were going to make good because they had a certain magic about them". 

Chris Selby, Slade Historian, with just one of his many research volumes.

Chris: "I had no dealings with the 'N Betweens as I was still only 12 years of age when my Slade broke out on to the scene and that was at the time of their skinhead phase around October/November 1969. I actually lived on the Dudley Fields Estate in Bloxwich at the time and fell about laughing when my mates actually pointed out a guy who lived across the way from the Three Men in a Boat pub on the Beechdale Estate and said... "his name's Noddy"... 

"That was the start of my fascination - I was, and still am, hooked!" 

"I saw an Express and Star advert for Slade appearing at Aldridge Community Centre one Sunday evening in January so me and my mates walked all the way from Dudley Fields in Bloxwich to Aldridge to see them. We could only see part of the gig because we had to be back home early for school the next day which meant that we had to walk all the way back." 

"My brothers grew up with music from The Shadows, The Rolling Stones, The Beatles, Moody Blues, David Whitfield and Les Paul and Mary Ford, but it was their music and not mine. The sight of Slade acting silly and dancing around the stage enjoying themselves made me real that, this was my music!" 

Carole: "My influences from the age of 12 were Adam Faith & The Roulettes (who I later met a few times) and The Beatles who I saw at The Gaumont in Wolverhampton - and I say saw because the screaming was so loud none of us could actually hear them! I do have a much wider and modern taste as well though, as I particularly like Neil Diamond, Robbie Williams and Take That amongst many others."

"The 'N Betweens though were always my number one. They did lots of blues numbers and later, when Nod joined, they concentrated largely on Tamla Motown stuff at a time when all the other local groups were doing 'poppy' chart covers. I can still see them in my mind doing all those Four Tops and Temptations and Young Rascals songs. It was this that introduced me to Tamla Motown music. It was these boys that started my awareness and love of this type of music which continues to this day"

On the zebra crossing in Lichfield Street, Wolverhampton in 1965 (four years before The Beatles' famous Abbey Road cover with the Fab Four on a zebra crossing), The 'N Betweens, left to right, Dave Hill, Mick Marson, Johnny Howells, Don Powell, Cass Jones.

And here are "The New Fab Four" actually crossing Abbey Road a few years later!

Chris: "My musical taste is so eclectic because there is a 10 year gap between me and the oldest of my brothers, so I was forced to and generally got to like everything from Kay Starr (Rock and Roll Waltz), Elvis Presley, Mario Lanza, Mothers of Invention, Janis Joplin and The Doors. In fact, I have a Mario Lanza CD on the player in the car as we speak"

I asked Carole and Chris (when I could get a word in!! such was their enthusiasm) "So what is it that still keeps the evident 'spark' alight after all these years?"

Carole: "Memories' Oh, memories of the immense fun we had in the 196O's and the seemingly endless great parties. I get quite emotional when I hear Gracie Fields because it reminds me of my grandparents' get-together's along with the 'swing' and wartime music that was a favourite of my mother who, incidentally, sang in an ATS band during her army days, Then there was the 'N Betweens who were genuinely my mates and because their 'music still stands up to this day".

"Their music still makes me feel like an 18 year old"

Carole: “Although the latest incarnation of Slade (Slade II) are different, apart from founder members Dave and Don, their music still makes me feel like an 18 year old. I saw them recently at a gig and we all got together afterwards for a nostalgic chat. Whenever I hear a Four Tops song such as I Can’t Help Myself the picture in my mind is of the original 'N Betweens line-up with Noddy standing there, knees turned slightly in, counting the rest of the group in and singing that song.

"I also remember Jimmy Lea singing Cherry, Cherry as his first song upon joining the 'N Betweens"

The 'N Betweens' new line-up in 1966, with Noddy Holder and Jimmy Lea.

Chris: “Slade start where other groups finish! I have seen all the other 'name' hands. but Slade are better. I did actually know of Nod in the early years because he was local to the Walsall area at the time and I kept on seeing him out and about but I didn't know of the rest of the group at all, although I have since met Don and Dave occasionally, but essentially. I am a fan of the music rather than a need to be a friend if you can understand that stance.

