SLADE

Dave Hill and Don Powell play in the Wolverhampton, England band THE VENDORS around Wolverhampton and the Midlands. They do not record commercially but record a 4 song demo EP.They played cover versions of popular hits and taped a demo containing songs by established acts such as The Shadows, The Swinging Blue Jeans and The Platters. The demo also included a track called "Take your time" written by themselves. The tape was pressed onto vinyl but due to a shortage of money they could only afford to have 12 copies made.

1965

THE VENDORS become THE N'BETWEENS and record under their new name. The results are released in France on the Barclay label. Meanwhile, At a concert in the City Hall at Wolverhampton they meet a band called "Steve Brett & the Mavericks". The guitarist of this group is Noddy Holder who also does backing vocals for the group. Don Powell likes Noddy's voice from the first moment of hearing it. Noddy Holer is performing as guitarist and vocalist for Columbia recording artist STEVE BRETT.

1966

Noddy Holder leaves STEVE BRETT's band and becomes road manager for a band called LISTEN (which features ROBERT PLANT on vocals). He meets multi-intrsumentalist JIM LEA and develops a drinking-friendship. The two discuss forming a band as Dave Hill and Don Powell freqeuent LISTEN gigs.

By November, Holder, Lea, Hill and Powell have joined forces as the next version of the THE N'BETWEENS. They begin auditioning vocalists.

ROBERT PLANT is considered the forerunner for the vocal spot. However, the band is offered a high paying spot previous to having chosen a new singer. At the last minute, Noddy Holder takes over the vocal chores. The response to Noddy's raspy, soulful vocal chords is phenomenal. Mr. Plant is handed his pink slip and the future SLADE line-up is born. (Rob would, of course, go on to wonderful success as vocalist for LED ZEPPELIN, so we needn't feel sorry at this point. - ED)

With Noddy on vocals, The N'BETWEENS record "You Better Run" for Columbia Records. It is the group's last recording under this name.(a US hit for the "Young Rascals"). The single is a minor hit in their home area but does not make any impression in the UK charts..

1969

After playing mostly covers (Motown, Beatles, Stax and ska) on the Midlands club circuit, the band moves to London. In 1969 they do a session for Jack Beaverstock of Philips who then offers them a record deal. Their agreement includes a clause that the band moves to London and change their name. The "N'Betweens" become "Ambrose Slade". They change their name to AMBROSE SLADE and are soon spotted by CHAS CHANDLER (ex-Animals bassist and then-manager of JIMI HENDRIX). He signs the group immediately to a contract and decides to capitalize on the group's "skinhead" following (it should be noted here - that this is refering to the "original SKINHEAD cult of the UK", a very peaceful lot and in no way affiliated with the neo-fascist skinheads more familiar in today's headlines. SLADE was not ever affiliated with such a prejudice and ignorant crowd, thanxs very much. Skinheads back in the early 70s were listening to reggae and ska, smoking bongs and had no intentions of spawning ANYTHING related to the swastika....they liked to party - but WERE NOT into violence of any kind - ED)

Slade releases "Beginnings" (titled "Ballzy" in America) to no avail. Audiences are aparently not ready for an act dressed in boots, braces, and with short, cropped hair.

1970

The band shortens it's name to SLADE and releases the excellent, rowdy singles, "Wild Winds Are Blowing" and "Shapes Of Things To Come". They are unsuccessful for the moment. In the 1990s, however, they will prove to be great catalysts for the "alternative" movement within rock music as artists such as Kurt Cobain take cues from the band. This strategy brings the name of Slade to the headlines for the first time and the sales figures start to grow. Chas decides to sign Slade to Polydor and they record the album "Play it loud". The album does not make it into the charts.

1971

Chas Chandler insists that the band record "Get Down And Get WIth It" (a longtime live favorite) and SLADE conceeds. It is their breakthrough single...reaching #16 on the UK singles chart. Encouraged by this success the band decide to let their hair grow and to begin dressing in very bright and outrageous outfits. The age of Glam rock was dawning and Slade were leading the way..

