Carolyn McCormick

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Carolyn McCormick

From Wikipedia, the free encyclopedia
Carolyn McCormick
Born Carolyn Inez McCormick
(1959-09-19) September 19, 1959 (age 57)
Midland, Texas, United States
Alma mater Williams College
Occupation Actress
Years active 1985–present
Spouse(s) Byron Jennings (?-present) (2 sons)[1]

Carolyn Inez McCormick (born September 19, 1959) is an American actress best known for her role as Dr. Elizabeth Olivet in the Law & Order franchise.

Life and career[edit]

McCormick was born and raised in Midland, Texas, and graduated first in her class from The Kinkaid School in Houston in 1977. She graduated with honors from Williams College in 1981 with a B.F.A..[2] She also holds an M.F.A. from the American Conservatory Theater in San Francisco. She has worked in television, movies, theatre, and voice acting.

Her break into film was Enemy Mine directed by Wolfgang Petersen with Dennis Quaid. Other film credits include Woody Allen‘s Whatever Works, You Know My Name with Sam Elliott, and A Simple Twist of Fate with Steve Martin.

Her first notable television credit was district Attorney Rita Fiore in Spenser: For Hire, a role she played from 1986 to 1987. She appeared as the holodeck simulation Minuet in “11001001“, a first-season episode of Star Trek: The Next Generation, and later as Minuet Riker (William Riker‘s wife) in a fantasy-alternate universe during the fourth-season episode “Future Imperfect“. The role she would become best known for was on NBC network as Dr. Elizabeth Olivet on Law & Order, appearing in approximately half of the series episodes between 1994 and 2006. In 1997, she played the unhappy wife of a police psychiatrist played by Robert Pastorelli in the short-lived Americanized version of the British series Cracker. She has been a guest star on series including Madam Secretary, Elementary, Blue Bloods, Judging Amy, The Practice, Body of Proof, Cold Case, Homicide: Life on the Street, and LA Law.[3]

She also performs on stage. She appeared at the Off-Broadway Cherry Hill Theatre in Eve-olution with The Cosby Show star Sabrina Le Beauf in 2004. She has also appeared in Dinner with Friends, Oedipus, Ancestral Voices, The Donahue Sisters, Laureen’s Whereabouts and In Perpetuity. She worked with Thomas Kail at The Flea Theatre in A.R. Gurney‘s Family Furniture (2013). In 2015 she appeared in Vanya, Sonya, Masha and Spike at the PaperMill Playhouse and What I Did Last Summer at the Signature 2015. [4] She appeared in the Broadway productions of The Dinner Party in 2001 as Mariette Levieux, Private Lives (standby) in 2002, and in Equus in 2008 as Dora Strang.[5] In 2012 she appeared opposite her husband, Byron Jennings, in the Off-Broadway production of Ten Chimneys.[6] She appeared Off-Broadway in Will Eno‘s play The Open House in 2014 (Lucille Lortel nomination, Drama Desk Award)[7] She has recorded many audio books, including the Hunger Games series, and has narrated many Ken Burns documentaries.


Year Title Role Notes
1985 Enemy Mine Morse
1986–1987 Spenser: For Hire Asst. Dist. Atty. Rita Fiore 22 episodes[8]
1988–1990 Star Trek: The Next Generation Minuet 2 episodes
1991–2009 Law & Order Dr. Elizabeth Olivet 87 episodes (1991–1997, 1999, 2002–2010)
1994 A Simple Twist of Fate Elaine McCann
1996 Homicide: Life on the Street Linda Mariner 2 episodes
1997–1999 Cracker Judith Fitzgerald 16 episodes
1999 You Know My Name Zoe
1999–2001 & 2013 Law & Order: Special Victims Unit Dr. Elizabeth Olivet 4 episodes
2001 Women Docs Narrator
2001–2004 Judging Amy AAG Ellis Bonham 3 episodes
2002 Emmett’s Mark Mrs. Carlin
This Is Not a Chair Mrs. Morrison
2005 Loverboy Ruth the Realtor
Law & Order: Trial by Jury Dr. Elizabeth Olivet 1 episode
2006 Law & Order: Criminal Intent Dr. Elizabeth Olivet 1 episode
2007 Cold Case Elizabeth Stone Kevin Bray
2008 Nights in Rodanthe Jenny
2009 Whatever Works Jessica
The National Parks: America’s Best Idea Various historical figures (voice)
The Hunger Games Audiobook Narrator
Catching Fire Audiobook Narrator
2010 Mockingjay Audiobook Narrator
True Nature Becky Pascal
Downtown Express Marie
One Life to Live Judge Burdett 3 episodes
2011 Body of Proof Gwen Baldwin Episode: “Dead Man Walking
The Miraculous Year The Realtor Kathryn Bigelow
2012 The Dust Bowl Voice of Caroline Henderson Directed by Ken Burns
2013 Blue Bloods Joyce Powers Oz Scott
Mind Games Victoria Hood Romeo Tirone
Murder in Manhattan Laura Cherie Nowlan
2015 Elementary Denise Davis Michael Pressman
2016 Madam Secretary White House Doctor Rob J. Greenly
The Interestings Betsy Wolf Mike Newell
2017 The Blacklist: Redemption Meryl Jensen Episode: “Kevin Jensen”


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Rebeka Montoya (UPDATE)

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Rebeka Montoya

From Wikipedia, the free encyclopedia
Rebeka Montoya
Occupation Actress

Rebeka Montoya is an American actress. Montoya is known for her recurring role as Delores Padilla in the ABC daytime soap opera, General Hospital, from 2011 to 2012.[1][2] In 2014 she joined the cast of ABC comedy-drama series, Mistresses, as Antonia Ruiz.[3][4][5] In early career, Montoya had starring role on the Telemundo telenovela Prisionera, and later guest-starred in Las Vegas, Castle, Southland, and Psych.


Year Title Role Notes
2004 Prisionera Patricia ‘Patty’ Salvatierra Series regular, 150 episodes
2004-2005 ¡Anita, no te rajes! ¡Anita, no te rajes! 2 episodes
2006 Convincing Benny Jesse Short film
2005-2006 Eve Lisa Recurring role, 3 episodes
2006 Las Vegas Maria Hurtado Episode: “Coyote Ugly”
2007 Caregiver Monique Direct-to-video
2008 Crash and Burn Mareya Television film
2008 Dark Reel 2nd AC
2009 Expecting a Miracle Television film Television film
2009 The Gold & the Beautiful Estelle
2009 The Storm Gracia Television film
2010 Castle Ana Rivera Episode: “Suicide Squeeze”
2010 Southland Mariella Moretta Episode: “What Makes Sammy Run?”
2011 NCIS: Los Angeles Hostess Episode: “Plan B”
2011 Platinum Illusion Angela
2011 The Protector Patty Wyatt Episode: “Bangs”
2011-2012 General Hospital Delores Padilla Recurring role
2012 The Man That Worked Cecila Short film
2013 Psych Rita Quinn Episode: “No Trout About It”
2013 Anger Management Carlita 2 episodes
2014-2015 Mistresses Antonia Ruiz Recurring role






The Nashville Teens

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The Nashville Teens

From Wikipedia, the free encyclopedia
The Nashville Teens
The nashville teens.png

The Nashville Teens in 1966
Background information
Also known as Arizona Swamp Company
Origin Weybridge, Surrey, England
Years active
  • 1962 (1962)–1973 (1973)
  • 1980 (1980)–present
Associated acts
Members Ray Phillips
Adrian Metcalfe
Colin Pattenden
Simon Spratley
Ken Osborn
Past members See former members section

The Nashville Teens are an English rock band, formed in Surrey in 1962.[1] They are best known for their 1964 hit singleTobacco Road“, a top 10 UK hit and a top 20 hit in the United States.


Art Sharp (born Arthur Sharp, 26 May 1941, Woking, Surrey) began his career in music as manager of Aerco Records in Woking, Surrey. The group’s line-up eventually comprised singers Sharp and Ray Phillips (born Ramon John Philips, 16 January 1939, Tiger Bay, Cardiff, South Wales), with former Cruisers Rock Combo members John Hawken (piano), Mick Dunford (lead guitar) (born Michael Dunford, 8 July 1944, Addlestone, Surrey died 20 November 2012, Surrey), Pete Shannon (born Peter Shannon Harris, 23 August 1941, Antrim, County Antrim, Northern Ireland) (bass) and Dave Maine (drums). Roger Groome replaced Maine shortly afterward but was in turn replaced by Barry Jenkins in 1963, the year a third vocalist, Terry Crowe (born Terence Crowe, 1941, Woking, Surrey) joined briefly and Dunford left, to be replaced by John Allen (born John Samuel Allen, 23 April 1945, St Albans, Hertfordshire). (Crowe and Dunford formed “The Plebs” with Danny McCulloch and were re-united with Hawken in Renaissance in 1970). There was also another member, Derek Gentle (vocals), who was diagnosed with cancer in the summer of 1962 and had to leave the band. He died in June 1963.

While playing in Hamburg, the Teens backed Jerry Lee Lewis for his Live at the Star Club, Hamburg album.[2][3][4][5][6] Music critic Stephen Thomas Erlewine writes, “Live at the Star Club is extraordinary, the purest, hardest rock & roll ever committed to record.”[6]

The band later backed Carl Perkins on his hit single “Big Bad Blues” (May 1964) and also played with Chuck Berry when he toured Britain.[7] One concert was attended by Mickie Most, who subsequently produced the band’s June 1964 debut single, an interpretation of the John D. Loudermilk penned song “Tobacco Road“, which reached No. 6 in the UK Singles Chart and No. 14 in the U.S.Billboard Hot 100 chart. The follow-up, another Loudermilk song, “Google Eye”, reached number 10 in the UK in October 1964. The Nashville Teens’ record producers also included Andrew Loog Oldham and Shel Talmy. One of their recordings was the mildly controversial Randy Newman number, “The Biggest Night of Her Life”, about a schoolgirl who is “too excited to sleep” because she has promised to lose her virginity on her sixteenth birthday to a boy whom her parents like “because his hair is always neat”.

A further three top 50 singles, “Find My Way Back Home” and “This Little Bird”, followed in February and May 1965 and “The Hard Way” made a brief appearance the following year but three subsequent records (“I Know How It Feels To Be Loved”, “Forbidden Fruit” and “That’s My Woman”) all failed to chart. Jenkins left in 1966 to join The Animals and was replaced by his predecessor Roger Groome. Reportedly Ray Phillips got an offer to join Cream in 1966. He refused.[8]

Although musically competent, the group’s lack of distinctive personality contributed to its lack of long-term success, as did Decca‘s poor promotion. (By 1970, Decca’s only remaining rock acts were The Rolling Stones and The Moody Blues, both of whom handled their own promotion.) In the late Sixties the group returned to its old craft: backing other artists like Carl Perkins, Chuck Berry and Gene Vincent.[9] In 1971 they released a single, “Ella James”, a Roy Wood-penned song originally recorded by The Move, on the Parlophone label, again without success.

