Slade: Studio Discography (1969-1986)



Slade es una banda británica de glam rock y hard rock formada en 1966 y una de las de mayor éxito comercial durante la primera mitad de los años 70. Hicieron famosas las faltas de ortografía deliberadas en los títulos de sus canciones, y la costumbre de editar regularmente un disco navideño, a partir de la publicación del single Merry Xmas Everybody en 1973, que es hoy día un villancico pop célebre en el Reino Unido. Su estilo ha influido en grupos que van desde Kiss, Quiet Riot o Twisted Sister, hasta The Clash y Sex Pistols. Su éxito más conocido, Cum On Feel The Noize, ha sido luego popularizado por Quiet Riot. A la banda se considera pionera del genero de Musica Glam Rock junto con Sweet, Alice Cooper, David Bowie, T.Rex y Roxy Music

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Slade: Studio Discography (1969-1986):

Ambrose Slade - Beginnings (1969)
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1991 | Polydor, 849 185-2 | ~ 230 or 232 or 105 Mb | Scans(png, 300dpi) -> 71 Mb
Hard Rock
Time was, Beginnings represented a holy grail of sorts for Slade fans (and
original Fontana pressings still do). Thankfully, a rash of reissues
have taken much of the edge of the market, and the band's debut album,
cut while they still traded as Ambrose Slade, is readily available for
all to hear, and what a joy it is. Of course, little of what you'd
expect from Slade is actually in place, although Noddy Holder's vocals,
naturally, are unmistakable. The songwriting duties are split between
well-executed covers and full band compositions -- the Holder/Jim Lea
team of future renown has still to crystallize itself, and their one
joint effort, the hauntingly folky "Pity the Mother," has little in
common with anything the future held. But the opening "Genesis" will be
familiar to anyone who rocked out to the second album's "Know Who You
Are," proving that the band already knew a great song when they wrote
one, and a cover of "Born to Be Wild" sets them up for the definitive
version featured on the first live album. A floor-shaking slam through
the Amboy Dukes' "Journey to the Center of Your Mind," and a suitably
deranged romp through Frank Zappa's "Ain't Got No Heart," meanwhile,
demonstrate the band's musical versatility, and while there are a
handful of disappointments ("Martha My Dear" is almost heinous), still
Beginnings stands as, indeed, a fine beginning. But things were going to
get a lot better than this.

by Dave Thompson, AMG
Tracklist:

01. Genesis
02. Everybody's Next One
03. Knocking Nails Into My House
04. Roach Daddy
05. Ain't Got No Heart
06. Pity The Mother
07. Mad Dog Cole
08. Fly Me High
09. If This World Were Mine
10. Martha My Dear
11. Born To Be Wild
12. Journey To The Centre Of Your Mind

