Showing posts with label America. Show all posts
Showing posts with label America. Show all posts

An American In London

London, June 17th, 1986

American SLADE FAN Matt Shaughnessy managed to grab a quick interview with Noddy Holder in mid 1986.

"....I visited London in June, 1986. Met Nod at Keith Altham's agency and went next door to the pub for the formal Q & A and then had a nice walk with him back to the parking lot. It is a day I will always look upon with fond memories."


"I did the interview on spec for a monthly music magazine in the Chicago area called The Illinois Entertainer. I made the interview fairly vanilla (about 3/4 of which Malc put in Percy) for a market not very familiar with the boyz. Off the record, so to speak, I asked more direct questions about things I was personally interested in like Whatever Happened To Slade period, thoughts on Standing On The Corner as a single (he said he was in favor but was outvoted) etc." 
It was published in the July - September 1992 edition of Percy, the Slade Fan Club magazine,.





How has Slade lasted so long together?
"It's a long time, that's for sure, but we sorted things out in the first few years. Any differences we had, we took care of early on. As for 20, now 21 years together, we never thought that it would go on this long. One thing that has helpedis that we don't live in each other's back pockets anymore. We've realised that there is a life outside of Slade, so when we do get back together to write, record or perform, there's a lot of excitement."
How did the band originate?
"We came together in 1966 as the 'N Betweens and after Chas Chandler (ex Animals bassist and Jim Hendrix manager) began managing us, we changed to Slade."
What was it like for the band in the early 70's?
"It was fantastic. For a time we could do no wrong, what with the 6 number ones, we couldn't ask for much more. Of course we knew it would come to an end sooner or later, but we enjoyed it while we could."
Of course, what followed in the late seventies was your 'duff period'. How did Slade handle that?
"It was a very difficult time for us. We had pretty much saturated the UK and European markets, and for the life of us, we couldn't crack the American scene. This left us in a precarious position of having been huge for too long and from 1976 - 1980, we couldn't shake the apathy the British record buying public had toward us. Same with the radio stations - we couldn't get any airplay. It was a frustrating time and by early 1980, we came close to packing it in."
Bands such as Kiss, Twisted Sister, Billy Squier, U2 and Iron Maiden, to name a few, have acknowledged that Slade have had a profound influence on their music. Any thoughts on this?
"It came as a surprise to us. Since we were never a major factor in America our first time around, I guess we never 
realised what a seed we'd sown over there. We quite like the idea that Quiet Riot went to number one with 'Cum on 

feel the noize'. It shows that Slade's songs have stood the test of time. We really appreciate knowing we've helped 

influence other bands. You know, we finally met up with Gene Simmons and he told us that 'Rock and Roll All Nite' 
was Kiss' 'Mama Weer All Crazee Now'. We thought that was great. 
Any special plans for your anniversary?
"We don't have any special plans, other than the new album. We've finally got it finished and feel we have some of the best songs we've ever written."
Speaking of songwriting, Slade has had 23 top 40 hits in the UK, second only to The Beatles. Who does the writing?
"Well, Jim writes the music and I write the lyrics. It's worked that way from the outset, and we used to kid within the band that me and Jim wrote 'em and Don and Dave sold 'em!"
Do you think Slade will be around in 2006?
"Bloody 'ell! I hope not! Like I said, I never thought it'd last this long. All I can say is that as long as we're having fun and people want to hear us we'll keep doing it!"


This issue of Percy ironically had the first actual mentions of Dave and Don carrying on (without Nod and Jim) under the Slade name, with an advert for a large gig in Germany. There was no announcement or anything that 'that was it'. Which makes the last question - even though it was from a few years before - just that little bit more poignant.
"What a thrill and pleasure it was to meet and chat with Nod. He was very accomodating, interesting, and generous. A great day and one I'm grateful to have had."
Matt Shaughnessy: The Slade Archive 2010
Download the Rock 'n' Reel - Noddy Holder pdf here.

Many thanks to Matt 'MDS' Shaughnessy of the Slade Archive forum and for sharing his photos taken by Dave Kessler.

