Another Win

Written by Bernard Frost & Andrew Miller, both of whom were heavily involved with Status Quo. Bernie Frost is a singer and guitarist who has worked with Status Quo since 1972, when he co-wrote 'A Year' on the Piledriver album, and has recorded with Francis Rossi. Andy 'Pugwash' Miller was the sound engineer on Status Quo's 1974 Quo album. He also co-wrote with Quo but engineered on Slade's Return To Base, We'll Bring The House Down and Till Deaf Do Us Part albums in the early 80's.Frost co-wrote Marguerita Time which bassist, Alan Lancaster, disliked and when Quo appeared on BBC's Top of the Pops to mime to the single, his place was taken by Jim Lea of Slade.

This may or may not be relevant but suggests that Slade and Quo were socialising, possibly collaborating, during this period? 

Another Win was recorded by both Slade and Status Quo around 1979 neither of which were released.

Slade Supporters Club Newsletter
May - June 1981
"Did you know that:- Slade have another piece of unreleased material in their catalogue. It was a 'different' type of number that was written by Slade's engineer Andy Miller. He persuaded the band to record it at Portland while they were laying down tracks for 'Return To Base' album. Although the song turned out fine it has never appeared on vinyl - not even as a B-side,"

The Slade track has remained unheard until now, originally in bits made available in an effort to procure a sale when the master tape was offered for purchase to various people around 2009. 

"...I still have the original Slade 1/4" master of 'Another Win". I've been dealing with Slade's management but they don't want to buy it from me. I co-wrote the song which has never been released...."

Later, in late summer 2011, Harry Neames made the full song available via Eamon Jurdzis who passed it to Dave Graham on the Slade In England site and it finally got heard by the groups loyal following. It's a shame they never bought it as it would have made a good bonus track for the recent Salvo remastered catalogue. It's reminiscent of 'Nutbush City Limits' and it works well. It was probably the inspiration for 'Funk, Punk & Junk'.

To Download the audio, with the speed corrected, click on here.

I look forward to, hopefully, one day hearing the groups 1991 unreleased recording of Aretha Franklin's 'Respect' and another unknown track called 'Love Is..'?

A massive thank you to Dave Graham at Slade In England for getting this full copy out here for the great unwashed to wrap our ears around. Nice to hear Noddy Holder singing a new Slade song. Major respect to Harry Neames, Eamon Jurdzis and The Historian. Thanks to AJ for the lyrics.

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Another Win
(Bernie Frost & Andy Miller)


Yeah, yeah

So go on and tell me what you think
It’s so hard for you to see
I get out the house just once a week
When I do its you and me

Lying on the floor of a rented room
Staying up and staying in
Holding on longer than another man
Cause I’m looking for another win

Hey, hey, yeah

I was washed up to my full extent
Couldn’t move cause I’d been used
I was loving her on shaky legs
And I felt like I was bruised

Lying on the floor of a rented room
Staying up and staying in
Holding on longer than another man
Cause I’m looking for another win

Had a lot of loving
More than I can take
A lot of loving
More than I can give
A lot of loving
Good good loving

Had a lot of loving
More than I can take
A lot of loving
More than I can give
A lot of loving
Good good loving

Good good loving
Good loving

Now come on and help me to my feet
I can go anywhere with you
Cause I’m up and about and I’m on the street
And you know where leading to

Lying on the floor of a rented room
Staying up and staying in
Holding on longer than another man
Cause I’m looking for another

Lying on the floor of a rented room
Staying up and staying in
Holding on longer than another man
Cause I’m looking for another win
For another win, yeah I’m looking out

Randwick Racecourse 1973

Sydney, Australia, 28th January 1973

Slade
Status Quo
Caravan
and special guests
Lindisfarne

27th January - Te Rapa, Hamilton Racecourse,(NZ)
28th January – Sydney, Randwick Racecourse
29th January – Brisbane, Lang Park Oval
31st  January – Perth, Subiaco Oval
03rd February – Adelaide, Wayville Showgrounds
04th February – Melbourne, Showgrounds

Support acts:

Sydney - Blackfeather 

Melbourne - Buffalo

---

Australia, January 28th, 1973

RANDWICK RACECOURSE
Alison Road, Randwick, Sydney

Located 5km from the city centre, Randwick is Australia's largest racecourse. Like the Hordern Pavilion, Randwick Racecourse was pressed into use as a concert venue after the demolition of the Sydney Stadium in 1970. The Hordern was Sydney's main indoor venue throughout the '70s but its relatively modest capacity (5,300) precluded its use by many 'big-name' acts. Slade would play there in 1974 on their second Australian Tour.