Arthur Sharp left in 1972 to join the band’s one-time manager Don Arden, and Trevor Williams joined. Despite Phillips’s efforts, the Nashville Teens split in 1973. The band re-formed in 1980, however, with Phillips as the only original member, joined by Peter Agate (guitar), Len Surtees (bass) and Adrian Metcalfe (drums). The band is still working. Phillips joined the British Invasion All-Stars in the 1990s and made three albums with the group, consisting of members of The Yardbirds, Creations, The Pretty Things, Downliners Sect and other groups. The band did a cover of “Tobacco Road” that still receives airplay on XM Satellite Radio. The current line-up is Phillips, Metcalfe, Colin Pattenden (bass and vocals), Simon Spratley (keyboards and vocals) and Ken Osborn (guitar).

A 1993 EMI label compilation, Best of the Nashville Teens, contained a re-recording of their “Tobacco Road” hit which is the only version available on iTunes.[10]

Dunford died of a cerebral hemorrhage on 20 November 2012 in Surrey, England.

Appearances in films and TV shows[edit]

The Nashville Teens appeared in three 1965 film:

In 2010 “Tobacco Road” was featured on the 4th season premiere of Mad Men.



  • Tobacco Road“/”I Like It Like That” (1964) – # 6 (UK Singles Chart), # 14 (Billboard Hot 100)
  • “Google Eye”/”T.N.T.” (1964) – # 10 (UK) # 117 (US)
  • “Find My Way Back Home”/”Devil In Law” (1965) – # 34 (UK)
  • “The Little Bird”/”Whatcha Gonna Do” (1965)[11] – # 38 (UK) # 123 (US)
  • “I Know How It Feels To Be Loved”/”Soon Forgotten” (1965)
  • “The Hard Way”/”Upside Down” (1966) – # 45 (UK)
  • “Forbidden Fruit”/”Revived 45 Time” (1966)
  • “That’s My Woman”/”Words” (1967)
  • “I’m Coming Home”/”Searching” (1967)
  • “The Biggest Night of Her Life”/”Last Minute” (1967)
  • All Along the Watchtower“/”Sun Dog” (1968)
  • “The Lament of the Cherokee Reservation Indian”/”Looking For You” (1969)
  • “Ella James”/”Tennessee Woman” (1971)
  • “You Shouldn’t Have Been So Nice”/”Tell The People” (1972, never released)



  • The Nashville Teens: “How Deep Is the Ocean”, “I Need You Baby (Mona)”, “Parchman Farm“, “Bread and Butter Man” (1964)

LP albums[edit]

CD samplers[edit]

  • The Best of the Nashville Teens 1964-1969 (1993):
    • “Tobacco Road”, “I Need You Baby (Mona)”, “T.N.T.”, “Parchman Farm“, “Need You”, “La Bamba“, “Bread and Butter Man”, “Google Eye”, “Hootchie Kootchie Man”, “How Deep Is the Ocean”, “Find My Way Back Home”, “Devil-in-Law”, “Too Much”, “Hurtin’ Inside”, “I Like It Like That”, “Searching”, “Soon Forgotten”, “The Little Bird”, “I’m Coming Home”, “The Hard Way”, “Words”, “That’s My Woman”, “The Lament of the Cherokee Reservation Indian”, “Looking For You”
  • Tobacco Road (produced in Germany, 2000):
    • “Tobacco Road”; “I Need You Baby (Mona)”, “Need You”, “Bread and Butter Man”, “Hurtin’ Inside”, “Hootchie Kootchie Man”, “Google Eye”, “Too Much”, “Parchman Farm“,[13] “I Like It Like That”, “How Deep Is the Ocean”, “La Bamba“, “T.N.T.”, “Devil-in-Law”, “Find My Way Back Home”, “Whatcha Gonna Do”, “I Know How It Feels to Be Loved”, “Upside Down”, “Forbidden Fruit”, “Revived 45 Time”, “That’s My Woman”, “I’m Coming Home”, “The Biggest Night of Her Life”, “Last Minute”, “All Along the Watchtower“, “Sun Dog”, “oor Boy”,[14] “Ella James”, “Tennessee Woman”
  • Rockin’ Back To Tobacco Road (2007):[15]
    • “Let It Rock/Rocking on the Railroad”, “I’m a Lonely One”, “Chantilly Lace“, “Break Up”, “Tobacco Road”, “Widdicombe Fair”, “Lawdy Miss Clawdy“, “Ex Kay on LX”, “The Biggest Night of Her Life”, “Last Minute”, “All Along the Watchtower“, “Sun Dog”, “Hitch Hike”, “The Little Bird”, “Widdicombe Fair” (alternate version), “The Lament of the Cherokee Reservation Indian”, “Train Keeps a-Rollin”, “Tennessee Woman”, “Fishhead”, “New York Mining Disaster“, “Half Breed”, “Day and Night”


Current members
  • Ray Phillips – lead vocals, bass guitar (1962–73; 1980–present)
  • Ken Osborn – lead guitar (?-present)
  • Colin Pattenden – bass guitar, lead vocals (?-present)
  • Simon Spratley – keyboards (?-present)
  • Adrian Metcalfe – drums (1980–present)
Former members
  • Arthur Sharp – guitar, lead vocals (1962–72)
  • Trevor Williams – vocals, bass guitar (1972–73)
  • Terry Crowe – lead vocals (1963)
  • Mick Dunford – lead guitar (1962–63)
  • John Allen – lead guitar (1963–69)
  • Len Tuckey – lead guitar (1969–73)
  • Peter Agate – lead guitar (1980-?)
  • Pete Shannon Harris – bass guitar, guitar (1962–66)

Neil Christian


Neil Christian

From Wikipedia, the free encyclopedia
Neil Christian
Neil Christian - Popzien 1973 5.png

Neil Christian in the Dutch television program Popzien, 8 June 1973
Background information
Birth name Christopher Tidmarsh
Born (1943-02-14)14 February 1943
Hoxton, London, England
Died 4 January 2010(2010-01-04) (aged 66)
Genres Rock and Roll
Instruments Vocals
Years active 1960s
Labels Strike
Associated acts The Crusaders

Neil Christian, born Christopher Tidmarsh (14 February 1943[1] – 4 January 2010)[2] had a solo hit single in 1966, when “That’s Nice” (written by Miki Dallon), reached Number 16 in the UK Singles Chart.[3] He remains, however, a one-hit wonder. Follow-up singles “Oops” and “Two at a Time” never reached the charts. He was born Hoxton, East London.[2]


Neil Christian and the Crusaders are one of the British rock and roll bands of the 1960s. They were signed to the Strike record label.

In the early 1960s Jimmy Page was asked to join The Crusaders.[2] Page toured with Christian for approximately two years, and later played on several of his records, including their November 1962 single, “The Road to Love” / “The Big Beat Drum”, released on Columbia and produced by Joe Meek under his RGM Sound imprint. At various times the band included Albert Lee and Alex Dmochowski, who later joined Aynsley Dunbar Retaliation.[4]

When most of the line-up left to join Lord Sutch’s Savages in 1965, Christian took on members of Luton Band The Hustlers, including Mick Abrahams,[citation needed] although in 1966 a touring version of The Crusaders was put together to promote the hit single “That’s Nice” which consisted of Tony Marsh piano (b. Anthony Marsh, 1946); Tornado Evans drums; Ritchie Blackmore guitar; and Bibi Blange bass.[4] Further singles failed to reach the charts, however, and Christian moved to Germany, where he remained popular.[4]

In 1971, Christian took on the management of Crushed Butler[2] who changed their name to Tiger. Christian got them into recording studios both in Wembley, and Tooting, London, where he produced them.

Everything Christian released between 1962 and 1968 has been reissued on the CD compilation, That’s Nice, which also added several unreleased recordings from the same era.[1]

Related session musicians[edit]

The Paramounts

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The Paramounts

From Wikipedia, the free encyclopedia
The Paramounts
Also known as Liquorice John Death
Origin Southend-on-Sea, Essex
Genres R&B, soul, pop
Years active 1959–1966
Labels Parlophone
Associated acts Procol Harum
Members Robin Trower
Gary Brooker
Chris Copping
Mick Brownlee
Bob Scott
Diz Derrick
B. J. Wilson

The Paramounts were an English beat group, based in Southend-on-Sea, Essex.[1] They had one hit single with their cover version of “Poison Ivy“, which reached #35 on the UK Singles Chart in 1964,[2] but are primarily known as the fore-runner to Procol Harum.


The origin of the Paramounts is unclear. They were either formed as “The Raiders” in 1959 when the members were at secondary school,[3] or were one of the first “manufactured” bands, the organisers of a band competition at the Palace Hotel in Southend forming a group out of the best musicians in the contest.[1] The Raiders had Robin Trower and Chris Copping (guitars), Mick Trower (lead vocals; older brother of Robin Trower) and Gary Nicholls (drums; born 1945 died April 2007). The initial line-up of the Paramounts from September 1960, was Gary Brooker (piano, ex-Johnny Short and the Coasters), Mick Brownlee (drums; born October 1943, ex-Mickey Law and the Outlaws), Chris Copping (bass), Bob Scott (vocals, ex-Bob Scott and the Clansmen) and Robin Trower (guitar). Scott soon left, and Brooker became the vocalist, but as he was only 14, this made playing in licensed premises difficult, so they started performing in Trower’s father’s cafe, which became The Shades Club.[1] Copping left in December 1962 and Brownlee left in September 1963, and were replaced by Diz Derrick (bass; born Grahame Derrick, 11 December 1944, Upminster, Essex) and B J Wilson (drums). Their musical style evolved from their initial R&B towards soul and by 1963 they were regularly playing in London, and were signed by Parlophone. In late 1964 and early 1965 they had Phil Wainman on drums (born Philip Neil Wainman, 7 June 1946, West London), briefly replaced Wilson who went to Jimmy Powell and the Five Dimensions. Their first single, “Poison Ivy“, produced by Ron Richards, was a cover of the Leiber and Stoller song, which had been a hit for The Coasters in 1959. It became a minor hit for the Paramounts, reaching #35 on the UK Singles Chart, which led to them appearing on TV shows such as Ready Steady Go!.

Their second and third singles “Bad Blood” and “I’m the One who Loves You” both failed to chart, but the B side of the third single “It Won’t Be Long” was the first song written by Brooker and Trower to be released. In search of another hit, subsequent singles were in different styles, but none of them charted. They became backing musicians on European tours by Sandie Shaw and Chris Andrews[3] and the Paramounts eventually disbanded in 1966.[1]

Brooker concentrated on writing music, collaborating with Keith Reid, and Matthew Fisher (organ), and they recorded “A Whiter Shade of Pale“. Needing a band to tour and promote the record, Brooker convinced Trower and Wilson to rejoin them, and augmented this with David Knights (bass). By 1969 Knights and Fisher had left and Chris Copping rejoined.[1]

Liquorice John Death[edit]

A friend of the musicians, Dave Mundy, disliked the name “Paramounts”, which had been given to them by their manager, and wanted them to be called “Liquorice John Death”. Mundy committed suicide in 1972, but left his possessions to Trower, including a painting of an album cover for an imaginary album by ‘Liquorice John Death’, which Mundy had called Ain’t Nothin’ to Get Excited About.[4]

In 1969, after Fisher and Knights had left Procol Harum, and Copping had joined, the line-up had evolved into the Paramounts’ final line-up, minus Diz Derrick.[3] At a practice/rehearsal in January 1970 the new line-up recorded 38 songs at Abbey Road Studios. Largely R&B covers that they had originally played as the “Paramounts”, or songs in a similar vein, 13 of the tracks were mixed by Chris Thomas [5] but the recordings were shelved.