Next Page

Keep Your Hands Off My Power Supply 1984

USA, 1984

CBS Records - FZ 39336


'Keep Your Hands Off My Power Supply' is an alternate US release of The Amazing Kamikaze Syndrome which was released in the UK the preceding year. The title was lifted from a B-side track that was also added to the album track listing, along with 'Can't Tame A Hurricane' (another B-side) replacing Cocky Rock Boys and Razzle Dazzle Man on the original release. They also felt the need to shuffle the tracks around.

"...the Americans liked neither the title or the sleeve... they hated it so they brought it out as 'Keep Your Hands Off My Power Supply' and it had this cartoon guitar neck with a cartoon hand, which I could have drawn myself in five minutes flat! They said it was this new 'techno something' that was taking us into the new age.... Bugs Bunny?"
Noddy Holder: Radcliffe & Maconie, Radio 2, 2007
Interestingly, in addition to the lame cover art, it's worth noting that the hand on the front cover is a manicured and painted female, whilst the rear view on the reverse, the hand has clearly become male. Despite this, the album proved to be Slade's most successful American album over the group's more than 20 years of releases in the States. Both Run Runaway and My Oh My continue to receive consistent radio airplay in the United States and are considered Slade's most recognizable songs amongst Americans. Imagine, had the record company chosen something related to the Run Runaway video that the MTV audience recognised, what a difference it may have made. Of course, the same argument can be applied to the 'The Amazing Kamikaze Syndrome' cover art?

The rock band Quiet Riot covered Slade's 1973 UK chart topper Cum On Feel The Noize. Although Slade's original had not been successful in the U.S., Quiet Riot's cover peaked at #5. The song helped Quiet Riot sell seven million copies of their album Metal Health. As a result of this success, Slade signed with CBS Records.

    Run Runaway
    My Oh My
    High And Dry
    Slam The Hammer Down
    In The Doghouse
    Keep Your Hands Off My Power Supply
    Cheap N' Nasty Luv
    Can't Tame A Hurricane
    (And Now The Waltz) C'est La Vie
    Ready To Explode



    Produced by Jim Lea for Perseverance Ltd. except Run Runaway & My Oh My which were produced by John Punter. Manufactured and distributed by CBS Records Canada Ltd. Design by Jo Di Donato with artwork by Lou Brooks.
    © 1984 CBS Inc.
    ℗ 1982, 1983, 1984 CBS Inc.


    "Run Runaway", a celtic-flavoured rock-jig featuring some elliptical lyrics and the return of Jim Lea's fiddle. RCA saw the potential of the track and appointed John Punter to work on the track. The album version is extended to give more time for the Linn drum gallop. This track became the first hit in the US for Slade after years of trying to crack the American market, peaking at #20. The track is also a recommended track by allmusic.

    "My Oh My" came as Lea had always wanted to write a big, folksy ballad and when he presented his melody idea to Holder, the lyrics to My Oh My were created. The melody came from an idea that Lea had while listening to Hill and Holder tuning up in the dressing room before a gig at a University in Wales. This track became a huge hit in the UK, peaking at #2 and #37 in the US. The track is also a recommended track by allmusic.

    "High and Dry" was originally covered by female rock band Girlschool which was produced by both Holder and Lea. Chris Ingham stated "High and Dry is known for showing notable Holder vocal, once memorably described by Melody Maker's Jim Arundel as "a blistering yell that's akin to Little Richard undergoing throat surgery by blowtorch without an anaesthetic". High And Dry is also for its unapologetic commemoration of insensitive womanising; "you want equality", goes the lyric, "you won't get none of that from me". How that fits with Slade's declaration in My Oh My that they "believe in woman" is difficult to say, but a politically correct Slade wouldn't be Slade at all."

    "Slam the Hammer Down" opens the original album with a shouted soliloquy by Holder from a helicopter. Chris Ingham from Rock's Backpages stated "The track features an elaborately motor racing/sex metaphor." The track was issued as a promo in the US only.

    "In The Doghouse" featured brass instruments for the first time in a Slade track for years. Chris Ingham stated "In The Doghouse celebrates the carefree indiscretions of youth." Noddy Holder later recalled "there was plenty of good stuff on that album...we could have, theoretically, had another single...it would have been a hit", Holder was probably talking about In The Doghouse.

    "Keep Your Hands Off My Power Supply" appeared as a b-side to Slade's 1983 hit My Oh My. The title was used for the American version of The Amazing Kamikaze Syndrome. The song also appeared on the American release. Chris Ingham wrote "the track is a song about a drunk driver strongly advising his amorous passenger not to grope him while he's being followed by the police. The chorus is as fast as anything Slade ever recorded while the production typifies Slade's sound in the mid-80s." The track is also a recommended track by allmusic.