In the 1960s large outdoor concerts were unusual, concert amplification for rock music was still in its infancy and the PA systems available to The Beatles in 1965 were hopelessly inadequate (100 watts) when ranged against combined lungpower of 60,000 screaming teenagers. The invention of the Slave Amp (1966) followed by the ground-breaking sound system put together by audio engineer Alan Markoff for the Woodstock Festival, changed everything. Woodstock proved that rock music could attract audience of wholly unprecedented sizes, and in so doing it ushered in the so-called 'Stadium Era'. By the early '70s, events started to use large and powerful mixing desks and PA systems, as well as huge and complex lighting rigs.

Due to Australia's relatively small population, there were no large American-style indoor arenas, so when major rock tours began visiting Australia in the early '70s promoters were obliged to stage the concerts in large outdoor venues like Randwick Racecourse and the RAS Showground in Sydney. The shortcomings of this practice soon became obvious, poor acoustics and of course they were open to the elements.

Status Quo at Lang Park, Brisbane.
Photo by David Mulholland.

This tour was significant to Australia in several respects. It was the only visit by progressive rockers Caravan and folk-rockers Lindisfarne, the latter having had a minor Oz hit with Fog on the Tyne in 1971. The tour was the first of many for the bottom act on the bill, Status Quo. Their popularity would eventually eclipse that of Slade, and bassist Alan Lancaster eventually settled there after he left the band in the late 1980s.

For UK rock legends Slade, who were then at the height of their fame, it was also their first tour but they had three singles in the chart and their LP Slade Alive had been top of the album charts for the past six months. It was still #1 when they arrived on the 23rd January 1973. Stepping off of the plane (pissed) they were greeted by a crowd of press and tv crews sporting 'a wheelbarrow' full of Fosters lager. The crowds averaged around 30,000 plus for Slade at the Race Course venues.

In Sydney, the Jands sound system was severely tested by Slade, who were legendary for the punishing volume at which they played. According to the Jands website, Slade's sound man 'Charlie' (Ian Charles) Newnham, took one look at the mixing desk and declared

"I don't use the meters (or the other controls), just push all the faders to the top."

After the first show, Jands' crew wisely moved the DBX160 limiters away from the mixing desk, installed them backstage and set them to protect the PA system! Slade spent a fortune on shipping their own personal rig (800 watt WEM PA) to Australia (and Japan which followed directly on from the Australia tour) and all over the world. They eventually built a second rig for their American tours which stayed in the country.

"They probably used the WEM PA for indoor shows in the UK but they played outdoors in Australia and the PA we (Jands) supplied was quite a bit bigger. However I notice that for all the other acts you can see our floor monitors across the front of the stage. In the pictures of Slade there are no floor monitors but there are some stacks on the side which are not ours. They may have used their WEM PA as side monitors."
David Mulholland - Jands

As with New Zealand, in Sydney, the outdoor concert was marred by heavy rain, which began at midday and continued until evening, despite the fact that Melbourne was in the grip of a drought at the time.

"...60,000 people in the, pouring rain, it hadn't rained for 30 years. All the newspapers the next day were saying SLADE brought rain to Australia."
Don Powell: 17th December 2012

Because of this, the order of performance was changed with Caravan appearing first, then Lindisfarne, then Slade and finally Status Quo. Normally Slade, the head line act, would have appeared last. Noddy Holder claims in his book, Who's Crazee Now?, that Melbourne was the only gig on that tour that was dry. In fact, due to no canopy, Status Quo got sunburnt during their performance prior to Slade going on last. This was certainly not the case in Sydney as the announcer can clearly be heard telling the audience that Status Quo will be on soon.

"They played the older songs because we were a little behind them in England. We caught up with their act by the next tour in 1974. When Slade toured here in '73, Slade Alive! was at Number 1 on the charts.... the album Slayed knocked it from the Number 1 position."
Anthony Tigani - Concert attendee

In 1973, the monster that was Slade had taken on a life of its own. The band members were 'shooting the rapids' trying to influence where fame was dragging them but mostly 'just along for the ride'. Chas Chandler had the unenviable task of trying to hold onto the reigns of the beast. He spent 1969 & '70 polishing the group into a professional rock band but in '71 they took off with Get Down & Get With It and Chandler wasn't ready. Early '72 he was struggling to hold it back, unsure how to market them. Consider the difference between the singles Coz I Luv You & Look Wot You Dun, and the album Slade Alive! all released in the UK within a six month period? I think Chandler tried to hold back the tide until he could find the right niche for the band but the flood swept them into the sea of Glam Rock and Top Of The Pops.