In November - the band's follow-up single, the sarcastic "Coz I Luv You" tops the European charts for four weeks. It is the first of 6 chart topping singles and a 5 year run of top 20 hit singles - all written by Noddy Holder (lyrics) and Jim Lea (music). It also launches the band's distinctive trademark of mis-spellings of song titles. This sparks a controversy within the British school system (SLADE is deemed as "unhealthy for the educational good of Britain")

1972

In April, SLADE releases "SLADE ALIVE!". This album will set the precedence for live recordings for years to come. KISS will mimic its format later in the decade. BRUCE SPRINGSTEEN will attempt to capture the same "live presence" as SLADE ALIVE throughout his reign as hira live artist. It will cause many performers to reconsider their stage presence. Much later, ROLLING STONE magazine will name SLADE ALIVE as one of the Top Five Best Live Recordings of All Time. With good reason. The record climbed to UK #2 and stayed there for over a YEAR! "SLADE ALIVE showcases a pub band, who at first, can't catch a break from it's audience...but by the last track leaves them shouting; no, begging, for more." = Mark Thompson, The Aesthetic

In May, SLADE begins it's first major headlining tour - supported by STATUS QUO.

In the meantime, the band tops the European charts with "Take Me Bak 'Ome" and "Mama Weer All Crazee Now".

A preview from the band's up-coming album, "Gudbuy T' Jane" reaches European #2 behind Chuck Berry's "My Ding A Ling"

1973

"Slayed?" tops the European charts for 3 weeks as "Mama Weer All Crazee Now" continues to dominate the top of the UK singles chart.

Years in retrospective, NME (New Musical Express - the UK equivilent of Rolling Stone Stateside) would proclaim "SLAYED?" as "one of the greatest rock and roll releases forever". Buy it if you ain't got it.

In March, "Cum On Feel The Noize" tops the European chart for 4 weeks - confirming SLADE with the most successful run of hit singles achieved by a group in the "post Beatles era".

In June, "Skweeze Me, Pleeze Me" (a track recorded as a joke by the band - and subsequently disowned) tops the European charts. (The song had been recorded as a lark - SLADE found themselves making fun of their success. It was accidentally turned into the record label according to legend and became a HUGE hit. This is subject to debate. Did SLADE succomb to TOTAL pop CRAP or did they "accidentally" realease this song? Who the hell knows. Who the hell cares? -ED)

The 4 of JULY drummer DON POWELL is seriously injured in a car crash, in which his girlfriend Angela Morris is killed. Don himself falls into a deep coma. Don recovers physically but his memory is badly damaged and still troubles him to this day. During this time Slade play their only ever gig without the original line up as Frank Lea (Jims brother) plays drums for them at a concert on the Isle of Man.

IN THE INTERIM, a compilation of SLADE's greatest hits thus far, "SLADEST", is issued. It tops the European charts for 3 weeks.

In December - the band releases the seasonal "MERRY Xmas EVERYBODY". The track was recorded the previous year in New York while on tour. It now tops the European Chart for 5 weeks. After selling over a quarter million copies in its first day of release, it becomes SLADE's biggest single - selling quadra-million in Europe (it re-charts every Christmas from 1981 - 1994)

1974

Drummer Don Powell is fit again and a new album is issued. "Old, New, Borrowed and Blue" is SLADE's third consecutive European chart topper. It is a terrible sell-out. Instead of the band's infamous anthems of decadence and alcohol - fans have found tracks of almost pop eloquence. Are SLADE taking themselves too seriously? Or is this an "easy way to pass the time" as they heal from sudden popular super-stardom?

Consdiering the band's current situation (Don's recovery), however, all can be taken in stride.

The record is released in the States as "Stomp Your Hands/Clap Your Feet". It's raucous title leaves many Americans confused. This is the band "tearing up clubs in Europe?" This is the group "causing riots throughout England?" Stateside listeners disregard SLADE immediately. This album will plague SLADE forever in America.

With good reason. This IS NOT the SLADE era one should be introduced to. In America, SLADE is practically a joke. In Europe - SLADE is HUGE. Go figure.

Regardless, SLADE begins work on a film.