    "Cheap 'n' Nasty Luv" is described by Chris Ingham as "another in the series of Slade songs which display an interest in the oldest profession (see also Standing On The Corner, When Fantasy Calls) though the usual lusty appreciation is set aside here and replaced with an empathetic view of a young lady unhappy in her situation." On the American release, Keep Your Hands Off My Power Supply, the song is shorter than the European version which adds an extra synthesizer section.

    "Can't Tame a Hurricane" was originally taken from the 12" version of My Oh My. The track featured on Keep Your Hands Off My Power Supply but not The Amazing Kamikaze Syndrome until the Salvo remaster in 2007. On the European release, the title was changed to "Don't Tame a Hurricane. Chris Ingham wrote "Don't Tame A Hurricane has a rocking terseness and directness that recalls Slade's '70s heyday while packing an '80s punch. The 'hurricane' of the song title refers to a larger than life character who won't be tied down and who's an "international cocktail who'll end up on the rocks".

    "(And Now the Waltz) C'est La Vie", described by Chris Ingham as "a waltz-time anthem about the bittersweet feelings surrounding an end-of-affair tryst", was originally released in 1982 as a Christmas single. In November 2005 on one of his regular TV-reviewing slots on the Mark Radcliffe BBC Radio 2 show, Holder was asked to choose a track from the recently released Best of Slade. To Radcliffe's surprise Holder chose this flop single. Holder reasoned the track showed off his voice really well.

    "Ready to Explode" is an eight-and-one-half-minute track that that opened side two of the original vinyl album. It is a multi-themed song suite about the excitement of motor racing, inspired in part by the Jim Steinman's work with Meat Loaf. Guitarist Dave Hill said "I seem to remember that he was hooked on the Bat Out of Hell album at the time, and he wanted to make a record about...being on the edge and all this type of thing". The track also featured Pete Drummond doing announcements on the track. The song was split into four different parts:
    • Part 1: The Warm Up
    • Part 2: The Grid
    • Part 3: The Race
    • Part 4: The Dream

    The album's chart run in America for a total of 18 weeks:
    • 05/05/1984 - #110
    • 12/05/1984 - #92
    • 19/05/1984 - #75
    • 26/05/1984 - #51
    • 02/06/1984 - #47
    • 09/06/1984 - #42
    • 16/06/1984 - #35
    • 23/06/1984 - #34
    • 30/06/1984 - #33
    • 07/07/1984 - #33
    • 14/07/1984 - #48
    • 21/07/1984 - #48
    • 28/07/1984 - #51
    • 04/08/1984 - #52
    • 11/08/1984 - #62
    • 18/08/1984 - #77
    • 08/09/1984 - #98
    • 15/09/1984 - #111

    Canada's CD release is manafactured in Japan?


    The album's chart run in Canada totalled 30 weeks:
    • 21/04/1984 - #93
    • 28/04/1984 - #77
    • 05/05/1984 - #69
    • 12/05/1984 - #54
    • 19/05/1984 - #42
    • 26/05/1984 - #32
    • 02/06/1984 - #28
    • 09/06/1984 - #27
    • 16/06/1984 - #26
    • 23/06/1984 - #26
    • 30/06/1984 - #27
    • 07/07/1984 - #26
    • 15/07/1984 - #26
    • 21/07/1984 - #26
    • 28/07/1984 - #27
    • 04/08/1984 - #36
    • 11/08/1984 - #36
    • 18/08/1984 - #36
    • 25/08/1984 - #36
    • 01/09/1984 - #36
    • 08/09/1984 - #39
    • 15/09/1984 - #40
    • 22/09/1984 - #43
    • 29/09/1984 - #54
    • 06/10/1984 - #54
    • 13/10/1984 - #54
    • 20/10/1984 - #54
    • 27/10/1984 - #61
    • 03/11/1984 - #68
    • 10/11/1984 - #84
    A fourth (Promo) single was released from the album in the USA, Slam The Hammer Down (Hot) / Slam The Hammer Down (Hotter) Mixes.