At this time remember, the world was a large place and it was difficult to keep in touch with what was happening across the planet. It took Billboard magazine a month to report the news that the Australian Musicians Union forced Slade to feature local talent on their tour.

Billboard: 24th February 1973 
It was a particularly interesting time for the band because they were just starting to explode in the UK, on Top Of The Pops most weeks in progressively outlandish costumes. Although Australia loved the music, it was probably barely aware of the 'Glitter Rock' revolution on that small island where the Queen lived. This was the year that Ken Watts brought Michael Shrimpton over to Melbourne to take over the ABC entertainment unit. Late in 1974, they would start a series of 25-minute programs at 6.25 p.m. on Friday nights. Countdown would be born and Oz Pop would never be the same. Ian ‘Molly’ Meldrum had a huge influence in the 70s, 80s and 90s. The show introduced a lot of overseas bands to Australian audiences. Molly was in attendance on this tour (in Melbourne where he was abused by a drunken Buffalo) but at this time he was a representative of Go-Set music magazine.

In Sydney, the support was a local group called Blackfeather:

"Blackfeather were a great band (I had a couple of their records). Never realised they supported Slade! I bought the 45 of Boppin' The Blues when I was about 11. Great stuff indeed. I've actually met Neal Johns (vocalist) a couple of times over the years. They were a good local outfit though and I'll never forget them playing my school dance in the early 70's. AC/DC also played my school dance in their extremely early days, Bon Scott had been on board for about 4 months at that time!."
Steve Cross
Australia

Dave Hill's silver suit must have been a surprise?
Photo by David Mulholland

Back in January 1973 though, take a look at the sleeve on Slade Alive!... A simple bold red cover, no hints at all as to what the group looked like. Even the Coz I Luv You cover gave little away, all dark and moody (I suspect this was Chas keeping his options open again). Glam Rock was around but the crowds dressing like the band (the way they would a couple of years later for the Bay City Rollers) was definitely not happening. The Australian audience would have come expecting a proper Rock Concert and they would not have been disappointed. Gobsmacked maybe... but not disappointed?

The tour was, at least in part, in conjunction with Color Radio 4 IP although it was not broadcast. 4 IP was a popular AM rock station (FM broadcasting wouldn’t arrive in Australia until around 1975) who would have provided inexpensive (or even free) promotion for the concert. In return they would have got their logo on the ads, posters, etc. and a banner on the stage as you can see in the Brisbane, Lang Park shots by David Mulholland.

This recording reveals some interesting comments from Noddy Holder, several times he says

"We want to thank you all for waiting for us in the rain, you been great"

and the alcohol has obviously been available because his language is more naughty than usual. He was always near the mark' with his comments but during Darling Be Home Soon he says:

"I can't hear fuck all?"

...and he later says

"Somebody just hit me with something and it hit me right on the cock!"

...which had already earned him a backstage visit from the police in the UK. Just as well that wasn't broadcast on the Queensland airwaves? After Darling Be Home Soon he asks

"Can we get it up any louder?"

...this time in reference to the PA. and before Coz I Luv You...

"We usually get everybody to stamp their feet but it won't make no noise on the grass?"

At the end of the song he shouts...

"Oi, Oi, Oi! Hang On? All the security fellas, all the security fellas down the front, we don't want any rough stuff...."

...in a bit of a panic, asking if the people involved are OK afterwards. The crowd barriers were inadequate at the time and security would be swamped with people trying to climb over them. Another part of the learning curve. It sounds as though they got a bit heavy handed and Noddy would make a habit of getting vocal about these occurrences which would eventually earn him a broken nose in 1978.

Particularly interesting from an sound system point of view, is the beginning of Get Down & Get With It, where Holder's voice causes the PA to squeal with feedback. There is some footage of this event which was broadcast on Australian TV and is remembered well by one of Oz's finest, Steve Cross.