An album containing all the Paramounts’ singles, called Whiter Shades of R&B, was issued in 1983. In 1998 all the known original Paramounts recordings were remastered,[1] as were six of the 38 tracks recorded by Procol Harum, in the Paramounts’ style, in 1970.[5] These remastered tracks were issued on a CD using Mundy’s band and album names, and his cover art.[4] The CD was re-released in 2005 by Friday Music, without Mundy’s cover.[6]

Band members[edit]

  • Robin Trower – guitar
  • Gary Brooker – piano, vocals
  • Chris Copping – bass
  • Mick Brownlee (born October 1943) – drums
  • Bob Scott – vocals
  • Diz Derrick (born Grahame Derrick, 11 December 1944, Upminster, Essex) – bass
  • B. J. Wilson – drums
  • Phil Wainman – drums


  • “Poison Ivy”/”I Feel Good All Over” (1963) Parlophone (R 5093) #35
  • “Little Bitty Pretty One”/”A Certain Girl” (1964) Parlophone (R 5107)
  • “I’m The One Who Loves You”/”It Won’t Be Long” (1964) Parlophone (R 5155)
  • “Bad Blood”/”Do I” (1964) Parlophone (R 5187)
  • “Blue Ribbons”/”Cuttin’ It” (1965) Parlophone (R 5272)
  • “You Never Had It So Good”/”Don’t Ya Like My Love” (1965) Parlophone (R 5351)
  • The Paramounts (1964) Parlophone (GEP 8908)
  • Whiter Shades of R&B (1983) Edsel (ED 112) – CD (1991) Edsel (ED CD 112)
  • The Paramounts at Abbey Road 1963-1970 CD (1998) EMI (7243 496436 2 8)
As Liquorice John Death

Procol Harum discography


Procol Harum discography

From Wikipedia, the free encyclopedia
Procol Harum discography
Procol Harum.jpg

Procol Harum at the turn of the century.
Studio albums 12+1
Live albums 7
Compilation albums 62
Video albums 4
EPs 6
Singles 8

This article presents the discography of Procol Harum.

Studio albums[edit]

Year Album US UK
1967 Procol Harum

47 26
1968 Shine on Brightly

  • Released: September 1968
  • Label: Repertoire
  • Format:
1969 A Salty Dog

  • Released: March 1969
  • Label: A&M
  • Format:
32 27
1970 Home

  • Released: June 5, 1970
  • Label: Repertoire
  • Format:
34 49
1971 Broken Barricades

  • Released: July 11, 1971
  • Label: JVC / Victor
  • Format:
32 42
1973 Grand Hotel

  • Released: March 1973
  • Label: JVC / Victor
  • Format:
1974 Exotic Birds and Fruit

  • Released: April 1974
  • Label: JVC / Victor
  • Format:
1975 Procol’s Ninth

  • Released: September 1975
  • Label: Repertoire
  • Format:
52 41
1977 Something Magic

  • Released: March 1977
  • Label: Salvo
  • Format:
1991 The Prodigal Stranger

  • Released: 27 August 1991
  • Label: Volcano
  • Format:
1995 The Long Goodbye

  • Released: 18 July 1995
  • Label: RCA Victor / RCA
  • Format:
2003 The Well’s on Fire

2017 Novum

Live albums[edit]

Year Album US UK
1972 Procol Harum Live: In Concert with the Edmonton Symphony Orchestra 5 48
1999 One More Time – Live in Utrecht 1992
2004 Live at Union Chapel
2008 One Eye to the Future – Live in Italy 2007
2009 Procol Harum – In Concert With the Danish National Concert Orchestra and Choir
2010 The Spirit of Nøkken
2012 MMX
2014 Some Long Road

Compilation albums[edit]

  • 1969 Flyback 4: The Best of Procol Harum (UK; vinyl LP; Fly Records; 1971 reissue Stateside 5C 052-92455)
  • 1970 Pop Giants Vol. 28: Procol Harum (Germany; vinyl LP; Brunswick 2911 538)
  • 1972 A Whiter Shade of Pale (A&M, Disky, JVC Victor, Simply the Best)
  • 1972 A Whiter Shade of Pale / A Salty Dog (UK; vinyl 2-LP Cube TOOFA 7; cassette (1978 reissue) Cube ZCTOF 7)
  • 1972 Whiter Shade of Pale (EMI, EMI Plus)
  • 1972 Superstarshine Vol. 9 (Netherlands; vinyl LP; Polydor 2343 051)
  • 1972 The Best of Procol Harum (US; vinyl LP; A&M SP-4401; 1987 CD reissue)
  • 1972 The Best of Procol Harum (Denmark, Germany; vinyl LP; Karussell 2345 022)
  • 1972 A Salty Dog (UK; vinyl LP; MFP 5277)
  • 1973 Best of Procol Harum (Repertoire Records)
  • 1974 Procol Harum (France; vinyl LP; Impact 6886 555)
  • 1975 A Whiter Shade of Pale (France; 12″ vinyl; Polydor 2486.139)
  • 1975 Portrait of Procol Harum (vinyl LP; Polydor 2343 069)
  • 1975 Procol Harum (France; vinyl 2-LP; Cube 2617 102)
  • 1975 The Best (Castle Music Ltd.)
  • 1976 Hits (Polydor 2647102)
  • 1976 Rock Roots: Procol Harum (Vinyl LP; Decca, Cube ROOTS 4)
  • 1976 The Best of the Early (Italy; vinyl LP; TNL 1-7308)
  • 1981 Gigantes del Pop Vol. 17: Procol Harum (Spain; vinyl LP; Polydor; STEREO 24 86 224)
  • 1981 Historia de la música rock, Vol. 15: Procol Harum (Spain; vinyl LP; Polydor)
  • 1981 Platinum Collection (Cube 1003)
  • 1982 Greatest Hits Vol. 1 (UK; vinyl LP; Pickwick; SHM 956)
  • 1983 Procol Harum (Germany; AMIGA vinyl LP 8 55 792, cassette 055 792)
  • 1983 Cornerstone (Pair 1020)
  • 1984 Off the Record (Sierra 1004)
  • 1985 Greatest Hits (Germany; Platinum vinyl LP PLP 33 / 8333010)
  • 1986 A Whiter Shade of Pale (Germany; vinyl LP, Cube, Teldec 6.26290 BL)
  • 1987 Classics Volume 17: Procol Harum (US; CD; A&M CD 2515; 1996 remastered version A&M 31454 0523 2)
  • 1987 Greatest Hits (US; CD; A&M; 1996 reissue A&M 31454 0523 2)
  • 1988 Portfolio (Australia; CD; Festival D19192)
  • 1988 Shine On Brightly / A Salty Dog (UK; Castle vinyl LP TFOLP 5, double cassette; 2-CD TFO 512)
  • 1989 The Chrysalis Years 1973–1977 (CD; Chrysalis Records 21705 & F2-21705, CEMA S21-56907)
  • 1990 Collection (Australia; CD; Cube 166277-2)
  • 1992 The Definite Collection (Netherlands; CD; BR Music BX 406-2)
  • 1992 The Early Years (Europe; CD; Dojo EARL D 6)
  • 1994 Early Years (Griffin)
  • 1995 A Whiter Shade of Pale: The Best of Procol Harum (CD; Music Products 106)
  • 1995 Collection (CD; Griffin 369, Castle Music Ltd. 120)
  • 1995 Homburg & Other Hats: Procol Harum’s Best (CD; Castle Music Ltd. 295)
  • 1997 Halycon Daze: The Best of Procol Harum (CD; Music Club Records 0000315; reissue 2006 Music Club International Records MCCD315
  • 1997 30th Anniversary Anthology (UK; CD; West Side WESX 301)
  • 1997 The Best of Procol Harum (Music Club Records 315)
  • 1997 Halcyon Daze: The Best of Procol Harum (Music Club International Records)
  • 1998 The Best of Procol Harum (Repertoire REP 4680-WG)
  • 1998 Three Classic Albums (CD; Essential Records 309)
  • 1999 Pandora’s Box: The Unissued Procol Harum Stereo Versions Plus (Europe; Westside Records WESA 821)
  • 2000 Golden Times: The Best of Procol Harum (Italy; CD; FTE CD 10)
  • 2000 Greatest Hits (UK; CD; Metro METRCD038)
  • 2001 A & B – The Singles (Germany; CD; Repertoire REP 4971)
  • 2001 A Whiter Shade of Pale (Netherlands; CD; Disky SI 646122)
  • 2002 Procol Harum / Shine on Brightly (UK; CD remastered edition; Beat Goes On BGOCD556)
  • 2002 Definitive Collection (BR Music)
  • 2002 Classic Tracks & Rarities – An Anthology (UK; CD; Metro METRCD 502 & 7002)
  • 2002 The Best of Procol Harum (Europe; CD; BR Music; BRCD 106)
  • 2003 A Salty Dog / Home (UK; CD remastered edition; Beat Goes On (BGO) BGOCD558)
  • 2003 The Essential Collection 1967–1991 (CD; Repertoire Records 4791)
  • 2003 The First Four: The Legendary Albums (CD; Metro Doubles METRDCD 521)
  • 2004 A Whiter Shade of Pale (LP; Classic Collection; 100145)
  • 2007 Secrets of the Hive: The Best of Procol Harum (UK; CD; Salvo SALVODCD206, Union Square Music)
  • 2009 Beyond the Pale (CD; Shout! Factory 8266631108)
  • 2009 All This & More (Europe; CD Box Set, Digipak, Remastered; Salvo SALVOBX407)
  • 2014 Inside Outside – The Very Best of Live & in the Studio

Video albums[edit]

  • 1999 The Best of Musikladen Live
  • 2002 Live
  • 2004 Live at the Union Chapel
  • 2009 Procol Harum: In Concert with the Danish National Concert Orchestra & Choir

Extended plays[edit]

  • 1968 “A Whiter Shade of Pale/Homburg/A Salty Dog” (echo 101)
  • 1968 Homburg
  • 1968 Kaleidoscope
  • 1988 A Whiter Shade of Pale (Limited Edition 5000; CD3-14)
  • 1991 The Truth Won’t Fade Away
  • 2007 A Whiter Shade of Pale (SALVOSCD001)