    Many thanks to Gordon 'Rasputin' Kerr for supplying the Canadian cover art for this release, he may find his vinyl one day and then I'll get a decent scan of the rear cover. If you look carefully at the illegible credits on the vinyl rear cover, they don't seem to match the CD release? :-/



    Slam The Hammer Down
    (Noddy Holder & Jim Lea)


    [Intro.]
    [NODDY (scream) from helicopter:]
    Hey you - you up there
    Yeh you - can you hear me
    I said, I said - can you hear me
    Don't you listen to me, when I'm talking to you?
    If you can't go for it - you can't go for it - good!
    And that means you walk a new way - for what new's gonna comin'!

    She's a cool kinda mama
    Sure gonna slam the hammer  down
    When your pistons are pumping
    Sure gonna slam the hammer down
    Oh when your body starts to shake
    It's time to loosen off the brake
    And ram it down

    Push the pedal to the metal
    Sure gonna slam the hammer down
    Gonna burn up the rubber
    Sure gonna slam the hammer down
    The checkered flag won't make you stop
    You keep on going 'til you drop
    And ramming it down

    Keep a moving and motor racing
    And the wheels go round and round
    Oh when you win you'll be celebrating
    Ready to slam the hammer on down

    Got a flash little chassis
    Screams when you slam the hammer down
    First, second, third and fourth
    Into top and ram the hammer down
    You know it's getting all too much
    When you're letting out the clutch
    And ramming it down

    Keep a moving, accelerating
    And you're ready to face the crowd
    Now you're opening up a wide gap
    Ready to slam the hammer on down

    Yeah - yeah - yeah - yeh,yeh yeh!
    You dun alright - you dun alright!
    You dun alright - you dun alright!

    Oh she's a cool kinda mama
    Sure gonna slam the hammer on down
    Get it up and ram it up
    And baby gonna ram the hammer down
    When you loosen off the brake
    Oh when your body starts to shake
    Fill her up with juice then baby
    Gonna slam the hammer down

    Yeah, oh ah!

    Run Runaway 1984

    January 27th, 1984

    RCA - RCA-385

    In 1984, the song "Run Runaway" became the first single to be taken from their album 'The Amazing Kamikazee Syndrome'. It was actually the third since 'My Oh My' had been the showcase single for the album and their 1982 release, '(And Now - The Waltz) C'est La Vie', had been added to the album.

    The album version features an extended drum gallop before blasting out the fantastic guitar riff. Most impressive is how the track truly kicks in with Noddy shrieking “Hold on!” and the most irresistible fiddle melody begins. Noddy’s lyrics are totally nonsensical and yet they work in every way possible. The fantastic backing vocals fit perfectly whilst the entire song is a showcase for the band‘s musical creativity. The entir song never fails to deliver everything Slade stand for.


    Many people refer this song to an influence of Big Country where I must stress that at the time of release, Big Country had not created anything remotely similar to the Run Runaway sound. The melody is in fact inspired by the hymn "There Is a Happy Land". Holder himself perfectly summed the song up as "a rocky Scottish jig".

    The song became the band's biggest American hit, benefitting from heavy play on MTV, peaking at #20 and spending a total of eight weeks in the Top 40. It was also number one for two weeks on the Billboard Mainstream Rock Chart and proved to be the band's last top 10 hit in the UK. 

    Dave Thompson, from allmusic described the song as "building on the anthemic power of the earlier "My Oh My" - itself their biggest U.K. single in nine years - "Run Runaway" is raucous chanting, swirling guitars, wild violin, and even a taste of heavy metal bagpipes, helped along by a drum sound that is pure early '80s". The single peaked at #193 for 1984 on rateyourmusic.

    A music video was created for the single, filmed at Eastnor Castle, Ledbury, Herefordshire, England. The track was also performed on many UK TV shows such as Hall of Fame as well as a few Top of The Pops performances. The track was also performed at Montreaux Festival in 1984 along with Slam The Hammer Down.

    In February 1985 it was performed on ITV's 'Saturday Live' (with a different backing track) when the band were promoting the 7 Year Bitch single.


    America got Run Runaway first and when it took off CBS put out My Oh My as the follow up. Run Runaway coupled with My Oh My promo'd in the US in 1984 on a CBS 12" (AS 1832) playing at 33rpm. I don't know if it came before the official release but Run Runaway promo'd in several guises. The blue promo has the Don't Tame A Hurricane B-side.