• Hear Me Calling
• Look Wot You Dun
• Move Over
• Gudbuy T'Jane
• Darling Be Home Soon
• Keep On Rockin'
• Lady Be Good
• Coz I Luv You
• Take Me Bak 'Ome
• Get Down & Get With It
• Mama Weer All Crazee Now

The Download Link is here: Download
Filename: Slade Archive 08.rar Filesize: 114.82 MB

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At least 50% of this text was bastardised from the excellent Milesago site and the JPS site. Milesago has some great info on late 60's & 70's Australasian music. Jands Production Services deal with live entertainment, sound and lighting. Both have comprehensive and interesting history pages worth reading. I would like to pledge my undying love to David Mulholland, without whom, this would have been a far less interesting post. Many thanks for the photos and the info. As to the Banjo poem, don't take it as political, the reference in my mind was to Slade. Not so much a British Band as a Global Band, enjoy!

***NEWSFLASH***
Scott Samuels has now re-qued this recording.

Te Rapa Racecourse

Hamilton, New Zealand, January 27th, 1973

Racing began in Hamilton back in January 1866. The Waikato Jockey Club was formed in 1870, and it took 45 years of discussion and argument before it was agreed that the Club's title should become 'the Hamilton Racing Club.' The Te Rapa site annually provides 20 racedays on the track, generating a total on and off course betting turnover of approximately $40m per season.  The Club is the flagship of the "Kentucky of New Zealand" Waikato region which contains the largest number of studs, horses and licensed personnel in what is regarded as the thoroughbred nursery of our country.

In January 1973, The Great Ngaruawahia Music Festival became the first large outdoor music festival in New Zealand. It was held on a farm at Ngaruawahia on the Waikato River, 19 kilometres north-west of Hamilton, for three days from 6th to 8th.

It featured UK bands Black Sabbath and Fairport Convention and a host of Kiwi artists. During their set, Sabbath burned a cross on a hill, asking the crowd to hold their burning lighters in the air. Their guitarist also used somebody else's amp (unauthorised) and blew it up. New Zealand eccentric, Corben Simpson filled the headlines after he removed all his clothes on stage, it was reported nation-wide for the next few days.

Hamilton Times: Tuesday 23rd January 1973

Auckland's Hamilton Times then ran an ad announcing the next festival which would be featuring Slade (Britain's Hottest Rock Act).

In Sydney, Australia, the Sunday Herald announced the next onslaught. The First New Zealand International Rock Festival was to be held at Te Rapa at the racecourse in Hamilton.

Sunday Herald, 21 January 1973 p 37

A CERT. TO SET TONE

By Robin Slade

"Having successfully negotiated The Great Ngaruawahia Music Festival we travel a little further south on Saturday to the Te Rapa racecourse and what is billed as 'The First New Zealand International Rock Festival.'

Presented by Force One International Ltd. a newly formed Hamilton company, the Festival has imported such names as Slade, Status Quo, Lindisfarne, Caravan and Blackfeather to perform, in the words of the company, "a curtain raiser for a gigantic entertainment revolution in this country."

While these names will probably raise no more than a sigh of overwhelming indifference in a great majority of the populace, they are nonetheless (especially Slade and Status Quo) names which have used up many miles of printers ink overseas.

Much of this ink has been used to spell out such words as "vulgar," "rude" and "lewd" and it's my bet that if Ngaruawahia achieved a certain amount of sideline notoriety for its on-and-off-stage nudity, Te Rapa could achieve much the same for obscenity.

Kid Gloves

Slade in particular, has a well-travelled reputation for liberally peppering their act with what is known as "obscene language" and have been heard to address the female members of the audience in a rather coarse manner when exhorting them to sing more loudly.

With Dr. Germaine Greer out of earshot, the thought of legal implications arises.

Indications from the police department in Auckland - a force of some 25 men will travel to Te Rapa to compliment the Hamilton police - are that the accent will be on the kid glove rather than the putting-a-sock-in-it approach.

"We'll take things very much as they come." said a police spokesman, "and providing the language isn't too bad, we'll probably let things go on, unless too many people start getting offended."

The police do not have to wait for a complaint before acting when language classified as obscene is used in a public place.

The organisers of the festival follows closely along the lines of its predecessor with security men at the checkpoints and supervising crowd control, offsite parking, medical facilities available, a prohibition on glassware and so on.

With music and security under control, it is fair to bet that Slade and Status Quo will be the favourites at Te Rapa next Saturday and that there is no chance of any outsiders getting in.

The only even money bet is fair weather. 