========================

Slade - Play It Loud (1970)
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1991 | Polydor, 849 178-2 | ~ 223 or 224 or 105 Mb | Scans(png, 300dpi) -> 56 Mb
Hard Rock
This album demonstrates Slade's image evolving, along with their sounds; four
rather respectable lads are on the vintage cover photo, reversed to
negative for the back side, delivering a more refined hard rock than
portrayed by future titles like "Gudbuy T'Jane" and "Mama Weer All
Crazee Now." Chas Chandler's production beefs up the bottom with
noticeably more bass and piano than on Ballzy by Ambrose Slade. Also
there is less cover music here. What sounds like the opening to the
Yardbirds version of Graham Gouldman's "For Your Love" emerges as Barry
Mann and Cynthia Weil's "The Shape of Things to Come." Things to come is
exactly what this album is, from the Ten Years After inspired original
"Raven" to the more ominous "See Us Here," which is Noddy Holder
sounding as sinister as Ozzie. Slade has gone from redoing classics of
the genre to copping riffs and writing their own rock essays. "See Us
Here" is subtle Black Sabbath, when the Sabs are on their best behavior.
One of the album's most outstanding tracks is "Dapple Rose," a take-off
of the Move when Jimmy Miller gave that band their number one British
hit, "Blackberry Way." The violin adds to the majesty of the big vocals
and pretty guitar, delivering a commercial performance very unlike the
stuff that would make them famous. J. Griffin/R.Royer's "Could I" sounds
like heavy Chinn/Chapman with a sludgy solid hook that gives birth to
an elegant chorus and fade. Very sophisticated, which is where the first
album was heading. "Know Who You Are" is a wonderful study here; the
band is more proper dipping into that Yardbirds bag again on this
original. By the time it was re-released on Slade Alive, only two years
later, the song would become part of their glam success. But here,
Neville "Noddy" Holder is kept on key by Chas Chandler, and that
restraint makes for an intelligent album of rock which draws from all of
the aforementioned sources, Ten Years After, Sabbath, "The Move,"
Yardbirds, as well as the Beatles, Steppenwolf, and Kaleidoscope U.K.
Surprisingly, there's no Animals or Hendrix that can be seen on the
surface, an original like "Pouk Hill" leaning more toward the rock side
of things than the blues embraced by Jimi and Eric Burdon. Nick Innes'
"Angelina," however, takes that early pop/blues sound Z.Z.Top gave to
their early-'70s single "Francene" and shows what that style sounds like
when performed by Englishmen as opposed to Americans. "Dirty Joker"
seems almost anti-gay, a paradox for a band that would be so essential
to the glam blitz which Bowie, T. Rex, and Mott the Hoople were all part
of. There should be more similarities to Mott, but there are not, the
final track, "Sweet Box," taking a Beatles riff from "She Said" and
mutating it beyond recognition, experimenting with rock & roll in an
inspiring way. Although the latter-day Slade were fun, it is the music
of Ballzy and Play It Loud which was more serious and which demands
repeated listenings. Wonder what would have happened if Slade had
dismissed the humor and kept on this more serious course? They certainly
had the chops for it, and this is, on the whole, a good record apart
from what they became famous for.

by Joe Viglione, AMG
Tracklist:

01. Raven
02. See Us Here
03. Dapple Rose
04. Could I
05. One Way Hotel
06. The Shape Of Things To Come
07. Know Who You Are
08. I Remember
09. Pouk Hill
10. Angelina
11. Dirty Joker
12. Sweet Box

========================

Slade - Slayed? (1972)
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1991 | Polydor, 849 180-2 | ~ 256 or 258 or 105 Mb | Scans(png, 300dpi) -> 76 Mb
Hard Rock
Slade might have built its everywhere-but-America fame upon a succession of
gut-tearing hit singles, but the band's true rocking credentials were on
display elsewhere, in the second to none stage show that had already
been preserved on the epochal Slade Alive! earlier in 1972 and across
the chain of storming B-sides that had accompanied the smashes so far.
Slayed? may have been only the band's second studio album in four years,
but it reinforced that barrage with enough mighty stompers that the
band could have taken the next year off and still not run out of steam.
Even if one excises past hits "Gudbuy t' Jane" and "Mama Weer All Crazee
Now" from the equation, Slayed? is a nonstop party, from the riotously
self-fulfilling prophecy of "The Whole World's Goin' Crazee" to the
down-key but still eminently stompalong-able "Look at Last Nite," the
latter a reminder that, even at its loudest, Slade was still capable of
some fetching balladry. Or should that be the other way around? The
tomahawk riffing of "I Won't Let It 'Appen Again" is another highlight
-- a similar arrangement was later borrowed, to excellent effect, for
sometime support band Blue Öyster Cult's version of another Slade
favorite, the rocker anthem "Born to Be Wild," while "Gudbuy Gudbuy"
lurches like a battalion of tanks and matches a stirring Dave Hill
guitar break to one of Noddy Holder's coolest-ever vocals. A couple of
covers break the Holder/Lea songwriting domination. A bass-heavy blues
boogie through Janis Joplin's "Move Over had graced a Slade BBC session
earlier in the year, and provoked such a great response that they had no
option but to re-record it, while the closing medley of "Let the Good
Times Roll" and "Feel So Fine" was the closest you could come to the
mania of a Slade live show without actually going out and buying a
ticket. Of course, listeners don't have that option today. But stick on
Slayed?, crank the volume well up -- and the whole world will be going
crazee all over again.