Year Title (a-side b/w b-side) US UK[1] CAN Comment
1967 A Whiter Shade of Pale” b/w “Lime Street Blues” 5 1 1 US/CAN: Deram Records 45-7507 / UK: Deram Records DM 126
1967 Homburg” b/w “Good Captain Clack” 34 6 15 US/CAN: A&M Records 885 / UK: Regal Zonophone Records RZ 3003
1968 “Quite Rightly So” b/w “In the Wee Small Hours of Sixpence” 50 US : A&M Records 927 / UK : Regal Zonophone Records RZ 3007
1969 A Salty Dog” b/w “Long Gone Geek” 44 84 US: A&M Records 1069 / UK: Regal Zonophone Records RZ 3019 / Can A&M AMX323
1969 “The Devil Came from Kansas” b/w “Boredom” US: A&M Records 1111
1970 “Whiskey Train” b/w “About to Die” US: A&M Records 1218
1971 “Broken Barricades” b/w “Power Failure” US: A&M Records 1264
1971 “Simple Sister” b/w “Song for a Dreamer” US: A&M Records 1287
1972 “A Whiter Shade of Pale” re-issue b/w “A Salty Dog” re-issue / “Homburg” re-issue 13 UK: Fly Records ECHO 101
1972 Conquistador” (Live) b/w “A Salty Dog” (Live) 16 7 US/Can: A&M Records 1347
1972 “Conquistador” (Live) b/w “Luskus Delph” (Live) 22 UK: Chrysalis Records CHS 2003
1973 “Robert’s Box” b/w “A Rum Tale” UK: Chrysalis Records CHS 2010
1973 “Bringing Home the Bacon” b/w “Toujours L’Amour” US: Chrysalis Records CHS 2011
1973 “Grand Hotel” b/w “Fires (That Burn Brightly)” 117 US: Chrysalis Records CHS 2013
1973 “Souvenir of London” b/w “Toujours L’Amour” UK: Chrysalis Records CHS 2015
1974 “Nothing But the Truth” b/w “Drunk Again” US & UK: Chrysalis Records CHS 2032
1975 “Pandora’s Box” b/w “The Piper’s Tune” 16 US: Chrysalis Records CRS 2109 / UK: Chrysalis Records CHS 2073
1975 “The Final Thrust” b/w “Taking the Time” UK: Chrysalis Records CHS 2079
1976 “As Strong as Samson (When You’re Being Held to Ransom)” b/w “The Unquiet Zone” UK: Chrysalis Records CHS 2084
1977 “Wizard Man” b/w “Backgammon” US: Chrysalis Records CRS 2115 / UK: Chrysalis Records CHS 2138

Procol Harum


Procol Harum

From Wikipedia, the free encyclopedia
Procol Harum
Procol Harum.jpg

Procol Harum in 2001
Background information
Also known as Liquorice John Death (1970)
Origin Southend-on-Sea, Essex
Years active 1967 (1967)–1977 (1977), 1991 (1991)–present
Labels Regal Zonophone, Reprise (US), A&M, Chrysalis, Deram
Associated acts The Paramounts
Members Gary Brooker
Keith Reid
Geoff Whitehorn
Matt Pegg
Josh Phillips
Geoff Dunn
Past members Dave Knights
Matthew Fisher
Ray Royer
Bobby Harrison
B.J. Wilson
Robin Trower
Chris Copping
Dave Ball
Alan Cartwright
Mick Grabham
Pete Solley
Dee Murray
Mark Brzezicki
Dave Bronze
Jerry Stevenson
Don Snow

Procol Harum (/ˈprkəl ˈhɑːrəm/) are an English rock band formed in 1967. They contributed to the development of symphonic rock, and by extension, progressive rock. Their best-known recording is their 1967 hit single “A Whiter Shade of Pale“, which is considered a classic of popular music and is one of the few singles to have sold over 10 million copies.[2] Although noted for its baroque and classical influence, Procol Harum’s music also embraces the blues, R&B, and soul.


Origins, The Paramounts, early years and formation (1964–67)[edit]

The Paramounts, based in Southend-on-Sea, Essex, led by Gary Brooker and Robin Trower and including Chris Copping and B. J. Wilson, scored a moderate British success in 1964 with their version of Jerry Leiber and Mike Stoller‘s “Poison Ivy“, which reached number 35 in the UK Singles Chart.[citation needed] Unable to generate any follow-up success, the group disbanded in 1966.[3]

The Paramounts were signed to EMI UK for their releases; until one day before Procol Harum linked with EMI UK again, they were called The Pinewoods. A last-minute offer from Chris Blackwell‘s fledgling Island Records label was rejected by Brooker and band.

In April 1967, Brooker began working as a singer-songwriter and formed Procol Harum with non-Paramounts Keith Reid (poet), Hammond organist Matthew Fisher, guitarist Ray Royer and bassist David Knights.[3] Guy Stevens, their original manager, named the band after a friend’s Burmese cat.[4] The cat’s Cat Fancy name was Procul Harun, Procul being the breeder’s prefix.[5]

In the absence of a definitive origin, the name attracted various interpretations,[6] being said to be Latin for “beyond these things” (but the correct Latin translation of “beyond these things” is “Procul his”)[7] or translated as “of these far off things”, the genitive plural “harum” perhaps agreeing with an understood “rerum”, “things”.[8] The name of the band is frequently misspelled; often with “Procul”, “Harem”, both, or other variations.

“A Whiter Shade of Pale”, commercial success and debut album (1967)[edit]

At Olympic Studios, southwest London, with session drummer (and non-Paramount) Bill Eyden, producer Denny Cordell and sound engineer Keith Grant, the group recorded “A Whiter Shade of Pale“, and it was released on 12 May 1967. With a structure reminiscent of Baroque music, a countermelody based on J. S. Bach‘s Orchestral Suite N° 3 in D Major played by Fisher’s Hammond organ, Brooker’s soulful vocals and Reid’s mysterious lyrics, the single reached No. 1 on the UK Singles Chart and the Canadian RPM Magazine chart. It did almost as well in the United States, reaching No. 5.[3] In Australia, it was No. 1 for many weeks, setting a record of 8 weeks in Melbourne.

After “A Whiter Shade of Pale” became a hit, the band set out to consolidate their studio success by touring; their live debut was opening for Jimi Hendrix in 1967. The group’s follow-up single, “Homburg“, with a line-up change of former Paramounts B.J. Wilson on drums and Robin Trower on guitar, reached No. 6 in the UK, No. 15 in Canada, and No. 34 in the US.

The group’s eponymous debut studio album was recorded between the two hit singles, but was held back until early 1968. A series of singles charted lowly in the US and UK, though rarely both at the same time.

Follow-up albums and break-up (1968–77)[edit]

The band’s follow-up album, Shine On Brightly, was released the following year and saw a greater excursion into progressive rock stylings. Their third album, A Salty Dog (1969), was popular among fans and their first album to sell well in the UK. The title track in particular gained a good deal of US FM radio airplay. However, one noted US writer previewed the LP and the story ran in print as “A Salty Duck”. Fisher, who produced the album, departed the band soon after its release.[3]

The group would have many personnel changes,[9] but their line-up for their first three albums was Brooker (piano and lead vocals), Trower (guitar and lead vocals), Fisher (organ and lead vocals), Knights (bass), Wilson (drums), and Reid (lyricist). Former Paramount Chris Copping joined on organ and bass in 1970.[3] The group appeared at the Isle of Wight Festival 1970.[10] By 1971, the disparities in style had become too great and, after the release of their fifth album Broken Barricades, Trower left to form his own power trio band and was replaced by Dave Ball.[3] From late 1972 until 1977, the group’s guitarist was Mick Grabham. By 1968 their first compilation album In Concert 1968 was released but only in Germany.

Procol Harum returned to success on the record charts in the following years with a symphonic rock sound, often backed by symphony orchestras. At this they were one of the first groups to achieve success; Procol Harum Live: In Concert with the Edmonton Symphony Orchestra was a No. 5 gold album in the US in 1972, as well as reaching No. 48 in Britain. “Conquistador” (a track from their first album, re-charted for accompaniment by the Edmonton Symphony in 1971) was a hit single in 1972, getting to No. 16 in the US and No. 7 in Canada, whilst reaching No. 22 in the UK. Their follow-up album, Grand Hotel, did fairly well, reaching No. 21 on the US Billboard 200 in 1973.[3] The album also received a Silver Certification (over 60, 000 copies sold) in the United Kingdom.

In 1975 Procol Harum played the final night at the Rainbow Theatre in London.[11] More personnel changes contributed to declining sales in the later part of the 1970s, with “Pandora’s Box” being their final UK Top 20 hit in 1975.[3] Its parent album, Procol’s Ninth saw a reconnection with Jerry Leiber and Mike Stoller who both produced and wrote with the band. The band broke up in 1977, after seeing Something Magic stall at No. 147 in the US Billboard 200 chart.[11] They reunited for a single performance five months later, when “A Whiter Shade of Pale” was named joint winner (along with Queen‘s “Bohemian Rhapsody“) of the Best British Pop Single 1952–1977 at the BRIT Awards, part of Queen Elizabeth II‘s Silver Jubilee.[12]

Reformation and the 1990s[edit]

The band reformed in 1991 with Brooker, Fisher, Trower and Reid (Wilson had died in 1990), and released The Prodigal Stranger, but sales were modest.[11] After the album’s release, a new incarnation of the band, with Brooker and Fisher but not Trower, toured the US and the world for a few years in the first half of the 1990s.[3]

In August 1995 Procol Harum played at the Cropredy Music Festival, as guests of Fairport Convention. They also toured US and UK the same year, performing at several locations.[13]

In July 1997, fans arranged the celebration of the 30th anniversary of the success of “A Whiter Shade of Pale”, and invited the then-inactive band to play a concert at Redhill, Surrey.

In late 1999, Brooker promised that “Procol will play in 2000”, and in September the band played an open air gig with the New London Sinfonia in Guildford.


In 2000, Procol Harum received some attention after the song “In Held Twas in I” appeared on the band Transatlantic’s debut album.

Since 2001 the band, comprising Brooker, Fisher, Geoff Whitehorn (guitar), Matt Pegg (bass) and Mark Brzezicki (drums), has made several tours of mostly Europe, but also Japan and the US. A 2001 concert in Copenhagen, Denmark was released on DVD in 2002. In 2003 the band released a new studio album, The Well’s on Fire, and appeared at the Progman Cometh festival in Seattle. Their concert in London on Friday 12 December 2003, with much of the material from that album, was released on DVD in 2004: Live at the Union Chapel. Fisher left Procol Harum in 2004.

The band resumed a limited touring schedule in 2005, with Josh Phillips replacing Fisher on Hammond, leaving Brooker as the only original performing member. In June 2006 they played at the Isle of Wight Festival. In August they played two outdoor concerts with the Danish Radio Orchestra at Ledreborg Castle in Denmark, which were tele-recorded. An hour-long edit of the show was broadcast on Christmas morning, 2008 on Danish Channel DR2 and the full concert was issued on DVD on 11 May 2009 (with six extra tracks from a Danish television recording of the band from 1974).