FESTIVAL GROUPS:
Slade (above) and Status Quo (below), who are to star at the First New Zealand International Rock Festival.

OK, so those betting on the fair weather were surprised to lose their money when the heavens opened and a deluge spoilt the day. Unfortunately, the promoters had gambled on the fair weather bet too. They hadn't bothered to cover the stage area and the performance area was open to the elements. Australian rock band, Black Fetoather, who were first to play, refused to perform until the stage was covered. The audience were left with a DJ supplying them with records, I assume his turntables were under cover somewhere. Some three hours later, the promoters finally got a tarpaulin over the structure and the festival began.

"I think it was Don that told me about this gig. The Slade roadies had to literally build the stage from nothing - it was made of crates and timber and was really low. To stop fans getting on stage the promoter had to employ an array of weird "bouncers" to stand in front of the stage and stop the crowd climbing up on it."

Dave Kemp

"Its all a bit hazy, it rained hard which messed things up. Some of the organization was a bit amateurish, the organizers rigged up a plastic tarp over the stage which was mildly effective. In fact that weekend I was on the way to the beach for a surf for a few days after the music so I had my wetsuit in the car. For the time when it rained really hard I put the wetsuit on and walked around the festival in the rain no problem. In fact I got heaps of comments about what a good idea it was."

Lloyd Godman: April 2010 

Hamilton Times: Monday 29th January 1973

Arrest made at festival 

"Only one arrest was made at the Te Rapa rock festival on Saturday, Hamilton police said today. 

A man was arrested on a drunkenness charge, but apart from this there were no major incidents, police said. 

Pouring rain spelled disaster for the festival, which started more than three hours late and lost, according to the promoters, up to $25.000. 

Many of the 5000 who arrived early in the morning spent their "free time" drinking beer from dozens of cars, and uniformed private security men were involved in several scuffles."

"WHY ARE WE WAITING? 
The only music heard at the Te Rapa rock festival before 11 a.m. today was from a mobile discotheque."

Rock festival 

'financial flop' 

"New Zealand's first International rock festival is a financial disaster, according to promoters. 

Only about 7000 of the expected 20,000 rock fans turned up to hear a top line of overseas rock groups at Te Rapa today.  

The exact number of people who attended the festival will not be known till Tuesday. 

Managing director at Force One International Ltd, Mr Nick Adrian, today said he would never promote a rock festival in New Zealand again.  

The tour, which Includes Australia, cost more than $300,000 to stage:
A total of $60,000 was spent on today's festival, and according to Mr Adrian, the company will not break even.
Up to 10,000 people would have to pass through the ticket boxes at Te Rapa racecourse before the company would break even. Mr Adrian said. 

He attributed the failure to bad weather and apathy on the part of New Zealand rock fans.  

Because of a continual drizzle early today the first band to appear, the AustraaIian group Black Feather. was three hours late and did not start playing till 12.30 p.m.  

OPEN STAGE 

The bands were to play on an open air stage and refused to play till a tarpaulin was erected overhead.
Each group was conntracted to play for an hour and the music was expected to finish about 5.30 p.m.
Mr Adrian said, dollar for dollar, those fans who did show up at today's festival, got their money's worth.  

"Where else could you listen to top rock groups play for five hours non-stop, with no support groups?"  

The five bands are due to leave for Melbourne tomorrow."

A bit harsh on the groups, I think. Drizzle, I don't think so?

"By the time Slade were on stage - the weather had cleared up, even a little sun- blue sky and the organizers partially ripped the cover off so there were wires running across the stage above them where the cover had been supported. I remember that despite the conditions and the dampened state of the crowd, Slade managed to interact with the audience and build a powerful energy. They really had them rockin' from early on and kept building on this. The set was arranged so this energy built up and up and pulled the audience in, so the final number was a real crescendo and a highlight of the festival."

Lloyd Godman: April 2010 

So another grand slam for Slade, playing with the odds stacked against them. No mention of Quo's performance. It seems to have been a washout down under, I wonder if it poured down in Japan too?

Interestingly, Lloyd's photo has Dave playing left-handed. Fortunately, my editor pointed this out and the revised post has been corrected leaving Lloyd Godman mirrored instead.

"In terms of photographs, the stage was positioned so the light and sun was behind the band and it was difficult to photograph with the backlighting."Lloyd Godman: April 2010 

And that's possibly why there are no photo's of Noddy but in the grand scheme of things, that ain't so tragic.

