- Dave Hill -- lead guitar

- Noddy Holder -- vocals, rhythm guitar

- Jim Lea -- vocals, bass, keyboards

- Don Powell - drums

- Ambrose Slade  (Dave Hill, Noddy Holder , Jim Lea and

  Don Powell)

- Steve Brett & the Mavericks (Noddy Holder)

- The Clout

- The Dummies

- The N' Betweens (aka In-Be Tweens) (Dave Hill, 

  Noddy Holder, Jim Lea and Don Powell)

- Slade II

- The Vendors

Genre: rock

Rating: 3 stars ***

Title:  Slade Alive!

Company: Polydor

Catalog: PD 5508
Year: 1972

Country/State: Wolverhampton, UK

Grade (cover/record): VG / VG+

Comments: gatefold sleeve

Available: 1

GEMM catalog ID: 5794

Price: $20.00

From a career perspective, 1972's "Slade Alive!" was an interesting marketing decision.  The band had already acquired a large cult fan base, but really hadn't broken commercially. Polydor management apparently hoped a feverish live set would capture the group's in-concert dynamics and push them over the edge to massive recognition and sales.  That was the theory.  Let me warn you that if your lookin' for technical sophistication and introspective thoughts on mankind, this wasn't the place to be looking.  On the other hand, if you were a fan of straight ahead, low tech rock, this was right up your alley.  Noddy Holder and company literally epitomized the genre, though I've never been totally sold on their performances (I can see the hate mail rolling in). Also worth mentioning, this one routinely shows on top-10 concert album lists.  I won't go that far, but will admit that whatever its shortcoming, the end result was brainless fun.  

- The album started out with an interesting choice with a cover of Ten Years After's 'Hear Me Calling'.  Not exactly rock's most exciting track (let alone one of Ten Years After's best efforts), the band did an okay job stripping it down to a barebones arrangement.  There really wasn't a great deal for Holder to do on this one so it was left to Dan Hill and Jim Lea to take up the extra time with a couple of pedestrian solos.  Actually the drunken audience's end-of-song sing along was pretty engaging.  rating: ** stars

- Folks tend to snicker at Slade's lack of sophistication, but the that ignores the fact Holder and Lea were quite capable of penning material that was simultaneously rocking and commercial.  'In Like a Shot From My Gun' was a balls-to-the-floor rocker, but the song also incorporated a surprisingly tuneful harmony vocal chorus that was almost angelic.  rating: ** stars  

- Slade were always willing to try something a little different and in this case they took a shot at John Sebastian's 'Darling Be Home Soon'.  The song started out with an atypical laidback arrangement, underscoring the fact Holder and company were capable of turning their amps down and showing a touch of sensitivity.  Great belch while they decide whether to finish the song.  I've never really liked the song, but they turned in a nice cover.  rating: *** stars  

- 'Know Who You Are' returned to straight forward rock, but seemed kind of pedestrian to me.  rating: ** stars  

- I've never been a big 50s rock fan and Slade's version really didn't do anything to change my opinion.  'Keep On Rocking' was loud and ferocious, but no matter how much Holder screeched, to my ears it sounded like warmed over Chuck Berry.  Even the crowd seemed unconvinced by this one.  zzzzzzzzzzzzzzzzzzzz  rating: * star  

- 'Get Down and Get With It' continued the band's musical retrospective.  Still not very exciting.  rating: ** stars

- Wow, how about closing the set with a cover of Steppenwolf's Born To Be Wild' ?  Nobody ever said these guys were the most skilled musicians, so listening to Holder try to zero in on the melody was worth a chuckle.  The train wreck arrangement, complete with sirens and the closing aural meltdown were also fascinating - kind of like watching the aftermath of a bad traffic accident.  Oh well, the fried audience loved it.   rating: *** stars  

Bye the way, this was a great one to listen to with quality headphones.  The band and audience give and take were great - check out the Holder telling the audience to say whatever the want and the tape machines will capture it, or the burp in the middle of 'Darling Be Home Soon'.  The inner sleeve quotes were also hysterical - "We've never been a pretentious group." Dave Hill.