    The white promo with exactly the same catalogue number has Run Runaway on both sides. Note the playing time clocks in at 3:42 as do the European 7". In the UK this edit can be found on 'Feel The Noize - Slade Greatest Hits' and should have been used as an album bonus track by Salvo in 2007 remaster catalogue.

    1997 Compilation CD
    Polydor - 537 105-2
    Original Release

     Reissue, minus the "Feel The Noize" in the title!



    • Run Runaway
    • Two Track Stereo, One Track Mind

    There's little obvious difference between the 7" and 12". The 12" run out groove is stamped with RCAT 385 A-1U-1-1-1 and engraved with a 'guiness harp' followed by the letters 'TOPIA'.


    Visually, regarding info, it suggests that they both feature the same audio, no bonus track and no remix on the 12". This is not actually the case though, the 7" gives a time check of 4:59 but, although the label doesn't state as such, the 12" runs for 5:37. Had the 7" had been a Radio Edit then the album version and the 12" version would have been special. Sadly, the only real difference is an extended intro of drums and extra phased guitar intro causing the vocal to drop half a minute later at 1:30. Most people probably never even noticed.

    It's interesting to note that Run Runaway is published in 1983 whilst Two Track Stereo, One Track Mind is 1984. Two Track Stereo was obviously recorded in January '84.

    Canada, 1984 - 7", Vinyl, Single.
    CBS Associated - ZS4 04398.
    Run Run Away / Don't Tame A Hurricane :-




    This beautiful Japanese 7" (courtesy of hawkheriberto on discogs)





    The single's chart run in the UK for a total of 12 weeks:
    • 04/02/1984 - #54
    • 11/02/1984 - #40
    • 18/02/1984 - #34
    • 25/02/1984 - #19
    • 03/03/1984 - #10
    • 10/03/1984 - #7
    • 17/03/1984 - #14
    • 24/03/1984 - #20
    • 31/03/1984 - #32
    • 07/04/1984 - #53
    The single was a huge hit worldwide:
    1. Belgium - #27 for 1 week
    2. Canada - #15 for 16 weeks
    3. Germany - #19 for 12 weeks
    4. Ireland - #8 for 4 weeks
    5. New Zealand - #21 for 12 weeks
    6. Norway - #7 for 5 weeks
    7. Poland - #6 for 10 weeks
    8. Sweden - #4 for 7 weeks
    Slade's only top 20 hit in America lasted it's chart run for a total of 17 weeks:
    • 07/04/1984 - #67
    • 14/04/1984 - #56
    • 21/04/1984 - #50
    • 28/04/1984 - #44
    • 05/05/1984 - #39
    • 12/05/1984 - #34
    • 19/05/1984 - #32
    • 26/05/1984 - #27
    • 02/06/1984 - #25
    • 09/06/1984 - #23
    • 16/06/1984 - #20
    • 23/06/1984 - #27
    • 30/06/1984 - #43
    • 07/07/1984 - #65
    • 14/07/1984 - #80
    • 21/07/1984 - #84
    • 28/07/1984 - #98


    Reverse of Picture Cover of the Netherlands - RCA - 1983 Release!



    My thanks to Gordon Kerr for supplying the cover art. The track has been covered by Dominoo, Acid Drinkers, Great Big Sea, Bart Foley, Off Kilter, Rednex and Prydein.



    Run Runaway
    (Noddy Holder & Jim Lea)

    I like black and white
    Dreaming in black and white
    You like black and white
    Run Runaway

    See chameleon
    Lying there in the sun
    All things to everyone
    Run Runaway

    If you're in the swing
    Money ain't everything
    If you're in the swing
    Run Runaway

    See chameleon
    Lying there in the sun
    All things to everyone
    Run Runaway


    If you gotta crush
    Don't beat about the bush
    When I gotta crush
    Run Runaway

    See chameleon
    Lying there in the sun
    All things to everyone
    Run Runaway

    Oh now can't you wait
    Love don't come on a plate
    Oh now can't you wait
    Run Runaway

    See the chameleon
    Lying there in the sun
    All things to everyone
    Run Runaway

    Run Runaway
    Run Runaway
    Run Runaway

    Two Track Stereo - One Track Mind
    (Noddy Holder & Jim Lea)