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My thanks for the use of the photographs © Lloyd Godman @ SOUNDZ, who is a genuinely nice fellow. A very big thank you to Susy at Hamilton Archives who did the research for nothing and Chris Selby who, as always, came up with the goods again.

Rude But A Riot

New Musical Express May 20th, 1972

The paper ran this review of Slade's May 14th gig at the Civic Hall, Guildford with Status Quo in support. Reading this article, you could be forgiven for thinking Slade were the support band, such is NME's reluctance to praise the band. In little more than a week they would take the Lincoln Festival by storm and opinions would begin to change. 

SLADE/QUO

Whoever thought of putting Slade and Status Quo on the same bill must need his brains examining. True, both bands are very talented - but nothing is more guaranteed to start a riot than a combination of both.

Needless to say, so far the tour has been a tremendous success - Status Quo drawing in the heads and older ravers, and Slade bringing in the young boppers.

I wonder if the organisers of the hall at Guildford last Sunday knew what they were letting themselves in for. They'd obviously employed numerous jobsworthys who, during the early stages of Status Quo's act, were urging everybody to sit down.

Still Status won through - as one might expect. Mike Rossi, looking like an arch type rocker, denim jeans rolled up at the bottom and high heeled black leather boots, is the one who controls the audience and encourages them to let rip.

Certainly the band work bard. The first number "Juniors Wailing” set the audience off but it was their third number “In My Chair", perhaps one the audience were more familiar with, that really got them at it. Status have improved 200% on the last time I’d seen them, some eighteen months ago and it is hard to recognise them as the band who four years back were coming out with teeny singles.

Their best number is the one they close with, "Is It Really Me", simple and with a very basic sound, tailor-made for those who want to get up and freak. By this time in the proceedings, the jobsworthies who bad previously been loitering with intent, had either given up or been stampeded underfoot.

This is the band’s best number in that they seem to be able to wield a lot of control over the audience, building them up to a frenzy and slowly letting them down again. Certainly they make the audience work hard.

Slade are a band who never fail to excite the coolest of crowds and Sunday was no exception. Lewd, rude, loud and very proud, they even have a professional way of being vulgar.

An excellent PA and a capacity hall provided a perfect setting and the first number "Hear Me Callin'" had the majority of the audience crammed up against the stage. Holder is the one who controls everyone with his million watt voice. Looking like a character out of Andy Capp land, he prances around the stage. Dave Hill, looking like a reject from Apollo, scatters those at the front with silver dust. Even Jimmy Lea who, until recently, had been the quiter one of the group, has come to the fore and one of the highlights of their Sunday act was violinist Lea giving his rendition of "Sweet Georgia Brown".

One of the things that draws an audience to Slade, and sets them apart from other bands, is Holder's ability to talk to the audience in a way that is harmless enough but by innuendo is exceedingly rude. I wonder if they overstepped the mark on Sunday, Holder telling the fellers "if you want to take your trousers off do" and then adding "if any young ladies fancy taking their knickers off, that's OK too."

At one particular point in the set, where they get the audience participating with the "Yeah" bits, Holder tells the ladies in the audience they are not singing loud enough, asks them to have another go and adds "Open your legs a bit wider".

Still, rude remarks apart, Slade are a musically excellent band. Apart from the rockers "Keep On Rocking" and "Look Wot You Dun", there was John Sebastian's "Darling Be Home Soon", which always goes down well for them. And their new single released this month "Take Me Back 'ome" is another stomper that had the whole hall bopping.

Closing number was "Born To Be Wild" - and that just about sums up Slade. Wild and outrageous they certainly are - and entertaining too. Rock on. - JULIE WEBB.

The previous week Noddy was visited by the local constabulary at their Green's Playhouse (later Glasgow Appllo) gig on 11th May. The complaint here was that he had used 'the F word' on stage and the audience was mainly young teenagers. The NME ran this in the same edition a few pages earlier, I believe that they were doing their best to make it as negative as they could.

Noddy Holder on

'obscene' charge

Slade lead singer Noddy Holder was charged in Glasgow last Thursday with using obscene language during the group's act at Green's Playhouse. The charge was made shortly after the group had left the stage. Manager Chas Chandler commented: "Naturally we shall deny the charge and Noddy will plead not guilty." Holder informed the NME that, when cautioned and asked if he had anything to say, he replied: "It's a load of old ****."

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