Later in 2006 they played in Switzerland, Norway and Denmark, but with Geoff Dunn replacing Brzezicki on drums, because the latter’s other band Casbah Club was touring with The Who.[14] However, Dunn ended up replacing Brzezicki for the band’s European tour in 2007. Recording from the Italian concerts were later released as One Eye to the Future – Live in Italy 2007. Procol Harum also played an orchestral concert in Sweden on 30 June. They performed with the Gävle Symphony Orchestra at the outdoor opera venue Dalhalla, near Rättvik.

On 20 and 21 July 2007, fans arranged the celebration of the 40th anniversary of the success of “A Whiter Shade of Pale”, and invited the band to play. This took the form of two concerts at St John’s, Smith Square in London. 20 July saw Procol Harum play a mixture of songs from their early days through to the début of a couple of new songs, “Sister Mary” and “Missing Persons”. The following night ‘Gary Brooker and Guests’ performed a fixture of obscure songs by Brooker–Reid that had either never been recorded, never been performed live before or were significantly different from the versions they recorded.

Although there was no Procol Harum activity in 2008, their manager Chris Cooke used the ‘Beyond the Pale’ web site to announce plans for a live DVD and a new album in 2009, as well as festival concerts in Norway on 17 July and Finland on 23 July.[15] Just before the latter concert, Brooker fell off a pile of road-side logs in Finland and broke several ribs. The show went ahead but he was unable to sing properly, and many of the songs were performed either as instrumentals or sung by others in the band. In October 2009, with Brooker fully recovered, the band performed four concerts  – in Hagen (Germany), Drammen (Norway), Moscow and St Petersburg. All This and More, a four disc retrospective (three CDs and a DVD with historical notes) was released in the autumn of 2009, and Salvo also issued all of the band’s previous albums as remastered CDs with extra tracks, some never previously heard.


Procol played a string of US (and Toronto) concert dates in June 2010, mostly opening for Jethro Tull. On 22 July Procol again headlined at the Keitelejazz Festival in Äänekoski, Finland – the venue where the band performed with an injured Brooker in 2009. They described this loyal Finnish audience as “the best in the world” and played a unique three-verse version of “A Whiter Shade of Pale” with a guitar solo from Geoff Whitehorn. 48 hours later Procol were invited to give a free concert at the courtyard of the Palace of the Province of Bergamo in Italy. In August 2010 they appeared in Bad Krozingen in Germany and a Rock Legends event at the Dolina Charlotty Amphitheater in Poland. After a Halloween gig in Leamington Spa (their first in the UK for 3 years) the band returned to North America in November, including a return orchestral event with the Edmonton Symphony Orchestra on 9 November. After playing in Tallinn, Estonia on 18 November, they returned to the US for an orchestral concert in Wilmington, Delaware on 4 December. Over 13 thousand people saw eight New Year concerts with the Danish Radio Orchestra in Copenhagen and other Danish cities in January 2011.[16]

On 29 May 2012, Gary Brooker was hospitalised after suffering a fall in his hotel room in Cape Town. He was due to have performed with his band at GrandWest Arena on the 30th, with fellow Brits 10cc and The Moody Blues, in a tour billed as the ‘British Invasion’ and then again in Johannesburg on Friday 1 June 2012. Brooker (whose birthday it was) had been in his room at the five-star Table Bay Hotel. He was admitted to the ICU of the Christiaan Barnard Memorial Hospital with a serious skull fracture.

The band returned to Denmark for the Kløften Festival on 25 June before embarking on a 27-date U.S. tour supporting Yes. In 2012 the Japanese artist Yumi Matsutoya came to London to record “A Whiter Shade of Pale” with Procol Harum, a band she considered an inspiration for her work. She sang a duet with Gary Brooker on this new version of the 1967 classic, which featured three verses and a guitar solo by Geoff Whitehorn. Yumi and Procol Harum then played a series of December concerts in major Japanese cities, one of which was recorded for a later television showing (on 31 March 2013).

In 2012 Henry Scott-Irvine published a biography of the band, Procol Harum – The Ghosts of A Whiter Shade of Pale. Scott-Irvine also hosted a rare Procol Harum film evening at the BFI on the South Bank, which was attended by members of the group.[17]

In March and April 2013 Procol Harum played a series of five orchestral concerts in Denmark and two such events in Wuppertal in Germany. Four band-only concerts in Sweden & Finland were held in early October.

In September 2012 Procol Harum was among fifteen final nominees for the Rock and Roll Hall of Fame Class of 2013 (induction 18 April 2013). In the subsequent election that December, however, the band failed to gain enough votes for election.[18]

In 2014 the band toured again in France, Switzerland, Germany, Canada (Ottawa with orchestra) and the Eastern U.S. The band also played a five-song set at Kenney Jones’ Rock’n’Horsepower charity event at Ewhurst, Surrey in June, on a bill including Alvin Stardust, John Lodge, Nick Kershaw, Mike Rutherford, Judie Tzuke and The Who. A twin CD, Inside & Outside, was issued with studio tracks from the Chrysalis years and a live CD including new material and performances of tracks from their first four Zonophone albums. On Monday 24 November Procol Harum appeared at the Dominion Theatre in London with the BBC Concert Orchestra and the Crouch End Festival Chorus in an event recorded for broadcast on BBC Radio 2’s Friday Night is Music Night on 28 November. Guitarist Geoff Whitehorn was hospitalised during rehearsals and at short notice Rick Wakeman’s guitarist Dave Colquhoun deputised (on crutches, after a broken ankle). He played a guitar solo in the first extended, orchestrated version of Keith Reid’s 9/11 tribute song “Blink of an Eye”, dedicated by Gary Brooker to the brave firefighters of the 8th Avenue station who the band often talked with after gigs in New York.

The band played about a dozen gigs between 2015 and 2016 and Gary participated in four Winter Solstice concerts in New York in December 2016.

2017 sees the 50th Anniversary of the band. They started with a sold-out orchestral concert at the Royal Festival Hall, during which Gary Brooker fell and injured his head and right hand (5th metacarpal fracture) but he bravely returned to the stage to play the second half of the concert. The band embarks on tours of the UK and Europe (Tallin, Netherlands, several German gigs, Denmark & Finland) from May 2017. Their 13th album “Novum’ will be released on 21 April, the first featuring lyrics by Pete Brown.

Authorship lawsuit[edit]

In July 2009, Matthew Fisher won a British court judgment awarding him 40% of the music royalties from 2005 onwards for 1967’s “A Whiter Shade of Pale”, which had previously gone 50% to Brooker for the music and 50% to Reid for the lyrics.[19]


Current members
Former members


Studio albums

The Puppets


The Puppets

From Wikipedia, the free encyclopedia

The Puppets were an English pop/beat group from Preston, Lancashire, that were managed and recorded by Joe Meek. They backed artists such as Brenda Lee, The Ronettes, Dee Dee Sharp, Gene Vincent, Vince Eager, Marty Wilde, Michael Cox, Duffy Power, Jess Conrad, Crispian St. Peters, Billy Fury and Millie. Drummer O’Reilly had been in The Rebels, who included Reg Welch on lead guitar (b. Reginald Welch, 1944, Preston, Lancashire d. March 2006) and Derek Pearson on bass. He was then in Bob Johnson and the Bobcats (1960 – 1962), who included Bob Johnson on lead vocals (b. Robert Johnson, 30 August 1940, Preston, Lancashire d. 7 May 2011), Jim Whittle on bass and Dave Millen on guitar. O’Reilly then formed The Puppets (1962 – 1967), with Millen and Whittle and later in 1965 Don Parfitt.

Band members[edit]

  • Des O’Reilly drums, vocals (b. Desmond Vincent O’Reilly, 28 May 1944, Deepdale Road, Preston, Lancashire).
  • Dave Millen lead guitar (b. David Millen, 29 January 1943, Preston, Lancashire d. 19 January 2010, Welwyn Garden City, Hertfordshire).
  • Jim Whittle bass (b. James Whittle, 1 July 1943, Preston, Lancashire).
  • Don Parfitt organ (b. Donald Parfitt, 4 January 1943, Todmordan, Yorkshire).


  • “Everybody’s Talking” / “Poison Ivy” (Leiber/Stoller) (September 1963); Pye 7N15558
  • “Three Boys Lookin’ For Love” / “Shake With Me” (1964); Pye 7N15625 (originally withdrawn, but released in the 1990s)
  • “Baby Don’t Cry” / “Shake With Me” – (May 1964); Pye 7N15634


Image result for slade

Image result for slade


From Wikipedia, the free encyclopedia
Image result for slade
Slade in 1973. Left to right: Jim Lea, Don Powell, Noddy Holder, Dave Hill
Background information
Also known as The ‘N Betweens (1966–1969)
Ambrose Slade (1969)
Slade II (1992–present)
Origin Wolverhampton, England
Genres Hard rock, glam rock, glam metal, heavy metal
Years active 1966–present
Labels Fontana, Polydor, Cotillion, RCA, CBS, Cheapskate, Barn
Members Dave Hill
Don Powell
John Berry
Mal McNulty
Past members Noddy Holder
Jim Lea
Steve Whalley
Steve Makin
Craig Fenney
Trevor Holliday
Dave Glover

Slade are an English glam rock band from Wolverhampton/Walsall. They rose to prominence during the early 1970s with 17 consecutive top 20 hits and six number ones. The British Hit Singles & Albums names them as the most successful British group of the 1970s based on sales of singles. They were the first act to have three singles enter the charts at number one; all six of the band’s chart-toppers were penned by Noddy Holder and Jim Lea. As of 2006, total UK sales stand at 6,520,171, and their best-selling single, “Merry Xmas Everybody“, has sold in excess of one million copies.[1]

Following an unsuccessful move to the United States in 1975, Slade’s popularity waned but was unexpectedly revived in 1980 when they were last-minute replacements for Ozzy Osbourne at the Reading Rock Festival. The band later acknowledged this to have been one of the highlights of their career. The original line up split in 1992 but the band reformed later in the year as Slade II. The band has continued, with a number of line-up changes, to the present day. They have now shortened the group name back to Slade.