    With her one track mind
    With her one track mind
    She was a hooked on two track stereo
    With her one track mind
    Woh-ho-oh

    Well she always had lousy timing
    But she'd like making love to music
    Wearing headphones
    Woh-ho-oh
    Wearing headphones
    Yeah-yeah-yeah

    They get in the way of talking
    And it don't sound the same
    When you have to shout sweet nothing's
    Woh-ho-oh
    Through her headphones
    Oh-ho-ho-ho

    With her one track mind
    Her brain in her behind
    She was hooked on two track stereo
    With her one track mind
    Woh-ho-oh
    Yeah-hey-hey

    She'd be late for a date on purpose
    Making sure that she keeps you waiting
    And while she makes up
    Woh-ho-oh
    Another new face
    Woh-ho-ho-ho

    She was always forgetting something
    And she'd easily lose her head
    And there'd be nowhere woh--ho-oh
    To hang her headphones yeah-yeah-yeah

    With her one track mind
    Her brain in her behind
    She was hooked on two track stereo
    With her one track mind
    Woh-ho-oh
    Yeah-hey-hey

    Oh well she always had lousy timing
    Wearing headphones while she's out eating
    Or out walking
    Like a zombie yeah


    With her one track mind
    Her brain in her behind
    She was hooked on two track stereo
    With her one track mind
    Woh-ho-oh
    One track mind
    What's going through her mind

    Quiet Riot

    L.A. March 1983

    The Los Angeles band Quiet Riot are commonly referred to in connection with Slade. The band took two Slade covers high up into the American charts in the early/mid 1980s.

    Quiet Riot began in 1975, consisting of two notable members Kevin Dubrow and Randy Rhoads. The band was based in Los Angeles and despite making something of a reputation, the band couldn’t secure themselves a record contract. After two years, 1977 proved to be a turning point for the band. The band made a deal with Sony however the records would only be released in Japan.
    A very quick-made album was released, conveniently titled Quiet Riot and a follow up in 1978 titled Quiet Riot II. Both made little impact overall in Japan. After the recording on the second album, bassist Kelly Garni left the band for good and so the replacement Rudy Sarzo was credited for Quiet Riot’s second album as well as being pictured on the front cover.

    In 1979, guitarist Randy Rhoads auditioned for Ozzy Osbourne’s new band after the editors Slaughter bassist Dana Strum contacted Rhoads to see if he would be interested. Apparently, Osbourne himself stated that he hired Rhoads immediately. Kevin DuBrow and original Quiet Riot drummer Drew Forsyth tried to keep the band together following Rhoads' departure. From 1980 to 1982, the band changed its name to a simple DuBrow.
    Randy Rhoads died in 1982 in a plane accident which sparked an interest in the young guitarist. This led to many fans to come across Quiet Riot’s first two albums. Somehow, DuBrow and his band bumped into producer Spencer Proffer which helped DuBrow’s band, now titled Quiet Riot once again, to signed to CBS Records in America that very year.
    By this point, no original Quiet Riot members were interested except DuBrow so the line-up now included guitarist Carlos Cavazo, whom DuBrow had previously played with in a band called Snow, Rudy Sarzo re-joined the band on bass guitar, and his friend, drummer Frankie Banali, filled in the missing part.

    Proffer told DuBrow that his vocals sounded a little like Slade’s vocalist Noddy Holder and so the suggestion of covering Cum On Feel The Noize came from Proffer. DuBrow and Banali were dead set on not covering the song, claiming that they hated it. They decided to try to cover the song badly in the studio believing the label would refuse to release it. As we know, their ruse did not work and on March 11, 1983, the album Metal Health was released.
    By late August 1983, Quiet Riot's version of Cum On Feel the Noize was released as a single (even the Slade's trademark spelling was kept.) Their cover spent two weeks at #5 on the Billboard chart in November 1983. It was the first heavy metal song to make the Top 5 on Billboard's Hot 100 singles chart. The success of the single helped carry Metal Health to the top of the charts. According to the official billboard site, Metal Health didn't chart until 23/04/1983, where it peaked at #183. By the 26/11/1983 the album hit the #1 spot for a week. The total weeks on the charts were 74, making it the first American heavy metal début album to ever reach #1 in the USA. Quiet Riot were also the first heavy metal band to have a top 5 hit and #1 album on the same week.