by Dave Thompson, AMG
Tracklist:

01. How D'You Ride
02. The Whole World's Goin' Crazee
03. Look at Last Nite
04. I Won't Let It 'Appen Agen
05. Move Over
06. Gudbuy T' Jane
07. Gudbuy Gudbuy
08. Mama Weer All Crazee Now
09. I Don' Mind
10. Let the Good Times Roll / Feel So Fine

========================

Slade - Old, New, Borrowed and Blue (1974)
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1991 | Polydor, 849 181-2 | ~ 262 or 264 or 108 Mb | Scans(png, 300dpi) -> 89 Mb
Hard Rock
t took Slade two years and one hits-and-rarities compilation (Sladest) to get around
to following up 1972's U.K. chart-topping Slayed?, two years during
which the entire complexion of the band had altered dramatically. No
longer the rampant yobs out on the stomp of yore, the quartet members
placed the rabble-rousing bombast of old far behind them during 1974,
and switched their songwriting efforts to more mellow pastures -- the
gentle "Everyday," the yearning "Far Far Away," and the decidedly pretty
"Miles Out to Sea." Old New Borrowed and Blue was the album that
introduced the chrysalis to its audience -- not that you'd know it from
the opening bellow. Riding a raw guitar line based, very loosely, around
the guttural riffing of the Beatles' "Birthday," "Just a Little Bit"
cranks in with almost metallic dynamics, even retaining the in-concert
ad-libbing that had long since made it a highlight of the live show.
"We're Gonna Raise the Roof," "When the Lights Are Out," and "My Town,"
too, offer little that Slade wasn't already well renowned for and that,
perhaps, was what the bandmembers were thinking as well. The
glitter-soaked thunderclap was old news now; they could write those
rockers in their sleep. The vaudeville piano-led "Find Yourself a
Rainbow," though, was new territory altogether, while the
country-rock-inflected "How Can It Be" posited a direction that Holder
himself admitted had long been a regular on his home turntable. It was
"Everyday," however, that held the secret of the band's future, a
crowd-swaying singalong of such scarf-waving majesty that it might well
be single-handedly responsible for every great record U2 has ever made.
It was certainly Slade's most memorable new single in a while and, as
the cue for further airborne anthems, it became one of the most crucial
songs in the group's entire repertoire. On an album that, at best, can
be described as patchy, "Everyday" is a new day altogether.

by Dave Thompson, AMG
Tracklist:

01. Just Want a Little Bit
02. When the Lights Are Out
03. My Town
04. Find Yourself a Rainbow
05. Miles Out to Sea
06. We're Really Gonna Raise the Roof
07. Do We Still Do It
08. How Can It Be
09. Don't Blame Me
10. My Friend Stan
11. Everyday
12. Good Time Gals

========================

Slade - Slade in Flame (1974)
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1991 | Polydor, 849 182-2 | ~ 266 or 269 or 114 Mb | Scans(png, 300dpi) -> 81 Mb
Hard Rock
Slade in Flame is a tough album to judge. It marks the end of Slade's rule over the
British charts -- the album went to number six (the band's previous four
LPs reached number one), but it would be nearly ten years before the
band would return to the top of the pops. Made as an accompanying piece
to the movie of the same name, Slade in Flame was different than the
group's other records. It's an artistic tour de force for a band that
was looked on as "just a good time." Although Slade was that, the band
had a lot more in its bag of tricks, and this album shows it. Most folks
(if not all) were expecting Slade to come out with a Monkees-type
movie: lots of slapstick and a funny, lighthearted good time. Instead,
the band delivered a much more reality-based film and album. Don't
worry, though, because it's still pure Slade. The album stretches the
band's stylistic universe to include brass and more keyboards than
before. The lyrics are a little more serious than you might expect --
the album is about what a bummer it can be to be famous, as well as the
all of the advantages (girls). From the opening number, "How Does It
Feel," Slade sets a different tone. A piano and vocal intro greets the
listener. Of course, by the end of the song the full band is rocking
furiously. They don't let up on the classic "Them Kinda Monkeys Can't
Swing," which features great drumming by Don Powell. "So Far So Good" is
a beautiful rocker, and was covered by Alice Cooper songwriter Mike
Bruce on his first solo album. On "OK Yesterday Was Yesterday," Noddy
gives his lungs a big-time workout.