Tasters from the band's upcoming film begin to climb the European charts. "The Bangin' Man" (which is banned on some European radio stations due to it's sexual inneundo) reaches #3 in Europe and the hymnal "Far Far Away" tops the European chart. Both singles show SLADE firmly back in place; shedding the "cheesy" quality of "Old, New Borrowed And Blue" for a much more sophisticated direction. The band is truly growing at this point.

The soundtrack and film are released later in the year. The film is dark, almost "film noir" and surprises many fans. "FLAME" is certainly not the Beatlesque movie many had expected. It is, instead, somewhat serious and bleak - and features very impressive acting debuts from the group. In the 1990s, "FLAME" is regarded as one of the more intriguing "rock films".

The movie, however, does begin to distance the band from much of it's core following (until now - that following had consisted primarily of teenagers). The band, nevertheless, does slowly capitalize upon it's NEW following of more discriminatory listeners.

1975

Another track from the film, "How Does It Feel" (perhaps Slade's most endearing and impressive song) reaches only #15 on the European chart and ends Slade's run of continuous Top 5 singles. "Thanks For The Memory", however, restores the group to the top half of the chart - reaching #7 in May.

In September, the band's film debuts in America. It will make little impression in the U.S. as many critics and listeners are still confused by this "strange little band from Wolverhampton" (in the words of one American writer).

In December, Slade issues the single, "In For A Penny". It reaches #11 in Europe and is from the band's up-coming release "Nobody's Fools".

1976

In 1976 Slade turned their attention over the Atlantic towards America and decided to try and crack the US market. They moved to New York and lived there for two years, playing 200 gigs supporting acts such as Aerosmith and Kiss but they failed to achieve any success in the US charts. In Feburary, SLADE releases "Nobody's Fools". The album, recorded in New York City, is an interesting departure from the band's usual "rock and pop anthems". Slade, instead, opts for funk and soul. They definately prove themselves capable but, as punk rock begins to increase in popularity in the UK, much of the band's dominance of the charts begins to wane. Still, a couple of singles from the album, the title track and "Let's Call It Quits" make significant impact.

"Let's Call It Quits" proves prophetic as SLADE begins to sense it's fall from public grace. They do not re-sign to Polydor records but, instead, move to Chas Chandler's tiny Barn label. The band suspects that this will allow them complete artistic control of future releases and an opportunity to watch the new wave/punk movement from the shadows.

1977

The band's debut single for Barn, "Gypsy Roadhog" reaches only #48 in Europe and their next single, the excellent "Burning In The Heat Of Love" fails to chart (their first miss since 1970). Punk and New Wave dominate Europe as disco sweeps America.

1978-1979

Alongside the band's unsuccessful singles, SLADE also releases a couple of unsuccessful albums! Beginning with the brilliant "Whatever Happened To Slade", followed by "Slade Alive II" and wrapping things up with the elusive "Return To Base" set.

Happily, these records are being rediscovered today by the youth of America. Many of today's successful "alternative" artists point to these records as inspiration. "Whatever Happened To Slade?" features excellent jam sessions from SLADE. Very sonic. As is "Return To Base". Both practically have "Smashing Pumpkins, Nirvana and Soundgarden" written all over them.

"Slade Alive II" points to the fact that SLADE, regardless of chart popularity, is ALWAYS a stunning live attraction. During their "low" phase - the band was still able to sell out even the toughest venue in Europe. "Alive II" documents that and gives us a peek at how SLADE handled an arena/festival crowd.

The group's perseverance would soon pay off. The coming 1980s would herald a massive resurgence in SLADE's popularity.

In the meantime, though, Noddy Holder, Jim Lea and his brother Frankie form a group called THE DUMMIES. In an experiement in New Wave music, the trio releases three singles. The songs place on the independent chart in Europe and the "band" is offered a record deal from the ulta-hip new wave/punk label Stiff Records! Once the label discovers that the band is actually one half of SLADE - who is tied to a contract with Barn Records...and nevertheless not interested in doing this New Wave thing full time...the contract is withdrawn. Noddy and Jim have a great laugh over the whole thing - Stiff Records is a little pissed off and publicly embarassed.