A number of diverse artists have cited Slade as an influence, including alternative rock icons Nirvana and the Smashing Pumpkins, punk pioneers the Ramones, Sex Pistols, the Undertones, the Runaways and the Clash, glam metal bands Kiss, Mötley Crüe, Poison, Def Leppard, heavy metal bands Twisted Sister & Quiet Riot and pop-rock stalwarts the Replacements, Cheap Trick and Oasis.[2]

The Illustrated Encyclopaedia of Music tells of Holder’s powerful vocals, guitarist Dave Hill‘s equally arresting dress sense and the deliberate misspelling of their song titles for which they became well known.[3]


The band members of Slade grew-up in the Black Country area of the West Midlands: both the drummer Don Powell, and bass guitarist Jim Lea were born and raised in Wolverhampton, lead vocalist Noddy Holder was born and raised in the nearby town of Walsall, and lead guitarist Dave Hill was born in Devon and moved to Wolverhampton while a child. Writings by and about Slade frequently mention The Trumpet public house in Bilston as a band meeting place, especially in their early days. Slade have released over 30 albums, three of which reached No. 1 in the UK Albums Chart.[1] Their releases have spent 315 weeks in the UK charts and they have earned 24 top 30 UK hits as of 2016[update].[4]

Slade dominated the UK charts during the early 1970s, out-performing chart rivals, such as Wizzard, Sweet, T. Rex, Suzi Quatro, Mud, Smokie, Gary Glitter, Roxy Music and David Bowie.[5] Slade achieved twelve Top 5 hit singles in the UK between 1971 and 1974, three of which went straight to #1.[1] Of the 17 Top 20 hits between 1971 and 1976, six made No. 1, three reached No. 2 and two peaked at #3.[1] No other UK act of the period enjoyed such consistency in the UK Top 40 and this feat was the closest any group had come to matching the Beatles‘ 22 Top 10 records in a single decade (1960s). Slade sold more singles in the UK than any other group of the 1970s. In 1973 alone, “Merry Xmas Everybody” sold over one million copies globally, obtaining gold disc status.[6] They toured Europe in 1973 and the US in 1974.[6]

Slade moved to the US in the mid-1970s, in an attempt to break into the American market and although this was largely unsuccessful, they left their mark on a number of US bands who have since cited Slade as an influence.[7] During the late 1970s, the band returned to the UK following years of commercial failure both at home and abroad. Slade’s career was unexpectedly revived when the band were asked to perform at the 1980 Reading Festival when Ozzy Osbourne pulled out at the last minute. For the next two years, the band produced material tailored towards the heavy metal scene and by 1984, they finally cracked the American market with the hits “Run Runaway” and “My Oh My.” This new-found success did not last long, however, and despite a top 25 UK hit in the early ’90s the band split shortly after in 1992.


Early years (1966–70)[edit]

Slade in their skinhead phase in 1969
from left: Powell, Lea, Holder, Hill.

In 1964, drummer Don Powell and guitarist Dave Hill were part of a Midland-based group called the Vendors. Regulars on the club circuit, they had also recorded a privately pressed four-track EP.[8] At the time, Noddy Holder was playing guitar and contributing to vocals in Steve Brett & the Mavericks. Signed to Columbia Records, the band released three singles in 1965.[9] After listening to American blues artists such as Sonny Boy Williamson II, John Lee Hooker and Howlin’ Wolf, the Vendors decided on a change of direction and name:[9] As the N Betweens they gained greater recognition and began to get supporting gigs with acts such as the Hollies, the Yardbirds, Georgie Fame and Spencer Davis.[7]

The Mavericks and the ‘N Betweens were on their way to separate gigs in Germany when they met on a ferry in 1965. Powell and Hill asked Holder if he would be interested in joining The ‘N Betweens but Holder declined. Later, back in their home town of Wolverhampton, the musicians met again and this time Holder agreed to join the group. Jim Lea, whose musical background and strong bass guitar skills were considered an asset, had already been recruited.[10] Lea, who also played the piano and guitar, had been in the Staffordshire Youth Orchestra and had gained first class honours in a London music-school practical exam.[10]

By 1966, this new version of the ‘N Betweens had recorded a promo single of the Otis Redding track, “Security,” and a self-penned song, “Evil Witchman,” released on Highland Records.[11] A further single, “You Better Run” was released on Columbia Records and produced by Kim Fowley.[9][12] This last single was reported by Powell to have topped the regional midland charts although it failed to make any national impact.[13] Between 1966 and 1967, the band’s performance centred on the R&B and Tamla Motown styles, while Noddy’s flair for showmanship began to give the band a focus. During 1967, the band recorded the track “Delighted to See You” which remained unreleased until 1994, where it featured on the various artists compilation Psychedelia at Abbey Road. Although the group did not record again for roughly two years, they built up a respectable reputation on the live circuit.[10]

A local promoter, Roger Allen spotted the group in 1969 and alerted the head of A&R at Philips Records, Jack Baverstock. The group spent a week in the Philips studio at Stanhope Place recording an album, after which Baverstock offered to sign the group to Fontana Records if they changed their name and obtained London-based management. The band were initially hesitant because of the reputation gained as the ‘N Betweens’ but eventually agreed to Ambrose Slade, a name inspired by Baverstock’s secretary, who had named her handbag Ambrose and her shoes Slade.[10][14] Baverstock also found the group an agent, John Gunnel, who had previously worked with the entertainment entrepreneur Robert Stigwood.

The band’s debut album Beginnings, released in mid-1969, was a commercial failure as was the instrumental single “Genesis” and follow up single “Wild Winds Are Blowing”.[10][15] While the album was being recorded, the band were visited by Gunnel and his business partner, Animals’ bassist, Chas Chandler. Chandler was impressed with what he heard in the studio, and after seeing the band live the following day, offered to manage them. As Chandler had previous managerial experience with Jimi Hendrix, the band accepted.[14]

Chandler was not pleased with the debut album and thought the band would benefit from writing their own material and a change of image. The band adopted a skinhead look as an attempt to gain publicity from what was a newsworthy youth fashion trend but this also added an unwelcome association with football hooliganism.[10] Noddy Holder and Don Powell were particularly tough individuals already, and the skinhead look exacerbated the disturbing effect of having “toughs” in the band. In 1970, the band shortened their name to Slade and released a new single, a cover of Shape of Things to Come which despite a performance on United Kingdom music show Top of the Pops, failed to chart.[16]

Chandler moved Slade to Polydor Records, believing a higher profile label would boost sales.[10] The instrumental “Genesis” from the band’s debut album, had lyrics added and was released as “Know Who You Are,” but again, the single failed to make any impression on the UK chart as did the album Play It Loud, released in late 1970 and produced by Chandler himself. Later though, the album would be retrospectively well received by fans and critics.[17][18]

Success and peak (1971–74)[edit]

Noddy Holder (right) and Dave Hill (left), near the height of their fame in 1973, showing some of their more extreme glam rock fashions.

Chandler had been managing the band for almost two years without success when he suggested releasing a version of the Bobby Marchan song, “Get Down and Get With It“, originally performed by Little Richard. Slade still enjoyed a good reputation as a live act and the song had been used in their performances for many years. Always popular, the song’s lyrics demanded audience participation and it was hoped that the feeling of a live gig would be projected into the studio recording.[10][14] The song was released in mid-1971, and by August it entered the top 20 in the United Kingdom, peaking at number 16.[4]

The band members grew their hair long and allied themselves to the glam rock movement of the early ’70s. Hill’s stage costumes also became notable during this period.[19] Many of Holder’s costumes during this period, including the trademark Mirror Top Hat, were made by Dorothy “Dolly” Annakin – a sister of Holder’s friend Ron Annakin. Chandler now demanded the band write a follow-up single themselves which led to Lea and Holder writing Coz I Luv You. The song was written in half an hour and started a writing partnership which would continue throughout Slade’s career. Upon hearing the track played to him acoustically, a pleased Chandler predicted the song would make number one. While recording, the band felt the song’s sound to be too soft and so clapping was added. The song’s misspelled title also became a trademark for Slade while causing a furor among British school teachers.[20] The attendant appearance on BBC Television’s Top of the Pops brought Slade to a wider audience as well as pushing “Coz I Luv You” to number one in the UK charts.[4] In November 1971, NME reported that Slade had turned down a multimillion-dollar campaign, including a television series and a heavily promoted tour of the US. “But”, commented Holder, “acceptance would have meant the cancellation of many commitments here – and the last thing we want to do is to mess around [with] the people who have put us where we are”.[21]

A second single entitled “Look Wot You Dun“, was released at the start of 1972, peaking at number four and a live album was released in March.[4] The album Slade Alive! proved to be successful, spending 52 weeks in the UK Album charts, peaking at number two.[22] It also did well abroad, topping the Australian charts and giving the band their first chart entry in America.[23][24] The album was recorded over three nights at a newly built studio in Piccadilly in front of 300 fan-club members.[10][25] Today the album is regarded as one of the finest live albums ever made.[19]

Two months later, the band released “Take Me Bak ‘Ome“. The single became Slade’s second UK number one and charted in a number of other countries, including America where it reached number 97 in the Billboard singles chart.[4][26] Slade achieved their third number one when “Mama Weer All Crazee Now” was released later that year.[4]

Released in November 1972, the album Slayed? peaked at number one both in the UK and Australia, where it relegated Slade Alive to the second spot;[27] and reaching number 69 in America.[4][24] Both Slade Alive! and Slayed? are widely considered to be two of the finest albums of the Glam Rock era.[28] The final single of 1972, “Gudbuy T’ Jane”, was released shortly after, peaking at number two in the UK being kept from the top spot by Chuck Berry‘s single “My Ding-A-Ling“.[4] The single was a big worldwide hit but only managed to reach number 68 in the American Billboard Chart.[26]

In early 1973, “Cum on Feel the Noize” was released and went straight to number one,[4] the first time a single had done so since The Beatles‘ “Get Back” in 1969. Another worldwide hit for Slade, the single again failed to impress in America where it made number 98.[26] The follow-up single “Skweeze Me, Pleeze Me“, again went straight to number one.[4] Despite being a hit single, “Skweeze Me, Pleeze Me” was never performed on Top of the Pops because the producers of the show would not allow Slade to perform as a three-piece band. A promotional video with dancers was shown instead.[20] Slade quickly disowned it and have not performed it live since.[29]

A car crash in Wolverhampton on 4 July 1973 left Powell in a coma and his 20-year-old girlfriend, Angela Morris, dead.[30] The band’s future was left in the balance as Slade refused to continue without their drummer although Lea’s brother, Frank, covered Powell’s position at the Isle of Wight Festival to avoid disappointing fans. Powell, who’d suffered breaks to both ankles and five ribs, successfully recovered after surgery and was able to rejoin the band ten weeks later in New York, where they recorded “Merry Xmas Everybody” – in the middle of an August heatwave.[14] Powell still suffers with acute short-term memory loss and sensory problems as a result of the accident.[31] Whilst Powell was recovering, and in an attempt to keep up momentum, the band released a compilation album Sladest, which topped the UK and Australian charts in the first week of its release.[4][32] A new single, “My Friend Stan“, was also released. It marked a change from previous records, being more piano based and sounding more like a novelty song. During the recording sessions, Powell who was walking with the aid of a stick, had to be lifted up to his drum kit.[20] The single was successful, peaking at number two in the UK and number one in Ireland.[4][33]

The Christmas-themed song “Merry Xmas Everybody” was Slade’s last single of 1973 and became the band’s last ever number one in the UK.[4] Based on melodies from discarded songs written six years previously, it became Slade’s best-selling single ever. The song has remained popular and has been released many times since, charting on a number of occasions.[4]