~ AMG
Tracklist:

01. How Does It Feel?
02. Them Kinda Monkeys Can't Swing
03. So Far So Good
04. Summer Song (Wishing You Were Here)
05. O.K. Yesterday Was Yesterday
06. Far Far Away
07. This Girl
08. Lay It Down
09. Heaven Knows
10. Standin' on the Corner

========================

Slade - Nobody's Fools (1976)
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1991 | Polydor, 849 183-2 | ~ 262 or 263 or 110 Mb | Scans(png, 300dpi) -> 61 Mb
Hard Rock
Nobody's Fools has some really great songs on it, but all things considered it was the
band's worst album at that point (at least under the name Slade).
Basically misguided from the get-go, Nobody's Fools is constantly trying
to free itself from the oppressive production and arrangements. Slade
had been living in the U.S.A. for a couple of years at this point. Their
mega-success everywhere else in the world was never duplicated here in
the U.S. While they were here and trying to figure out how to crack the
American market, someone came up with the brilliant idea of making a
record with a "California" sound. Unfortunately, not meaning Montrose or
the Flamin' Groovies -- that would've been cool. No, this means the
dreaded Eagles and Jackson Browne. Many of the numbers on this record
are loaded with Dobros, mandos, and female background vocals, and,
frankly, it just doesn't work. As was stated before, the album does have
some really strong material (though not as consistent as usual). The
title track is excellent, but marred by a bad arrangement. "Do The
Dirty" is a foot-stomping rocker with a little funkiness thrown in for
good measure. The album's best track is "Get on Up," which has an
absolutely brutal riff. Check out the version on Slade Alive II if you
want the straight-up version. "Scratch My Back" is pure Slade, even with
the out of place arrangement. And "Let's Call It Quits" is a real
screamer where Noddy Holder coughs up a great vocal. Ironically, the
band was really hitting its stride as a seasoned live act, but that
didn't matter much, since this album accelerated the drift toward
irrelevancy. The world would again awake to the power of a rock &
roll good time, but it would take several years. For the fan, this album
is worth it for several of the tunes. For the uninitiated, skip this
one -- all in all, it's not one of their best.

~ AMG
Tracklist:

01. Nobody's Fools
02. Do the Dirty
03. Let's Call It Quits
04. Pack Up Your Troubles
05. In for a Penny
06. Get on Up
07. L.A. Jinx
08. Did Your Mama Ever Tell Ya
09. Scratch My Back
10. I'm a Talker
11. All the World Is a Stage