The songs, which feature Jim on vocals (part of the deception, as Noddy's voice is far too recognizable) are later released on CD on Frankie's label, Cheapskate Records.

1980

Slade releases an EP titled, "When I'm Dancin', I Ain't Fightin'", which begins to climb the UK indie chart. Interest in SLADE begins to return.

The big "comeback", however, 08/24/80 does not occur until this year's Reading Rock Festival they played an outstanding set in front of 50,000 people and stole the show. At the last minute, Ozzy Osbourne is forced to withdraw as the show's headliner. He suggests SLADE as a replacement. The baffled promoters ("is SLADE still together?") locate the band on tour in Germany. SLADE flies to the festival and steps on stage to face an enourmous crowd of pissed off Ozzy fans.

At first, the band is hissed at and organizers fear a massive riot. SLADE is not phased. They have faced far worse crowds in the pubs of England many years before. Winning an audience over is their specialty.

And they do (win them over). This fantastic performance is later preserved on disc as an EP. SLADE is called back for several encores - they eventually have to resort to playing "Merry Xmas Everybody" in July. SLADE is back - with a vengence.

Hot on the heels of this incredible performance, SLADE releases "We'll Bring The House Down" and the title track climbs to #10 on the European chart. This is the group's first Top Ten hit in six years!

SLADE is suddenly found on the covers of magazines and tabloids EVERYWHERE - "just like the good old days".

Major labels throughout the world vie for the band's signatures on a new contract. The band finally signs with RCA.

1981

SLADE releases "Till Deaf Do Us Part". This is band's first foray into "heavy metal" music. Suddenly, SLADE finds themselves being associated with the likes of Iron Maiden!

The group undertakes a massive tour of Europe - again playing to sold out crowds throughout.

1982 - 1984

With success in Europe sky-rocketing again, American major label executives begin to wonder what the fuss is all about. Upon investigating, they discover that SLADE is actually a really great band! Wow! What a breakthrough! SLADE signs a deal with CBS Records in the States.

While recording their next album, American band QUIET RIOT scores a massive hit with a copycat revival of SLADE's "Cum On Feel The Noize". In fact, the entire new wave of American heavy metal bands is influenced by SLADE. The American audience finds itself listening to music it dismissed in the 1970s.

As a taster from the up-coming album, SLADE releases what is perhaps it's catchiest single in the UK, "My Oh My". It tops the European chart.In November 1983 Slade reached number 2 in the UK charts with the single "My Oh My" and then in 1984 they released the album "The Amazing Kamikaze Syndrome" (in the US "Take Your Hands Off My Power Supply") which reached number 49 in the UK charts and for the first time gave them success in the US charts by reaching number 33. (A slightly different "Kamikaze Syndrome").

"Run Runaway" proves to be SLADE's American breakthrough hit. It enters the US Top 10 and reaches #7 in Europe. "My Oh My" will also prove to be a huge American hit.

Meanwhile, Quiet Riot releases yet another SLADE revival, "Mama Weer All Crazee Now".

1985

Slade's success in America continues. The group's follow-up to "Keep Your Hands Off My Power Supply" is titled "Rogues Gallery" and bears four hit singles, "Little Shelia", "Seven Year Bitch", "The Myzsterious Mizter Jones" and "Walking On Water, Running On Alcohol".

Nevertheless, the band's American record label, CBS Associated, shows little support for the band. Despite a great deal of radio play and interest in the band - SLADE is granted very little tour support and is forced to sacrifice it's hold on the American market...again.

Fickle American audiences, with little in the way of visual stimulation (only "Little Shelia" is granted a video for MTV) quickly lose interest.

Europe remains kind, however. "Rogues Gallery" proves sucessful throughout the continent and in December, SLADE releases the intriguing "Crackers!" album. What a fun surprise this record was!

The set is chock-full of Christmas classics ("Santa Claus Is Comin' To Town" and the like) done only in true SLADE fashion. That is to say, the yuletide favorites are loud, scrappy and suited only for a holiday cheer full of liquor and good friends....um, not mom and dad. It's a wonderful rock and roll Christmas album. In fact, perhaps one of the best (it is, after all, rock and roll, and SLADE hardly take the holiday spirit seriously - a welcome refreshment in 1985 following several "Very Special Christmas" albums featuring Bryan Adams, a dwindling Eurythmics and Linda Rondstadt...all of which took everything far too seriously for the sake of only their bank-books....who's cynical?!)