The band began to experiment with different musical styles, moving away from their usual successful rock anthems. Following the success of “My Friend Stan”, Slade released the album Old, New, Borrowed and Blue, in February 1974 which went to number one in the UK.[4] Re-titled “Stomp Your Hands, Clap Your Feet”, the album was another disappointment in the US, failing to break into the top 100.[24] The following month saw a new single released. “Everyday” was a piano led ballad which made number three in the UK charts.[4] The next single, “The Bangin’ Man” saw a return to a more guitar-based sound, again reaching the number three position.[4]

Decline in popularity (1974–75)[edit]

In the latter half of 1974, the possibility of making a film was being discussed. The band considered a number of screenplays before settling on Slade in Flame, a gritty tale of the rise and fall of a fictional 1960s group called Flame; the story was based on true music business events involving Slade and various other groups of the time.[10]Far Far Away“, a track from the film was released, reaching number two in the UK and topping the chart in Norway.[22][34] Noddy Holder has cited the single as his favourite Slade song.[14]

The soundtrack album was released in late November and despite a positive reception from the critics, the disappointing chart position of number six was seen by some as an indication of the band’s decline in popularity.[22][35] The film, released in January 1975, received a somewhat mixed reception. It was thought that its bleak, sour atmosphere confused Slade fans who were used to Slade delivering a good time.[10] Directed by Richard Loncraine and written by Andrew Birkin, the film featured Tom Conti in his first major role.[10]

The number 15 position of the film’s main theme song, “How Does It Feel“, was seen as further proof of the band’s decline.[22] The ballad, featuring brass instruments and flute, was at the time thought to be too far from the fans’ expectations.[35] Noel Gallagher of the British band Oasis however has claimed the track to be, “one of the best songs written, in the history of pop, ever”.[36] The follow-up in May “Thanks for the Memory (Wham Bam Thank You Mam)” fared slightly better, peaking at number seven in the UK and doing well in a number of other European countries.[22][37] The single became Slade’s last top 10 hit of the 1970s.

Stateside (1975–77)[edit]

By mid-1975, the band had become disillusioned with their lack of success in America. Feeling that they were becoming stale and had achieved all they could in Europe, Slade decided to a make a permanent move to the States and try to build a solid reputation from live performances; just as they had previously done in the UK. According to the Slade Fan Club newsletter of August and September 1975, the band took twelve tons of equipment, worth approximately £45,000 at the time.[38][39] Throughout the remainder of 1975 and 1976, Slade toured the US, often with other bands such as Aerosmith, ZZ Top and Black Sabbath, only returning to the UK for TV performances of new singles.

Between tours Holder and Lea began writing for a new album which was heavily influenced by American artists and aimed at an American audience. The group booked themselves into New York’s Record Plant Studios in mid-1975 to record the album Nobody’s Fools.[10][40] Featuring backing vocals from Tasha Thomas, it contained elements of soul, country and funk music.[10][41]

The first two singles from the new album, “In For a Penny” and “Let’s Call It Quits” were released in November 1975 and January 1976 respectively, both made number 11 in the UK charts although the latter made no impression outside of the UK.[22][22] The album, released in March 1976, failed to make any impact in America and was also a disappointment in the UK where it peaked at number 14 and dropped out of the charts completely after only 4 weeks.[22] The final track from the album was the title track “Nobody’s Fool“. Released in April, it failed to chart at all, the first to do so since the band’s rise to fame in 1971.[22] Fans within the UK accused the band of ‘selling out’ and forgetting about their fan base at home.[10]

Wilderness years (1977–80)[edit]

Slade performing in Norway in 1977.

Overall, Slade’s American venture was seen as a failure, although the band felt improved and rejuvenated.[10] The live success in cities such as St. Louis, Philadelphia, and New York was not translated into US airplay, however, and the band returned to the UK at the beginning of 1977 to find that punk rock was the new popular style of rock and that they were largely forgotten and out of fashion.[42] Chandler decided not to renew the band’s contract with Polydor Records, instead signing them to his own record label, Barn Records.[10]

The band’s first release with Barn Records was the single “Gypsy Roadhog“, in January 1977. The track was performed on the children’s show Blue Peter, but complaints arose due to drug references and the record was subsequently banned by the BBC.[43] This in turn led to the single’s stalling at number 48 in the charts.[22] The title of the subsequent album was taken from a piece of graffiti seen in London, and made reference to the band’s current position in the public eye: Whatever Happened to Slade was released in March and ironically, failed to make any chart appearance in the UK.[10] Chandler was reportedly disappointed in the material that Holder and Lea were writing, claiming that the album was not commercial enough, but despite its lack of mainstream success, the album was met with critical praise and support from the English punk movement of the time.[43] Since their return to the UK, the band continued to tour but mainly in smaller venues such as universities and clubs. The spring tour had shown that Slade could no longer fill large venues.[10]

“Burning in the Heat of Love”, released a month later, was also banned for suggestive lyrics and failed to chart as a result.[44] In October, the band released an amalgamation of two Arthur Crudup songs, entitled “My Baby Left Me But That’s Alright Mama” as a tribute to the recent death of Elvis Presley. The single proved to be a moderate success, peaking at number 32 in the UK.[22] Slade was unable keep momentum for the next single, “Give Us a Goal“, released in March 1978. Based on English football chants, it was intended to appeal to fans of the sport but failed to make any impact whatsoever,[10] other than making the airplay-based charts of Radio Luxembourg and Manchester’s Piccadilly Radio.

In August 1978, Noddy Holder was involved in a brawl with a bouncer backstage at a club in Porthcawl, South Wales. The bouncer was later jailed for three months for instigating the fight. Holder showed his mettle by performing the next night as planned, at a club in Cleethorpes, Lincolnshire. The event would later be written into the 1981 single “Knuckle Sandwich Nancy”.

In late 1978, the band released “Rock ‘n’ Roll Bolero” featuring the electric violin, not used on a single since the band’s 1971 hit “Coz I Luv You”. The single failed to chart in any country.[45] As the band were still a respected live act, and because the 1972 album Slade Alive! had been so successful, the group decided to release another live album. Slade Alive, Vol. 2 consisted of performances recorded during the 1976 Autumn tour of America and the 1977 Spring tour of the UK.[46] The album was, however, another failure, making no impression in the UK charts.

In 1979, the band released a further three singles: “Ginny, Ginny“, “Sign of the Times” and a cover of the party track “Okey Cokey“. All failed to chart. The Slade newsletter of the time announced that “Ginny, Ginny” had made the top 200 in the UK but not the official top 100.[47] In October 1979, the band released a new studio album Return to Base…., the first album not to have Chandler as producer.[48] Disagreements between Lea and Chandler, centring on Lea’s desire to produce Slade’s material, had been brewing since the recording of Whatever Happened to Slade in 1977. Lea no longer believed in Chandler and as a result, Chandler offered to sever his association with the band. Slade, not wishing to be rid of Chandler entirely, asked him to stay on as their manager, which Chandler agreed to do.[49] The album was a failure in the UK but the following year it topped both the Telemoustique chart and the official album chart in Belgium.[who?] Released exclusively in Belgium, the album’s version of Chuck Berry‘s “I’m a Rocker” also made number 1.[50][51][52]

Slade’s failures and lack of airplay led Lea to wonder if their material would be better received if recorded by another band. In late 1979, Lea formed ‘The Dummies’ as a side project, with his brother Frank and wife Louise. The group released three singles, which received plenty of radio airplay but sales suffered from distribution problems.[10] In February 1980, following the death of Bon Scott, Holder was approached by rock band AC/DC with a view to becoming their new vocalist. Holder turned the position down, despite Slade’s current situation.[53] In mid-1980, Slade released their first extended play titled “Six of the Best” which featured three tracks from the Return to Base…. album and three brand new rock tracks.[54] Even though it was being sold for a lower than usual price of £1.49, it still failed to sell enough to make a chart appearance. As a result, the band stopped working together and Hill started driving couples to their weddings in his own Rolls-Royce, just to make money to provide for his family.[10]

Comeback and heavy metal following (1980–82)[edit]

Ozzy Osbourne, during his Blizzard of Ozz tour, was due to play the Reading Festival in August 1980. Osbourne cancelled at short notice, leaving the organisers searching for a last-minute replacement. Slade was suggested, but Hill, still demoralised, had effectively left the band and initially refused when asked by the other band members. Eventually, Chandler convinced Hill to play what should have been a farewell performance in front of 65,000 rock fans, instead of Slade’s disbanding and disappearing without a trace. To Hill’s astonishment, the band stole the show and quickly became darlings of the music press. Highlights of their performance were broadcast on BBC Radio 1‘s Friday Rock Show Reading special. Afterwards, the band signed to Cheapskate Records, owned by Lea and his brother Frank, which gave the band more control of their material and products.[10][14]

The band’s new-found success led to a hurriedly released extended play the following month. “Live at Reading“, reached number 44, the band’s first chart action in the UK since 1977. Another extended play followed in November, titled “Xmas Ear Bender” which peaked at number 70.[55][56] Polydor Records also saw an opportunity to capitalise on the band’s new success and released the compilation Slade Smashes! at the beginning of November. The album was given plenty of promotion and spent 15 weeks in the UK charts, peaking at number 21.[22] The album was certified UK Gold in December, having by then sold over 200,000 copies.[57]

Keen to keep momentum with their new fans, the band set out to write a song with hit potential. The idea for the new track came after a performance in Amsterdam at the Paradiso Club. An enthusiastic audience who would not go home were overheard chanting by Lea, who was downstairs in the dressing room. Realising the potential of the chant, the song “We’ll Bring the House Down” was written and released in January 1981. Aimed at the new audience which consisted of mainly heavy metal fans, it showed Slade’s heavier rock sound.[10][58] The single hit the number 10 spot in the UK, becoming Slade’s first top ten hit since 1976.[22] In March, an album consisting of four new tracks and six tracks from the previous album Return to Base…. was released. Also called We’ll Bring the House Down it peaked at number 25.[22][57][59]

Wheels Ain’t Coming Down“, which originally appeared as the opening track on the album Return to Base…., was released in March 1981 and reached number 60 in the UK.[48] Although not a hit, it served to keep Slade in the public eye while they were writing new material and planning a European tour.[10] Slade’s success at the 1980 Reading festival was helping them fill larger venues[60] and led to their being asked about a return in 1981. The band refused, however, as they thought they would not be able to better the 1980 performance and a second performance so soon would be a disappointment.[61]

In May, the band released “Knuckle Sandwich Nancy“. Although eagerly wanted as a single by the band, Chandler was not entirely convinced and thus it was half-heartedly released and failed to chart. The band blamed Chandler for the failure and began to manage themselves. Chandler sold his share of Cheapskate Records and negotiated a favourable deal for the band with RCA Records[10][60] The new deal meant that Slade’s records would get worldwide release except in the USA and Canada. UK singles would still be released under the Cheapskate label but with RCA pressing and distributing the records.[62]

The band’s first full release on the RCA label was the European hit single “Lock Up Your Daughters” in late 1981. The track continued to follow a more heavy metal sound and made number 29 in the UK.[22] The album Till Deaf Do Us Part followed in November 1981 and peaked at number 68. It remains Slade’s most metal-directed and heaviest sounding album to date.[63] An article in NME shortly after release, claimed Slade were in trouble over the album cover, which featured an ‘offensive’ picture of a nail piercing an ear drum, and that many dealers were refusing to stock it.[64] The cover was later changed on the CD reissue to a picture of the band in flames. In December, RCA released “Merry Xmas Everybody” for the first time since its initial outing. This time, however, it only managed to get to number 32.[22]

By early 1982, the band had released a new single from the “Till Deaf Do Us Part” album, “Ruby Red“. Although a gatefold release with two extra live tracks, it only managed to reach 51 in the charts.[22][65] The opening track from the album, “Rock and Roll Preacher” was released exclusively in Germany in April.[66] The first Slade single to have a 12″ single version, it peaked at number 49.[67] The song also became Slade’s new show opener. In November, the band released a new single, “(And Now the Waltz) C’est La Vie“, which was aimed directly at the Christmas market. It only made number 50 in the UK but was a hit in Poland where it reached number two.[22][68] The band’s version of the party track “Okey Cokey” was also re-released that year but failed to make an impact, much like the original release in 1979.[69] Lastly, “Merry Xmas Everybody” was again re-released, this time only managing to get to number 67.[22] December saw the release of Slade’s third and final live album, “Slade on Stage[70] which peaked at number 58 in the UK and received a positive response from critics.[22] Lea continued working on solo projects throughout despite the upturn in Slade’s fortunes.

