Slade - Then and Now pt 2
DISC JOCKEY JOHN PEEL TAKES AN OBJECTIVE LOOK AT SLADE'S MUSIC
Also released in 1969 but produced now by Chas Chandler, was the single "Wild Winds Are Blowing" backed with "One Way Hotel” Both tracks are, of course, on the "Sladest" LP. Chas put more emphasis on Jimmy Lea's bass guitar and this new emphasis brings the sound of "The Slade" (as they're described on the label) closer to their 1974 sound. In addition to the mighty bass playing, there's also a load of highly inventive guitar from Dave. The song, however, isn't that great. In fact, the "B" side, a Holder, Lea, Powell composition, is a lot better. The playing on "One Way Hotel" is a revelation, showing that when Slade became a successful band in the singles market, that area of music that was until recently described as "progressive" may well have been the loser. "Hotel" is a most impressive performance, beautifully put together, with Noddy singing with real feeling and with each musician contributing strongly to the track. When I played this in an office at the BBC several friends who were present were hugely impressed and were not persuaded that this was indeed Slade recorded in 1969 until I showed them the label.
The following year (1970), the band lead off with "The Shape Of Things To Come" and "C'mon, C'mon” The" A" side, also on "Sladest” again demonstrates just how good Noddy, Don, Dave and Jimmy were becoming on their various instruments. It all drives along beautifully, the energy and the vitality of it all again causing me to wonder why so few people were paying attention to Slade at that time. Also in 1970 was released "Know Who You Are" and "Dapple Rose” The latter is a melancholy little number, a sort of horse's equivalent of the Beatles' "Eleanor Rigby” It's a story of common neglect, of the waning interest of a once-proud owner in a horse that has become "cold and old and slow” As a man who has been known to cry at a Tom and Jerry cartoon (there's photographic evidence to the fact) I was profoundly depressed by "Dapple Rose” "Know Who You Are" is a different pan of fish. It's dramatic stuff, opening softly but with an atmosphere of menace. Noddy's vocals are delivered with rare power and style before the band crunches into some great choruses. Again the guitar playing here is excellent, owing something to the Yardbirds and those two masters of the electric guitar, Jeff Beck and Jimmy Page. The band show a fine sense of dynamics and there's more of the falsetto-with-guitar singing that we remarked on "Mad Dog Cole”, "Know Who You Are" is another tour-de-force for Slade, another major step in their musical development.
Both "Know Who You Are" and "Dapple Rose" are on the 1970 LP, "Play It Loud”. So is "The Shape Of Things To Come” Throughout "Play It Loud" there are countless examples of Slade's skill. Also their self-penned songs are improving all the time. They are well constructed, perhaps slightly over-elaborate at times, but showing clearly the strong melody lines that distinguish the most raucous Slade rockers and make these rockers more durable and more listen-able than the drab and colourless offerings of Slade's rivals. Some of the lyrics tend towards being rather poetic but in 1970 this was the fashion and none of the words sound as embarrassing as the lyrics written by ... well, I'd better not say, but there were a lot of bad songs written in 1970
The musicianship throughout "Play It Loud" is of a remarkably high standard. Don's drumming is varied, exciting and always apt. He is always contributing to the record, never content to just sit back and whack out the basic rhythm needed to keep the music rolling forward. The bass-playing is again an important feature - if you have the LP handy, then listen to "See Us Here" and you'll understand what I mean. Also, with Chas' help, the band's sound has improved, become clearer and brighter. The tracks on the LP may, in the main, be too complex to dance to very easily, but they make for pleasant listening. "Could I" has the sort of sing-a-long chorus that has distinguished Slade's greatest hits, while Dave plays some beautiful singing lead guitar. "I Remember" is another indication of the good things to come, with Noddy peeling layers of skin off his throat as he roars his way through the words, and the band rocking as though there were no tomorrow.
"Pouk Hill" is a glance back to the Midlands tradition of Idle Race and Move records, a sometimes tender, sometimes fey, little song of real charm. "Dirty Joker" is something of a curiosity, opening, as it does, with the type of guitar, bass, drums sound that distinguishes the best dance records coming from Black America in 1974. Both this track and “Sweet Box” which follows and also closes the LP, illustrate yet again the powers of invention within the band. The sudden shifts of emphasis, the impressive skills, are of the type that have made such bands as Yes and Genesis so widely popular with the LP buying audience. The only complaint that could be made against "Play It Loud" is that the songs and arrangements may have been too complicated. This complaint would have been erased with some violence by the next single release, the epic "Get Down And Get With It”
In some 27 years of buying records I cannot remember having ever sat down and listened to a band's entire recorded output as I have done with Slade's today. Hearing the early material for the first time and hearing the great hits again after a year or two, I'm genuinely impressed with the part the band have played in making the 1970s such an exciting musical era. And I don't say that because I'm paid to say it either. Looking back to "Get Down And Get With It" from the wet end of 1974, I'm amazed at the effect it's had on our charts since its release in the summer of 1971. The thunderous, very simple, beat and Noddy's exhortations to the listener to join in, to participate, have been echoed in countless records since. Each week's record releases bring more examples of this, although recently they've begun to sound rather flat and dated. Slade themselves have, naturally, moved on to other things, but their "Get Down And Get With It" still sounds just fine after nearly 3+ years. I am amazed to observe that the record rose no higher than 15th in the charts. I doubt that many of the 14 records that were above it still sound half as good. Of course, "Get Down And Get With It" was one side of a maxi-single. The other side is every bit as interesting and I must admit that, until yesterday, I'd never heard it. "Do You Want Me" has the same sort of lean and sensual accompaniment that has recently seen David Essex in the charts with "Rock On" and similar records. The difference is that "Do You Want Me" has a much stronger tune than "Rock On" and it was released 2 years earlier. Amazing! Also pretty amazing is "Gospel According To Rasputin" which completes the maxi-single. The playing here is incredible, the vocal harmonies majestic. Slade doing everything that Yes can do but doing it with energy and brevity. In 4 minutes and 20 seconds and without ever forgetting that this music is supposed to excite and stimulate, Slade get down more good music than you'll find on many fashionable triple-albums. By now we're moving into Slade's continuing golden period. All the records from Down And Get With It" are as well known to a whole generation of record buyers as their own names. Nevertheless I'd like to slither through the list with you for various reasons which may or may not emerge as I drone on.