"Crackers! - The Slade Christmas Party Album" became a great hit throughout Europe. The CD was (mis-takenly not issued in the States). The band rounded out the year with another hit song, "Do You Believe In Miracles?" - offspring of the "Crackers!" album.

1986 - 1987

SLADE records and releases "You Boyz Make Big Noize" (arguably one of their finest attempts at commercial success). Chock full of singles and radio-friendly hooks, "You Boyz Make Big Noize"

SLADE records and releases "You Boyz Make Big Noize" (arguably one of their finest attempts at commercial success). Chock full of singles and radio-friendly hooks, "You Boyz Make Big Noize" (the title was suggested to the band by the tea lady at the recording studio who uttered that very sentence when making her rounds to SLADE) does not prove to be the American saving grace that the group had hoped for. In retrospect, perhaps tracks like "That's What Friends Are For", the excellent ballad "Still The Same" and SLADE's cover of Donnie Iris' "Love Is Like A Rock" were not quite on par with the public tastes in 1986. In fact, listeners had began to grow weary of Whitesnakes, Motley Crues and Def Leppards (the latter being the band SLADE most seemed to emulate on this record --- to the uneducated SLADE listener, of course. Educated listeners would be quick to point out that SLADE gave the blueprints for arena-shout-rock to Def Leppard! And Joe Elliot would agree!)

The above aside, "You Boyz Make Big Noize" is a fine SLADE record! The band works brilliantly with producer Roy Thomas Baker (of Queen fame) and has never sounded "bigger". Producer John Punter (of "Run Runaway" and "My Oh My" fame) is also utilized. Yet, perhaps, the most stunning element of "You Boyz" proves to be the great strides made in production work by our very own Jim Lea! Jim produces the majority of the CD to great success - showing his versatility and talent to match even the greatest directors (i.e. Baker and Punter).

Highlights from the album are mentioned above, alongside the clever and heartfelt "Sing Shout (Knock Yourself Out)" - and the great (and often ignored) "It's Hard Having Fun Nowadays", which ranks as one of this webmasters Top 5 Favorites of SLADE tunes!

Unlike "Rogue's Gallery", attempts are made by CBS Associated to promote the new album in America. Little is seen as far as MTV video is concerned - but print ads and record store displays abound. Noddy's face (in the above album shot) is seen practically everywhere rock and roll is sold. But radio does not get friendly immediately.

Despite a number of potential hits, CBS makes the mistake of issuing the title track as its lead single in the States. "You Boyz" (the song) attracts a small cult following but smells of "cash in" to most dire-hard rock fans (radio music directors included). Little airplay is granted. CBS continues, however, releasing "Ooh La La in L.A." to stations throughout America. The song is seen as "well, perfect for L.A." to most radio Program Directors. The track enjoys an enormous amount of airplay in Los Angeles and little elsewhere for obvious reasons.

Finally, CBS goes for one more try with "Still The Same". What a beautiful ballad. The response? A number of radio stations began spinning the record - but the average listener response returned as "what a cool tune! who was that? who? who's SLADE?"

Alas, in America, SLADE found themselves, once again, marooned. Too far removed from "Run Runaway" and "My Oh My" to make another impact --- too tired to try again. The sollution? Go home.

Back home, the response was not quite as awkward. While SLADE had spent the great majority of the last three years courting America, UK fans had remained loyal this time around. "You Boyz" did not make an incredible impact on the UK charts (it topped out at #98) but the reviews were kind and live appearances continued to be SRO.

1991-1992

In 1991 they publish the singles "Radio Wall Of Sound" y "Universe" that have a significant success. In 1992 chart success eluded them and Noddy and Jim took the decision to quit and pursue alternative careers. Dave and Don continue to tour with SladeII - enjoying some success on the European circuit. Jim is now a psychotherapist and Noddy is enjoying success as a TV star and DJin the radio.