Showing posts with label Ambrose Slade. Show all posts
Showing posts with label Ambrose Slade. 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: Click Info: filename Filesize: 15.01 MB

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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

Phillips Studio

December 1968, London
Philips Records
Stanhope House
Stanhope Place
London
W2 2HH


Express & Star: December 7th 1968

The group had a couple of recording sessions in December 1968. The 3rd December is yet to be confirmed but on the 8th. they were recording for a radio broadcast (possibly the BBC) and a few days later on the 11th they recorded four tracks for their album. More would follow in January 1969.

It is known that Irving Martin recorded four tracks with The N'Betweens but I failed to ask him which studio he used. He recorded The Californians at Decca Studios (Broadhurst Gardens, West Hampstead, North London).

The N'Betweens went into the studio and recorded with Roger Wake

As Abbey Road was to EMI, so the ‘In -house’ studios at Stanhope Place, Marble Arch was to Philips. Situated on the cusp of London’s heart and above the central line – a faint rumble could be felt as the tube passed below – during it’s 30 year existence, the Philips studios would easily rival America’s Stax studios or London’s Abbey Road as a ‘Hit factory’.


The list of those who recorded there is eclectic and comprehensive, and includes practically everyone who was anyone, chart wise, between the 50’s and early 80’s.

At 60ft long, 20ft wide and 25ft high, the main studio, ‘Studio One’ has been described as ‘cramped’ by one engineer who routinely recorded full orchestral and choral sessions there and as ‘vast’ by The Who’s Roger Daltrey who recorded there as part of a four piece.
“The studio was a little bit confined, long and narrow and the control room had like a narrow walkway at the back where we used to stand and listen, you know.  So it was a bit restrictive, with all the orchestra and brass, percussion and singing groups…it was really crammed in”
Alan Parker: Session Guitarist 1965
.
Entrance to the studio reception was down a stairwell via the street, in through a side door, turning left to go up.  The actual recording space was on a raised level but the guts of the studio were typical of the time.


Roger Wake, then a teenage tape Op’ remembers the studios specifications with a boffin’s clarity.
“Physically the set up was this; there was the studio, then the control room, and then a separate machine room, where the tape machines were.  The control room had big windows so that Johnny (Franz-producer) and Peter  (Oliff –Engineer) could look out and see into the studio and from where I was, in the machine room, we had a little window about 3ft square, so I could see into the control room. We also had a set up so that I could hear what was going on in the control room.  If Peter wanted to speak to the studio or me, he had a talkback button for both.  So I’d be in the control room with all the tape machines, the multitracks and the stereos and big huge patch panel, which we would have to operate.  And Philips then had a totally different patching system to other studios such as Abbey road.  Huge plugs - send and return within the same plug.  The patch panel was about seven by four feet.  Of course, it was all valves back then.  The first Neve console was transistorised but (in the mid 60's) it would have been on an old German valve console.  On four track.”


I stole much of this information from Anthony Reynolds wonderful story 'The Impossible Dream: The Story of Scott Walker and the Walker Brothers' which is available on Amazon. It is the definitive story of the group and should be read by anybody with a slightest interest in the music of that period. Roger Wake did happily speak with me but no new information was forthcoming. He is happy with the original quotes being reused, for which I am very grateful.



Don Powell biography

Don Powell biography: Don’s bio so far: "In 2006 Don Powell asked me to write his biography and back then I thought it would be a 2 year project like any other of my books. Today I’..."
It's great to know there will soon be something new to fill the void. Lise has been promising us this book for quite some time and there were times when it seemed like it would never happen. Now there is light at the end of the tunnel. This year, for the first time since childhood, I will look to Xmas with an air of optimism and excitement.
"Are you hanging up your stocking on the wall...."


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.


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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