“I can still see them in my mind at The Civic Hall in Wolverhampton and I always remember how loud they were. My ears were still ‘ringing’ for 3 days after the show and. you could also 'feel' the music in your chest as you stood at the front of the stage. This was largely due to Jimmy Lea who actually played chords' on his bass - something I’ve not seen anyone else do since. They once replaced Black Sabbath as support group to Def Leppperd but on all accounts. Slade just blew them away and they made loads of new fans as a result. Some of the notable highlight venues of the era were Aldridge Community Centre. Walsall Baths. Wolverhampton Civic Hall and The Odeon in Birmingham”

Author
The shared enthusiasm of Carole and Chris arose out of the publication in 2001 of a book called 'N Between Times - An Oral History Of The Wolverhampton Group Scene Of The 1960's, by the late Keith Farley, a Wolverhampton author and historian.

Keith was also a local music fan. particularly of the blues and soul groups of the 1960’s but his book comprehensively covered every aspect of the West Midlands local music scene and was not about the 'N Betweens 'per se' even though they do get a good mention in it.

Carole's cousin Vicky enjoyed the book so much she wrote a letter to the Express & Star reflecting on the period it covered and also pointing out that her cousin (the here mentioned) Carole Williams was actually the former 'N Betweens fan club secretary.

“Chris had been trying to track me down for ages and I was just around the comer so to speak" mused Carole.

In turn, Chris, upon seeing the letter, contacted Carole via the paper, resulting in the information exchange that continues to this day.

'All of the local groups served their apprenticeships, unlike the manufactured people that we see on TV these days'

Of the two, it is Chris who is the ardent researcher and in his quest for Slade history has discovered links to the many formative groups that the boys played with pre 'N Betweens. These were. Steve Brett and The Mavericks. The Vendors, The Memphis Cutouts, and The Phantoms.

Chris: “There have been many books and articles written about Slade and the groups they evolved from but they did not tell the full and accurate story so I thought ‘this is rubbish' and, as a result became dedicated to rectify this and get the record straight. It is an obsession that I can’t switch off from.”

Fans
Carole: “I am still in touch with Danish author Lisa Falkenberg whom I met a few years ago at The Robin when drummer Don Powell introduced me to her. She is currently writing an autobiography about Don and at the time I did a "personal memories of young Don” piece for her book. In fact, as well as the UK, we had fans in France and Sweden and with some of whom I still correspond”

“I. like Chris. actually liked other local Astra groups such as The Californians, Lady Jane and The Rovaltee, The Montanas, Varsity Rag, Soul Seekers, Brad Ford and The Sundowners and Finders Keepers, but, in my opinion, none of them really matched the 'N Betweens who were the only local group for me.”

Overawed by the actual amount of research material that Chris had brought with him to the interview, I asked where all his work and dedication is taking him?

Chris: “Possibly, the madhouse! No seriously. I love doing the research and physically haunt the archives departments of Wolverhampton, Walsall and elsewhere in the West Midlands, tracking down snippets of information on Slade and their fore bears that the boys were members of. I have around 700 gig adverts and news items. There 'really needs to be a family tree of all the West Midlands groups as there are so many of them inter-linked"

Carole: "We didn't actually take loads of photos in those days - I now, on reflection, wish we had done so. Unlike today though, with digital cameras and camera phones being so prolific and cheap to use, all we had was a Kodak Instamatic and I remember it being very expensive to get films processed.”

Chris reflected on the demise of the local Black Country live music scene at the start of the 1970's, with the onset of progressive music which was for too loud for the average pub assembly rooms which made up the majority of the gigs.

Chris: “There was very, little going on locally from 1970 onwards - virtually nothing in fact! The small venues that were previously hives of musical activity had dried up resulting in only the larger concert venues' to choose from”.

Contracts
Carole once again reflected on her days at Astra. typing up the endless stream of gig contracts for the many groups to sign when they called in to her office every Friday for the next week's work (of typically seven to eight gigs).
A dream-like, almost psychedelic image of the group, taken from a flyer for the 'N Betweens fan club, in 1966.

Carole: “All of the local groups served their apprenticeships - unlike the manufactured people that we see on TV these days. The one thing that is still the same though, when Slade did become famous they all knocked four or five years off their actual ages and I rather liked that because I followed suit and became' one year younger than Dave Hill!''

