From Roots To Boots: The Slade Story

Showing posts with label Glam. 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

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.

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!)

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. ;-)

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.

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Glam Metal

1980

For many, nothing was more exciting than the explosion of glam metal in the 1980s. Glam metal reached mainstream popularity by 1983 although it had been around since the late 1970s. Just short of a whole decade, glam rock was back in a new form, described as combining the flamboyant look of glam rock and playing a power-chord-based heavy metal musical style.

Slade were the most successful glam rock group, by far, in the United Kingdom during the 1970s. A total of 17 top 20 hits, 13 top 10 hits and 6 chart toppers ensured Slade's top rank of the period. Once Glam Rock died, it took a few years for glam to once again make a mark, this time on American soil.

By this point Slade had got back on solid ground after years of performing in small clubs around the UK since the punk uprising.

The first part of the true glam metal explosion was down to Quiet Riot or more so their producer Spencer Proffer who believed lead vocalist Kevin DuBrow sounded a little like Noddy Holder. This led to Proffer getting the band to record Slade's UK chart topper Cum On Feel The Noize. The classic Slade track helped make Quiet Riot's Metal Health album (dedicated to the memory of Randy Rhoads) a number-one hit in the US. The song's success drew huge nationwide attention. Metal Health, released state-side in March 1983, with the help of the popular lead off single (...Noize) sold more than 6 million copies. It could be argued that without Slade, Quiet Riot would never have made it. Two albums were released before Metal Health, although only in Japan.

But it wasn't just Quiet Riot that the song helped, it was the entire glam metal scene. Metal Health is said to have paved the way for a new, stronger commercial viability for heavy metal. Before this explosion, glam metal bands were already releasing albums to only small success.

Mötley Crüe (amidst rumours of being pre-fabricated) released their debut in 1982 which only peaked at #77. Their next album Shout At The Devil, which came, September 26th 1983, a few months after Metal Health, peaked at #17. Nikki Sixx of Mötley Crüe stated:

"Slade was pretty much the only thing metal about glam rock in the 70s."

Twisted Sister released their debut Under The Blade in 1982 which peaked at #125, their 1984 album Stay Hungry peaked at #15. KISS were suffering by 1981 when their album Music From "The Elder" only peaked at #75, unusual since they became popular in 1975. Their follow up in 1982 titled Creatures of The Night only hit #45. By 1983, the album Lick It Up came out, again months after Metal Health and peaked at#24. The next 3 Kiss albums also peaked in the top 20.

With this evidence, Metal Health started glam metal's 15 minutes of fame. Allmusic cites numerous bands that were heavily influenced by Slade, many from the glam metal background. Bands such as Kiss, Poison, Mötley Crüe, Wonderboy, Lizzie Grey, Hanoi Rocks, Queen, Quiet Riot, Orbit, Holy Ghost Revival, Kirka, Condo Fucks, Hot Leg, Def Leppard, Mozart, Dokken, Noel Gallagher, Rose Tattoo, The Clash and The New Electrics.

Although Twisted Sister isn't listed, an interesting observation was comparing Slade's final studio album You Boyz Make Big Noize with Twisted Sister's final studio album Love Is For Suckers. Both were released in 1987, Boyz in April and Suckers in August. Twisted Sister's songwriter and lead vocalist Dee Snider makes numerous lines relating to Slade. Firstly, both albums have the same titled track Me and The Boys, although both are different. Secondly, in Twisted Sister's Me and The Boys, there is a particular line: "me and the boys, we make a big noise". The closing track titled Yeah Right has the line: "so stomp your hands and clap your feet". This line is clearly from Slade's 1974 album Old New Borrowed and Blue which was retitled "Stomp Your Hands, Clap Your Feet" in America.

Alice Cooper once stated:

"Slade was the coolest band in England. They were the kind of guys that would push your car out of a ditch."

High praise I'm sure from the Coop but I think we know what he means? Kiss, on the other hand, were more likely to push your tour bus into the ditch and set the thing on fire. Kiss were selling platinum albums by the late 70's but Simmons and Stanley sacked the original drummer Peter Criss and lead guitarist Ace Freahley which lost them a lot of fans. Kiss member's Gene Simmons and Paul Stanley stated Slade as a clear influence. They also stated they simply took the Slade sound and took it to the farthest extreme.

To add to that there are a further two quotes from Simmons:

"Slade was certainly our greatest influence; not only in the crafting of rock songs but also as performers. Before Slade, no one really knew shit about how to make an audience riot. We really got off on that. There would probably never have been us without them and when I look at the greatest hits section by Sweet, or Slade, or any other of my favourite bands, there are TONS of compilation records."

(Interview, Utopia Records website.)

David Coverdale (Whitesnake) spoke of Slade in an interview:

"...whatever happened to bands that rocked liked Slade? Y'know, that no-bullshit, fuck you, in your face, we're bad-as-hell-and-we-know-it kind of band?"