In the UK the album was a massive seller, peaking at # 2, though it did nothing in the States.

"Slade Alive!" track listing:
(side 1)

1.) Hear Me Calling   (Alvin Lee) - 5:46
2.) In Like a Shot From My Gun   (Noddy Holder - Jim Lea - Don Powell) - 3:33
3.) Darling Be Home Soon   (John Sebastian) - 5:43
4.) Know Who You Are    (Noddy Holder - Jim Lea - Don Powell) - 3:37

(side 2)
1.) Keep on Rocking   (Noddy Holder - Jim Lea - Dave Hill - Don Powell)  -4:29
2.) Get Down and Get With It   (Bobby Marchan) - 5:33
3.) Born to Be Wild   (Mars Bonfire) - 8:12

Genre: rock

Rating: 3 stars ***

Title:  Stomp Your Hands Clap Your Feet

Company: Warner Brothers

Catalog: BS 2770
Year: 1974

Country/State: Wolverhampton, UK

Grade (cover/record): VG / VG+

Comments: cut lower right corner

Available: 1

GEMM catalog ID: 5795

Price: $20.00

When I lived in Europe in the mid-1970s Slade-mania was just beginning to ebb.  That meant they were still staples on local radio and since I listened to lots of local radio I literally grew up hearing Slade on a regular basis (yes, I even saw their film "Slade In Flame" while living overseas).  Guess that's why I have to admit to having a soft spot for their mix of British glam and sledgehammer rock moves.

Originally released in the UK as "Old New Borrowed and Blue", by the time Warner Brothers got around to releasing the set in the US, the title had been modified to the equally lame "Stomp Your Hands Clap Your Feet".  Warner Brothers also saw fit to shorten up the album inexplicably dropping two tracks ('My Town' and 'My Friend Stan') from the track listing.

Produced by Chas Chandler, their fourth studio set continued the band's move away from glam to a more conventional rock attack.  Propelled by Holder's shrieking voice (he literally sounded like a man having his fingernails pulled out), Dave Hall's crushing guitar, and the cromagnium rhythm section of bassist Jim Lea and drummer Don Powell these guys epitomized mid-1970s sludge rock.  Yeah, f your were looking for sophisticated musical compositions and thought provoking lyrics, this probably wasn't going to be an album that would make your collection.

- The album opened up with the band putting their collective toes into kind of a blues mode (or as bluesy as Slade could get) with a cover of 'Just Want a Little Bit'.  Looking for something nice to say ...  well it was loud.    rating: ** stars

- Slade was always kind of a mystery to me in that they could effortlessly switch from mindless metal monsters to a far sweeter, commercial sound.  'When the Lights Are Out' was a perfect example of the latter.  Instantly recognizable melody, with chiming guitar from Lea and Holder even managing to tone down his shrieking.  Wonderful slice of mid-1970s Britpop that could have been a big American hit.   rating: **** stars

- Perhaps intended to show their sweet and nostalgic side, or their common folk roots, the English music hall-styled 'Find Yourself a Rainbow' was pretty lame with little appeal to an American listener.  Gees, hard to imagine it had much appeal for an English crowd, unless they'd been drinking beer all day and night at the local pub.   rating: * star

- Compared to their usual bombast, 'Miles Out To Sea' came off as unexpectedly tuneful and pop-oriented.  Great melody and once again Holder's shrill voice wasn't a major irritation.   Would have made a nice single.   rating: **** stars

- Well, underscoring the fact the new, softer Slade was little more than an isolated experiment, 'We're Really Gonna Raize the Roof' marked a return to their patented, double time rock moves.  Holder was in prime form (not necessarily a good thing) as he rolled and ranted through this one. Patented Slade rocker complete with oddball spelling.  'Course most folks never bought a Slade album for it's romanticism ... well I guess titles like 'Just Want a Little Bit' and 'Good Time Gals' were probably romantic it you were a soccer hooligan.    rating: ** stars

- 'Do We Still Do It' opened side two with the album's best example of Slade's ability to meld rock and more commercial moves.  A great stadium rocker, the song also had a great sing-along hook that you couldn't get out of your head. This was what Sweet always wanted to sound like ...   rating: **** stars