Sincere thanks to Carole and Chris for providing such an interesting story.

Chris would like to talk or meet with Bugle readers who may have, or know of any memorabilia connected to "Slade" (pre-chart career), i.e. "The Phantoms''', "The Memphis Cutouts", "The Vendors", "Steve Brett and The Mavericks", "'N Betweens", "Nick and The Axemen", "Ambrose Slade".

Please contact the author via the Bugle editor.

(Keith Farley's book is now available on-line by going to:

Read about the book on Brumbeat.


This article appeared as a two page spread and a copy can be obtained at the Black Country Bugle website here. 


Penny Valentine

PENNY VALENTINE - (1943-2003)  R.I.P.



Those of you who are old enough to remember reading the Disc & Music Echo in the seventies will be no stranger to the name of arguably  the UK's finest female music journalist, who sadly passed away in 2003.

You can read a fitting obituary to Penny over here.



Short Hair: BBC 1970 - 1973

Germany, 1998


Due to broadcast restrictions, the BBC made their own recordings for airplay. They would bring groups in to record a number of songs and press them onto vinyl for their own exclusive library. These songs were not made for official release but would be used by the BBC to overcome the airplay restrictions for officially released material.

Most of these recordings up to the mid 90's were only heard by a few radio listeners, most of who were probably not listening. Fortunately, somebody was interested enough to actually record the broadcasts on cassette tape and save the tapes. These tapes came to light in the 90's and were made available to a small number of people with the right contacts.

"Made By A Fan For A Fan"

Some were pressed to vinyl privately for distribution amongst fans and later with the advent of CD burning technology, new mass produced collections came to light such as this one dated 2003 which I believe was available earlier around 2000. On sale through Russian on-line shops, bootleggers filled the hole in the avid Slade fans collections. Those not fortunate enough to have the contacts at the time were charged full price for these collections. I don't think many would feel ripped off though, I certainly would have paid much more for these tracks.

The 'N Betweens had a couple of recording sessions in December 1968, one on the 8th was for radio broadcast. As from 1st January 1969 they would be known as Ambrose Slade. It's possible that this was a BBC recording session.




The following Slade session info is from a 1993 book called 'In Session Tonight - The Complete Radio One Recordings':
Broadcast date - 8/6/69 - Dave Symonds on Sunday Show - Recorded 2/6/69 as Ambrose Slade.
  • Everybody's Next One
  • C'mon, C'mon
  • Good Old Desk
  • The Raven (not Broadcast)
    (I like seeing C'mon C'mon as an Ambrose Slade track nine months before it became a Slade recording and The Raven nearly a year and a half before it graced Play It Loud?)
Broadcast date - 28/4/70 - Mike Harding Show - Recorded 25/3/70 as Slade.
  • The Shape of Things To Come
  • Omaha
  • Sweet Box
  • I Remember
Broadcast date - 12/1/71 - Mike Harding Show - Recorded 11/1/71.
  • Man Who Speaks Evil
  • Dirty Joker
  • The Gospel According to Rasputin
  • Do You Want Me
Broadcast date - 13/5/71 - Stuart Henry Show - Recorded 5/5/71.
  • Get Down And Get With It
  • Man Who Speeks Evil
  • My Life Is Natural
  • In Like A Shot From My Gun
Broadcast date - 27/1/72 - Pete Drummond Show - Recorded 12/1/72.
  • In Like A Shot From My Gun
  • My Life Is Natural
  • The Shape of Things To Come
  • Look Wot You Dun
Broadcast date - 26/5/72 - John Peel Show - Recorded 9/5/72.
  • Move Over
  • Let The Good Times Roll
  • Gudbuy Gudbuy
  • Darling Be Home Soon
  • Keep On Rockin'
These sessions do not account for all the songs known to have been recorded at the BBC. Other songs have surfaced that are almost certainly from Slade's BBC sessions:
  • Nights In White Satin
  • Coloured Rain
  • Wild Winds Are Blowing
  • Know Who You Are
  • See Us Here
  • Getting Better
  • It's Alright Ma, It's Only Witchcraft
  • Coming Home
  • Gudbuy T' Jane
"They were taken from my collection some years back, or some of them were, definitely. They are not really Russian, Germany was the source, well known bootlegger.... you will often see Slade bootlegs supposedly from Russia and Poland.