Even when grunge became popular and glam metal died, Slade were still respected.

"...absolutely. Slade! A band that would never bend over."

Kurt Cobain: Nirvana

By the time glam metal exploded, Slade began being shown interest by American labels. Just Slade. No other glam rock bands but Slade. This proved to be a success as Slade scored their first hit in America shortly after with Run Runaway, peaking at #20 whilst the follow up My Oh My peaked at #37. Slade would eventually begin to tour with Ozzy Osbourne around this time until Jim Lea fell ill to Hepatitis and so the tour was cancelled.

Despite the large amount of evidence, Slade are not mentioned when it comes down to this musical event. Who knows if glam metal would have fully surfaced without Quiet Riot's cover of a Slade track? Regardless, there is no doubt that the most successful glam metal bands were influenced by the "God's of glam rock".

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We'll Bring The House Down 1981

UK, 23rd January, 1981
Cheapskate Records - CHEAP 16

Slade were back in the UK Top Ten again with their new single, and Tommy Vance announced the band, upon their triumphant return to Top Of The Pops as "The Slade"!

UK Picture Cover of "We'll Bring The House Down".

This record would become the lead single from the band's forthcoming ninth Studio Album (of the same name), and, as well as peaking at Number 10 in the UK Singles Charts, it remained in the charts for nine weeks.

In Germany, the single was released with a different B-Side to the UK Release:-
Cheapskate - ZB 5358

German Picture Cover of "We'll Bring The House Down" - Cheapskate - 1981.

( There also exists an unreleased track, We'll Bring The House Down (Dance Mix) ! )

Rock 'N' Roll Bolero

UK, 6th October, 1978
Barn Records - 2014 127

This was a change in direction for the band, merging a bolero with rock and roll (and it worked!), but again, despite radio airplay, the single failed to chart in the UK. It was a highly valued release amongst fans for its excellent B-side, 'It's Alright Buy Me', unavailable elsewhere until 2007, 'B-Sides' compilation was released.

German Picture Cover of "Rock 'N' Roll Bolero".

B-Side Track mispelled on Rear Cover...

Belgium - Barn - 1978.

St. Paul Civic Centre, MN, USA

Minnesota, USA, 11th June, 1976
Recorded Live At Saint Paul's Civic Center, Minnesota, U.S.A.

1. Introduction
2. Hear Me Calling
3. Get On Up
4. Gudbye T' Jane
5. How Does It Feel
6. Just Want A Little Bit - Guitar Solo
7. Them Kinda Monkeys Can't Swing
8. Get Down And Get With It
9. Mama Weer All Crazee Now

The Download Link is here: Download.

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Nobody's Fool

UK, April 9th, 1976

Polydor Records - 2058-716

"The album was released to tie in with their 10th anniversary, so they adopted the positions, as per the cover of Play it loud. They've said that was deliberate at the time and since."

Ian Edmundson - Slade Archive Forum

German Picture Cover of "Nobody's Fool".

A third and final single to be released from the band's sixth Studio Album, "Nobody's Fools". The title track, "Nobody's Fool", only reached Number 53 in the UK BMRB Singles Charts, at a time when only the Top 50 were classified as "hits".

Record Mirror, 10th April, 1976

"SLADE: 'Nobody's Fool' (Polydor 2058 716)
Title track from their latest album, and released to coincide with Slade's celebrations of 10 years in the business, this is one of the best singles Slade have released for ages. Very catchy, from the first hearing. Bright and bouncy, and Slade at their best. Instant hit."

Boy, did they get that wrong in the Record Mirror? But who would have predicted that the single actually wouldn't chart, after such a long run of 17 consecutive hit singles in succession. I think "from the first hearing" is the important part of this review. You had to hear it to like it and nobody did because it got no airplay. Why? It's still a mystery to me!

My thanks to Dave Kemp and his excellent Slade Scrapbook website, for reprinting this long-forgotten review!

Belgium - Polydor - 1976.

It's worth mentioning that the 7" single is not the 4:30 album version. The single clocks in about a minute shorter. Some 7" labels call it 'Nobody's Fool (Edit)' but I believe it's actually a different recording with longer bar counts.

USA, April, 1976, - 7", Vinyl, Single.
Warner Brothers - WBS 8185.

Nobody's Fool (Edit) [MONO] / Nobody's Fool (Edit) [STEREO] :-

Promo. Only 7" Vinyl Single.

USA, April, 1976, - 7", Vinyl, Single.
Warner Brothers - WBS 8185.

Nobody's Fool (Edit) / When The Chips Are Down :-

(Different B-Side to the U.K. Release!)

Nobody's Fools

UK, 5th March, 1976 - LP
Polydor Records - 2383- 377

Nobody's Fools is the sixth studio album by the British rock group Slade. It was released in March 1976 and reached position No. 14 in the UK. The album was produced by Chas Chandler.