Slade's fanfare for Europe

James Johnson

New Musical Express 13 January 1973

 

JUST BEFORE the second house at the London Palladium last Sunday there seemed genuine concern around official quarters as to whether the slightly staid, world-famous centre of entertainment could actually take another show from Slade — and still remain standing in one piece.

After all, in the first house it was said if you were sitting in either of the circles you could actually feel and see the whole floor move up and down in time to simultaneous stamping from the audience; while below, the front row of the stalls had already been plainly demolished by a stampede of platform heels.

The two concerts had been put on as part of the Fanfare for Europe series but exactly what it had to do with going into Europe, few knew and less seemed to care. Even so there was a carnival, party atmoshpere in the air. Silver foil top-hats seem to have become standard dress at Slade concerts these days and they were there by the score. People seemed set for a crazee night.

First on were Geordie who struck one as a bit of a poor man’s Slade but really didn’t sound too bad — a rough, gritty little band who could do well in the future. When Slade hit the stage, though, the scene was amazing. At present it’d probably be true to say that they get a more enthusiastic response than any other band in Britain and, as they launched into “Hear Me Calling”, they came across the way any band ideally should when on stage — that is, that they’re the best in the world. And that was how it seemed at the time.

Also, of course, there’s a genuine approach about them and if you’re really looking for the real thing — real total working class rock and roll — then you need look no further than Slade. As it was, it almost seemed nobody really cared how well Slade actually played. After all, the band was preaching to the converted. Yet it would be hard to ignore Jim Lea’s tremendous bass-playing, or Noddy Holder’s voice, the kind that knocks your head back. On Sunday, it sounded as if it could be heard half-way down Oxford Street.

Needless to say, most of the numbers were familiar – “Gudbuy t’Jane”, “Look What Yer Dun”, “Darlin’ Be Home Soon” and Janis Joplin’s song “Move Over Baby”. Then, towards the end, Noddy Holder said “this is a slow, sexy and romantic number” and then proceeded to lead the band straight into “Get Down And Get With It” — surely one of the riotous numbers they’ve ever been associated with. It led to an even greater barrage of top-hats and assorted ladies’ underclothing. They played just one encore, “Mama We’re All Crazee Now”, that pretty well summed up what was going on around the auditorium. Suddenly the lush Palladium curtains fell and God Save The Queen was put over the P.A. Christ, it seemed out of place.