About five years ago when SIE went live with just 10 mb of web space available, I stupidly sent a load of stuff to a bloke in Germany in good faith, he started producing the CD's shortly afterwards, at first a supposed Luxembourg pressing, then when it got too hot, a quick bit of cut and paste they were from Russia."
Dave Graham 2005

The advent of the internet and mp3 technology has made sharing exclusive material much easier but unfortunately, the downside is that it also makes it easier for certain people to make a quick profit from those 'not in the know'. Many have been charged exorbitant prices for 'rare' material only to find that it was freely available in the right circles.






 ARCHIVES & RARITIES 1970-73


Short Hair, Heavy Boots, Big Beat
( Made In Italy! )



As from October 2009, this rare collection of BBC Studio recordings will be made available officially by Salvo Records. This special release, an exclusive project championed by Chas Chandler (this is NOT Bryan "Chas" Chandler) of Union Square Music, comes in the advent of the Salvo Remastered Catalogue.




Slade: Live At The BBC 1969 -1972 comes as a 2xCD release, alongside a live 1972 BBC performance recorded on 17th August 1972 at the Paris Studios and broadcast on BBC Radio One "In Concert" 30th September 1972.




On this release, the whole collection has been taken from the original BBC archive recordings. I believe, but am awaiting confirmation, that the project is also remastered by Tim Turan as was the rest of the Slade catalogue.


divider


Only one single, a French Bootleg, from the B.B.C.Sessions,"Coming Home" / "Security" was ever released:-

The B-Side, "Security" was not a BBC version, it was an earlier 'N Betweens' track!


After John Haxby had fought Newman & Co. in the courts for the rights to release "The Genesis Of Slade" CD (and won!), this opened the floodgates for the release of all of the BBC material.
In the.U.K., first, two good sound quality, unofficial vinyl EP's were released, taken off the Italian-made "Short Hair, Heavy Boots, Big Beat" 12" Vinyl Bootleg LP. ( Shown higher up on this page! )
This, below, was the first of the two:-

UK, 2000
Bootleg /  7"  Repro  /  EP

Short Hair Heavy Boots Big Beat - SLADE SIX TRACK LIVE EP






Then, shortly after, again in 2000, all of the known BBC tracks were gathered together on this Double CD, below, which was an exclusive to members of Slade In England.:-







These U.K. Releases are completely independent to the German and Russian Bootlegs!




Next Page



Good Old Desk
( Harry Nilsson / Harry Edward Nilsson )

Oowah oowah ah ah ah-ah oowah oowah ah

My old desk does an arabesque
In the morning when I first arrive
It's a pleasure to see, it's waiting there for me
To keep my hopes alive

Such a comfort to know it's got no place to go,
It's always there
It's the one thing I've got, a huge success,
My good old desk

My old desk never needs a rest,
And I've never once heard it cry
I've never seen it tease, it's always there to please me
From nine to five

Such a comfort to know, it's dependable and slow,
But it's always there
It's the one friend I've got, a giant of all times
My good old desk

Oowah oowah ah ah ah, ah oowah oowah ah

My old desk isn't picturesque,
But it's happy as a desk can be
We never say a word,
But it's perfectly alright with me

For when my heart's on the floor, I just open the drawer
Of my favourite guest
And what do I see?
But a picture of me working at my good old desk

Oowah oowah ah ah ah, ah oowah oowah ah


Done Me Wrong, All Right - ( By The Sweet )
( Connolly, Tucker, Priest, Scott )

I woke up this morning my girl was not inside
Not inside my billfold she's done me wrong all right
We've been all night a-rockin' at the house of blue light
Ah, ah, ah-e
Ah, ah

The band was really groovin' with the shades of Jerry Lee
Somehow jiving, yeah she was taking me
Now she's gone and left me oh, baby let it be
Ah, ah, ah-e
Ah, ah, ah-e

I didn't understand her you know I mean her scene
Sleeps around for money or kicks that's twice as mean
But if I cross with her again she'll find that I'm not green
Ah, ah, ah-e
Ah, ah

This woman's a hooker
I can't stand her
She's doing me wrong
This woman's a hooker