========================

Slade - Whatever Happened To Slade? (1977)
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1991 | Polydor 849 184-2 | ~ 276 or 277 or 116 Mb | Scans(png, 300dpi) -> 106 Mb
Hard Rock
By 1977, the world had passed Slade by. At that point, they had been concentrating
exclusively on cracking the U.S.A. for several years, without much
success, and punk rock happened in Great Britain and literally blew
hitmakers like Slade off the map. Whatever Happened to Slade? had the
misfortune of following what was easily the band's worst album at that
point, Nobody's Fools, which did squat in England and not much more in
the U.S.A. The record was released only on band manager Chas Chandler's
Barn Records, since no one else would touch it in the U.S. or Europe.
Whatever Happened to Slade? is the band's extremely loud reply to the
news that they were has-beens. Whereas Slade had been a huge influence
on Kiss, the favor was now returned, as Whatever has a bit of the Hotter
Than Hell, early-Kiss sound, which the band has acknowledged. It's
still pure Slade, though. The songs and playing here are pretty much out
of sight, with monster riffs and a different production style. Starting
off with "Be," a tune unlike any other the band had done, Slade sets
the tone. It's going to be a loud, raucous affair. "Be" reads and rhymes
like a rap song, although it is sung over a funky rock beat. "Lightning
Never Strikes Twice" shows bass player Jim Lea's emergence as a
musician's musician. He always was a great player and the core of the
band, both live and in the studio, but here Lea really gets a chance to
shine. The song ends with probably the closest approximation of what it
feels like to be on nitrous oxide. One of the singles from the album,
"One Eyed Jacks with Moustaches," sounds like classic Slade, but once
again, radio wouldn't touch it. Such is hipness in the music industry.
The band was having Top Ten singles just a couple of years earlier, but
no one wanted to know that. Slade was about humor and good cheer, two
things British punk, for the most part, was not about. So they were
marginalized. For the Slade fan, this is a great record, and one you
probably never heard. Rectify that.

~ AMG
Tracklist:

01. Be
02. Lightning Never Strikes Twice
03. Gypsy Roadhog
04. Dogs Of Vengeance
05. When Fantasy Calls
06. One Eyed Jacks With Moustaches
07. Big Apple Blues
08. Dead Man Tell No Tales
09. She's Got The Lot
10. It Ain't Love But It Ain't Bad
11. The Soul, The Roll And The Motion

========================

Slade - Return to Base (1979)
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1997 | BMG Ariola, 74321 44303 2 | ~ 284 or 286 or 112 Mb | Scans(png, 300dpi) -> 86 Mb
Hard Rock
Return to Base marks Slade's low ebb in terms of popularity and morale. The band's
future prospects looked grim, at best, and this album did nothing to
change that. Having said that, Return to Base is not half bad. It
contains about five classic Slade numbers, and several throwaways. Still
on Barn Records, where the band had floundered over the preceding
couple of years, Return to Base attracted so little attention the band
could've played naked in the middle of Piccadilly Circus and not been
noticed. Nevertheless, songs like the opener, "Wheels Ain't Coming
Down," and "Nuts Bolts and Screws," stand up with the band's best work,
and that is saying a lot. Both songs are infectious to the degree that
humming them could become a chronic problem. Similarly, the version of
Chuck Berry's "I'm a Rocker" is catchy as all get out. The sound of this
record harkens back to the hit single sound, a bit less overdriven and
heavy, and a bit more hook-filled and light. Acoustic guitars even
appear at times. Sure there are some subpar tunes on here, but the bonus
tracks help make up for that. In particular, "Two Track Stereo, One
Track Mind" (originally a B-side of the "My Oh My" 12" single) is
unquestionably one of those Slade songs that just rocks like there's no
tomorrow. Certainly not a high point for the band, but they kept on
keepin' on, no matter how bad things got. Secure in the knowledge that
practically no one had ever heard the thing, Slade eventually redid the
record as We'll Bring the House Down, a fully realized project.

~ AMG
Tracklist:

01. Wheels Ain't Coming Down
02. Hold On Your Hants
03. Chakeeta
04. Don't Waste Your Time (Back Seat Star)
05. Sign Of The Times
06. I'm Rocker
07. Nut Bolts And Screws
08. My Baby's Got It
09. I'm Mad
10. Lemme Love Into Ya
11. Ginny, Ginny
12. 9 To 5
13. Two Track Stereo - One Track Mind