- The acoustic, good timey 'How Can It Be' was a major surprise and one of the album's highlights.  Lyrically it was also pretty good in that it was one of the few tracks that focused on something other than hot chicks, or drunk, hot chicks.  Kudos to Hill for turning in a tasty lead guitar solo.    rating: **** stars

- 'Don't Blame Me' returned to no-frills power chords, though the song seemed to have been built on a blues structure.  Okay, but not particularly memorable, the highlight was Hill's brief solo.   rating: ** stars

- The album's biggest surprise was the ballad 'Everyday'.  Kicked along by a pretty Lea keyboard, the result was a conventional love song that had top-40 written all over.  That's obviously why it was tapped as the album's second single.    rating: *** stars 

- Ah, 'Good Time Gals' provided a great example of the Slade philosophy on life 'I wanted to give you diamonds, I wanted to wear your clothes, I wanted to touch your dream machine in which anything goes ...'  That seemed to encapsulate it all pretty well. 

The album was also tapped for a pair of English and European singles via:

sampling of various international picture sleeves

- 1973's 'My Friend Stan' b/w 'My Town' (Polydor catalog number 2058 407)

- 1974's 'Everyday' b/w 'Good Time Gals' (Polydor catalog number 2058 453)

In the States Warner elected to release a different pair of singles:

- 1974's 'We're Really Gonna Raize the Roof' b/w 'Good Time Gals' (Warner Brothers catalog number WB 7777)

- 1974's 'Good Time Gals' (stereo) b/w 'Good Time Gals' (mono) (Warner Brothers catalog number WB 7777)

All snarkiness aside, the album wasn't half bad.  Holder and Lea were strong songwriters and the album's mediocre American sales were more of a reflection on Warner Brothers marketing, than creative shortcomings.  Well worth looking for.

Probably not a big surprise, but the album hit # 1 on the UK charts, while it the States it peaked at # 168.

"Stomp Your Hands Clap Your Feet" track listing:
(side 1)

1.) Just Want a Little Bit   (Thornton - Bass - Washington - Brown - Thompson)

2.) When the Lights Are Out   (Noddy Holder - Jimmy Lea) - 

3.) Find Yourself a Rainbow   (Noddy Holder - Jimmy Lea) - 

4.) Miles Out To Sea   (Noddy Holder - Jimmy Lea) - 

5.) We're Really Gonna Raize the Roof   (Noddy Holder - Jimmy Lea) - 

(side 2)
1.) Do We Still Do It   (Noddy Holder - Jimmy Lea) - 

2.) How Can It Be   (Noddy Holder - Jimmy Lea) - 

3.) Don't Blame Me   (Noddy Holder - Jimmy Lea) - 

4.) Everyday   (Noddy Holder - Jimmy Lea) - 

5.) Good Time Gals   (Noddy Holder - Jimmy Lea) - 

For anyone interested, here's the original UK cover and track listing:

Polydor catalog number 2383 261

"Old New Borrowed and Blue" track listing:

(side 1)

1.) Just Want a Little Bit - 4:01

2.) When the Lights Are Out   (Noddy Holder - Jimmy Lea) - 3:06

3.) My Town   (Noddy Holder - Jimmy Lea) - 3:07

4.) Finder Yourself a Rainbow   (Noddy Holder - Jimmy Lea) - 2:11

5.) Miles Out To Sea   (Noddy Holder - Jimmy Lea) - 3:50

6.) We're Really Gonna Raize the Roof   (Noddy Holder - Jimmy Lea) - 3:09

(side 2)
1.) Do We Still Do It   (Noddy Holder - Jimmy Lea) - 3:04

2.) How Can It Be   (Noddy Holder - Jimmy Lea) - 3:03

3.) Don't Blame Me   (Noddy Holder - Jimmy Lea) - 2:32

4.) My Friend Stan   (Noddy Holder - Jimmy Lea) - 2:42

5.) Everyday   (Noddy Holder - Jimmy Lea) - 3:12

6.) Good Time Gals   (Noddy Holder - Jimmy Lea) - 3:35