    Cum On Feel The Noize’s role is clear in this whole history. Without the song, the band wouldn’t have had the same success. Ironic that the bands only real hit was not only a cover, but a cover of a song which half the band hated.


    As the album started to decline after peaking, the single Bang Your Head (Metal Health) was released in mid-February 1984, a song written by the band themselves. The single peaked at #31 but it couldn’t save the album as every week from then on, the album was dropping.

    U.S. record companies began searching for the band who wrote the hit. In 1984, Slade had managed to get a record deal with coincidently Quiet Riot’s label CBS. By mid-April 1984, their single Run Runaway was released, peaking at #20 on the billboard and lasting a healthy 17 weeks. The follow-up was another success, although not as successful, My Oh My came out on July 7, the same year peaking at #37.

    Another surprising coincidence was Quiet Riot’s follow up single, Mama Weer All Crazee Now (another Lea & Holder composition), which came out the very same time, peaking at only #51. The Slade album Keep Your Hands Off My Power Supply came out early May, peaking at #33 and staying on the charts for a total of 18 weeks.


    Quiet Riot were quickly pressured with a follow-up. The group's follow-up, Condition Critical, was released on July 7, 1984 (yes, the same date again). Though successful – peaking at #15, it was a disappointment, critically and commercially, selling only 3 million copies. This album included Mama Weer All Crazee Now. Frustrated over the sophomore release's failure to duplicate the success of its predecessor, DuBrow outspokenly began expressing his opinion in the heavy metal press that many bands on the L.A. metal scene owed their success to what he saw as the doors opened for them by Quiet Riot. Of course without Slade’s Cum On Feel The Noize, Metal Health wouldn't have been the door opener so, in reality, the real thanks go to Slade and perhaps Spencer Proffer for recognising a good song.






    Quiet Riot slipped off the charts quicker than anything whilst Slade did the same. No Quiet Riot singles charted after Mama Weer All Crazee Now. Slade released their last charting single in America, titled Little Sheila in May 1985. The track adopted the new synthesizer craze of the 1980s. It peaked at #86 and #13 on the mainstream rock charts.

    QR III came along in 1986, again another commercial disappointment. The album peaked at #31 and adopted a heavy keyboard sound, much like Slade’s April 1985 follow up to Keep Your Hands Off My Power Supply, Rogues Gallery (including Little Sheila) which only peaked at #132.

    Fed up with DuBrow's antics, the rest of Quiet Riot fired him from his own band in February 1987 and replaced him with former Rough Cutt vocalist Paul Shortino, leaving no original members. The only album with Shortino, titled Quiet Riot, perhaps for a new beginning, peaked at only #115 and Quiet Riot never bothered the charts again. DuBrow resurrected the band in the early 90s, with Carlos Cavazo and Frankie Banali.

    An interesting add on is Dubrow stated that he believed it was a mistake to record Mama Weer All Crazee Now when he was interviewed in 1987, after being fired.
    (http://www.classicbands.com/QuietRiotInterview.html)

    In a 2007 interview, DuBrow states:

    FIB MUSIC: I have read a lot of great comments about REHAB.....

    Kevin: People really like it....the people who understand it, really like it. If you are expecting Metal Health Part II, you won't get it and you won't like it. There are hardly any background vocals, I mean, it's very similar to a 70's record in that way...it's very retro. It's not super dry, but it's not super wet in the echo either. It's like the records I grew up listening to, Humble Pie, Led Zeppelin, Spooky Tooth, Free, bands from the 70's, retro bands. Our original roots were more towards glam, Bowie, Sweet, Slade, things like that. (http://www.fullinbloommusic.com/kevin_dubrow.html)

    Finally, in 2001, DuBrow answered questions from fans.

    Coral Gables, Florida: Were you guys big fans of Slade?

    Kevin DuBrow: We were not big fans of Slade although we respect what they did. I don't own any of their records. The reason we recorded the songs we did was that our producer felt there was some similarity between my voice and Slade's lead singer.
    (http://cgi1.usatoday.com/mchat/20010403006/tscript.htm)

    Another interesting note is Slade's influence on Quiet Riot dated back to the early 1970s, when Kevin DuBrow photographed Slade during their first Los Angeles appearances at the Whisky a Go Go.

    A change of story each time for the band who gave Quiet Riot there success.