========================

Slade - We'll Bring The House Down (1981)
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1992 | RCA BMG 74321 10564 2 | ~ 216 or 218 or 91 Mb | Scans(png, 300dpi) -> 93 Mb
Hard Rock
We'll Bring the House Down marks the beginning of a four-album resurgence for Slade.
Released on the heels of their most triumphant moment as a band, the
1980 Reading Festival (see Slade Alive at Reading '80 EP for more on
that), Slade made a powerful statement with We'll Bring the House Down:
"We're back." What the band did was to take the best five songs from the
previous platter, Return to Base (no one had heard that album anyway,
they correctly figured), and mix them in with great new material for a
killer album that wouldn't take forever to make. Simple logic will tell
you that when you get rid of the worst songs and replace them with great
songs, the album's gonna be a lot better. Such is the case here. The
title track is automatic. One listen and you'll be chanting along, just
as Slade audiences did ever since the band started playing the song. An
absolute must-hear. Also, "Dizzy Mama" (riff-wise a ZZ Top "Tush"
soundalike) was the Reading show-opener, and it grabbed that crowd by
the throat even thought the audience had never heard it. And "When I'm
Dancin' I Ain't Fightin" is pure classic Slade. This is just the type of
song that made people go crazy over this band in the first place, and
it stacks up to their chart-topping singles. This was the beginning of a
slow build back up the British charts. We'll Bring the House Down
didn't go too far, but it set the stage. Slade was back, making records
people wanted to hear. The long cold winter was over.

~ AMG
Tracklist:

01. We'll Bring the House Down
02. Night Starvation
03. Wheels ain't Coming Down
04. Hold on to Your Hats
05. When I'm Dancing I Ain't Fightin'
06. Dizzy Mamma
07. Nuts Bolts and Screws
08. My Baby's Got It
09. Lemme Love inyo Ya
10. I'm a Rocker

========================

Slade - Till Deaf Do Us Part (1981)
EAC | Flac(Image) + Cue + Log & M4A(Tracks) & MP3 CBR 320Kbps
1992 | BMG Ariola 290 587 | ~ 258 or 260 or 107 Mb | Scans(png, 300dpi) -> 53 Mb
Hard Rock
Till Deaf Do Us Part is Slade's hardest-rocking album ever. Their playing is at its
fiercest and the material totally kicks ass. While this was not quite
the commercial success the band was hoping for, it didn't kill their
momentum by any means. They were now packing halls again instead of
playing to half-empty small clubs. The disc includes three songs that
would be played live at every gig the band did from this LP's release
until they stopped playing out. The opener, "Rock and Roll Preacher,"
features Noddy Holder praying at the altar of rock & roll. This
number is so blistering, one wonders just how heavy these guys can get.
Answer: very. "Lock Up Your Daughters" is as catchy as it gets and
maintains the furious instrumental pace of the record. "Daughters" is a
perfect example of how far the band had come. It retains the almost
bubblegum sound of the earlier singles, while the heavy production style
gives it a bit more of a hard-rocking edge. The wonderfully Slade-esque
"Ruby Red," which failed as a single, makes a good album track, and "A
Night to Remember" is definitely a song to remember, as it ups the
intensity ante. Also included is the hysterical "That Was No Lady That
Was My Wife" and a rare song written by Dave Hill, an innocuous little
instrumental called "M'Hat, M'Coat." This is noteworthy, since from the
earliest days of the band all the originals were by Jim Lea and Holder.
This LP shows a band with renewed enthusiasm and confidence. And by the
way, the original album cover (drawing of an ear with a bent nail in it)
is way cooler than the CD cover (band shot in flames). Recommended for
rockers.

~ AMG
Tracklist:

01. Rock And Roll Preacher
02. Lock Up Your Daughters
03. Till Deaf Do Us Part
04. Ruby Red
05. She Brings Out The Devil In Me
06. A Night To Remember
07. M'hat M'Coat
08. It's your Body Not Your Mind
09. Let The Rock Roll Out Of Control
10. That Was No Lady That Was My Wife
11. Knuckle Sandwich Nancy
12. Till Deaf Resurrected

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