American breakthrough (1983–84)[edit]

Although Slade enjoyed some minor success, RCA Records had higher expectations and sent them away to write songs to be considered for release in 1983. The band came back with two possible singles, “My Oh My” and “Run Runaway“. A raw demo of Holder singing “My Oh My” over Lea’s piano, was received with particular enthusiasm by RCA. The label was delighted with both the tracks and hired outside producer John Punter to work with the band to record them. This was the first time the band had another producer since Chandler. Punter’s methods differed to those Slade were used to, in that the band recorded their parts separately. This method eventually met with the band’s approval.[71] The power ballad “My Oh My” was released in November 1983, where it slowly climbed the charts and by December, Slade found themselves competing for the Christmas number-one spot. The single peaked at number 2 behind a cappella group The Flying Pickets with their cover of Yazoo’sOnly You“.[22] The single was a huge success across Europe and topped the charts in Norway and Sweden.[72]Merry Xmas Everybody“, again re-released, made number 20 that year.[22]

The album The Amazing Kamikaze Syndrome, co-produced by Lea and Punter was also released in December, but despite the strength of “My Oh My”, had only made number 74 by the end of the year.[22] To try to push the album further up the charts, January 1984 saw the release of “Run Runaway”, a Celtic-flavoured rock-jig featuring the return of Lea’s fiddle.[73] The single peaked at number seven in the UK and was also successful in a number of other European countries.[22] [74] The tactic of releasing a second single appeared to work and The Amazing Kamikaze Syndrome eventually reached number 49 in the UK.[22] The album was far more successful in Sweden and Norway, however, where it peaked at number 1 and number 2 respectively.[75] By the end of 1983, the band had finished what would prove to be their final UK tour.[76]

In late 1983, Holder joined Lea in record production, producing among other things, Girlschool‘s cover of the T-Rex song “20th Century Boy” and the album “Play Dirty” which featured two Slade tracks, “Burning in the Heat of Love” and “High and Dry”.[77] Toward the end of the year, American glam metal band Quiet Riot released a cover version of “Cum on Feel the Noize” on Pasha Records and distributed by Columbia Records. It became a huge hit, peaking at number five in the Billboard charts[78] and helping their debut album “Metal Health” to the top, selling seven million copies on the way.[14] As a result, Slade’s original was re-released in the UK but disappointingly it only reached number 98.[22] The success of a Slade track in the US charts prompted CBS to sign Slade to their label and in mid-1984, released the single “Run Runaway.[73] The single eventually peaked at number 20 on the Billboard Hot 100 for a total of 17 weeks; and topped the American mainstream rock chart.[79] It was Slade’s first and only top 20 hit in the States. Its success, it has been suggested, was partly due to the accompanying music video which was filmed at Eastnor Castle in Ledbury, Herefordshire, England and was heavily shown on the MTV music channel.[73] In August 1984, “My Oh My” was released as a follow-up, it peaked at number 37 for a total of 11 weeks, again with the help of a heavily rotated music video on MTV.[79] Quiet Riot meanwhile released another Slade song, “Mama Weer All Crazee Now“, which peaked at number 51.[78]

The Amazing Kamikaze Syndrome was reworked with a couple of alternative tracks and different artwork, and was released in North America as Keep Your Hands Off My Power Supply.[80] The album was a success, getting to number 33 in the US and number 26 in Canada.[79][81] The final single from the album was “Slam the Hammer Down” which peaked at number 92.[26] A tour with Ozzy Osbourne was cancelled after a couple of warm-up gigs, when Lea collapsed in the dressing room after a performance. He was later diagnosed with Hepatitis C. The band returned to the UK and did not tour again, mainly due to differences within the band and problems in Holder’s private life.[14][73]

Second decline in popularity (1985–90)[edit]

Promotional photo of Slade in 1986

In mid-1984, Polydor released a new compilation, Slade’s Greats, which peaked at number 89, and during the autumn a full European tour was announced to promote the album.[22] Tickets began selling before the band had confirmed that the tour would actually take place and shortly after it had to be cancelled because Holder, who was facing a divorce from his first wife, was unwilling to do it.[14][82][83] In late 1984, a new single, similar in style to “My Oh My” was released in the UK. Entitled “All Join Hands“, the song made number 15 in the charts and thus became Slade’s very last top 20 single.[22]Merry Xmas Everybody” was also re-released, peaking at number 47 in the UK.[22]

At the beginning of 1985, Slade released the single “7 Year Bitch” which stalled at number 60 in the UK when it was banned[dubious ] for the lyrical content and title.[22] The band protested that there had been no reaction to Elton John‘s “The Bitch Is Back” which was a hit record.[84] The single did make number 39 in German charts however.[67] A following single was released in March entitled “Myzsterious Mizster Jones“. The single marked a return for Slade’s trademark of spelling titles incorrectly, which had not been done since the 1973 hit “Skweeze Me, Pleeze Me”. Despite being a radio-friendly track, the single only peaked at number 50 in the UK[22] Neither “7 Year Bitch” nor “Myzsterious Mizster Jones” was released in America but the single “Little Sheila” was, where it reached number 86 in the Billboard charts and number 13 in the American mainstream rock chart.[26] It was also released in Canada, where it got to number 50, and Germany.[79][85][86]

Rogues Gallery, an album heavy on synthesizer, was released in the UK during March, and in America during May. Reported to be one of the band’s most polished productions, it was expected that all the tracks would become hit singles.[84] Despite receiving critical acclaim in both Europe and America, Slade were unable to retain their new-found American audience or rekindled British following, and the album failed to live up to commercial expectations, causing the band to largely fade from sight once more. In the UK, the album reached number 60,[22] whilst in America it made number 132.[79] The album was a big hit in Norway, peaking at number 5. It also charted in other European countries.[87] Tour dates in the UK to support the album were announced and tickets actually went on sale. Once again, Holder was unwilling to tour and the dates were shelved.

In November, the band released a party album called Crackers – The Christmas Party Album which peaked at number 34 and was certified UK Gold later that month.[22] Repackaged on several occasions under various names such as The Party Album and Slade’s Crazee Christmas; it contained re-recorded Slade hits and songs that had been successful for other artists.[16] Amazed at what Bob Geldof had achieved with Live Aid, Holder penned the lyrics to “Do You Believe in Miracles” which was also released in November.[84] The single’s earnings went to charity but it only peaked at number 54 in the UK.[22] The final release of the year was another re-release of “Merry Xmas Everybody” which peaked at number 48 in the UK.[22]

In 1986, two new Slade tracks, “We Won’t Give In” and “Wild Wild Party”, were used for the British film “Knights & Emeralds”.[88] That same year, the rock band The Redbeards From Texas released a cover of the 1972 Slade hit, Gudbuy T’Jane and in late 1986; “Okey Cokey” was re-released for the second time but failed to chart, whilst “Merry Xmas Everybody” was once again re-released, peaking at number 71.[22] 1986 also saw Slade’s first official fan convention at the Finsbury Leisure Centre, Old Street, London.[89]

To avoid becoming a ‘Christmas’ hit band, Slade did not release the single “Still the Same” in December 1986 but left it until February 1987.[90] The single was not a hit, reaching only number 73 in the UK, leaving RCA wondering whether it might have been a better idea to release it at Christmas.[22][90] Released in April, “That’s What Friends Are For” suffered a similar fate, peaking at number 95.[22] Slade’s final studio album, You Boyz Make Big Noize, was released a week later. It was produced by Roy Thomas Baker, Lea and Punter.[91] Like Rogues Gallery, it featured a large amount of synthesiser. The album was poorly promoted with no accompanying tour or music videos and spent just one week in the UK chart, peaking at number 98.[22] Like much of Slade’s later material, it fared better in Norway where it got to number 12.[92]

Following the album’s failure, RCA agreed to let Slade return to their own Cheapskate Records label, although RCA still continued distributing. A new single, also called “You Boyz Make Big Noize” was released in August. Influenced by the Beastie Boys‘ musical style, it lacked the synthesiser sound of the album.[83] It was another commercial failure, just creeping into the top 100 at number 94.[22] The single did not feature on the European version of the album but became the title track for the American version which was also released in August.[16] The album was not successful in America, neither was the single “Ooh La La in L.A.” despite receiving a fair amount of radio play in the city of Los Angeles.[93][94][95] In late 1987, “We Won’t Give In” was released as a single in the UK,[96] where it missed the top 100, peaking at No. 121.[97] The band’s 1987 official fan convention was held at The Royal Standard Convention, Walthamstow, London.[89]

In 1988, Slade released a cover of the Chris Montez song “Let’s Dance“; a re-mix of the track from Crackers – The Christmas Party Album.[83][98] The band held their third official fan club convention at Drummonds Convention, King’s Cross, London.[89] In late 1989, after what was initially supposed to be an 18-month break, Holder announced plans for a new album. Due to be released in 1990, the album never materialised, nor did the tour that would have followed had the album been a success.[99][100] 1989 saw “Merry Xmas Everybody” make another new chart appearance, this time reaching number 99.[22]

In 1989, Hill formed his own group Blessings in Disguise with Holder, Ex-Wizzard keyboard player, Bill Hunt, Craig Fenney and Bob Lamb.[101] During 1990, Lea released his own version of Slade’s “We’ll Bring the House Down” under the name The Clout.[102] At the end of the year, “Merry Xmas Everybody” was again re-released and peaked at number 93.[22]

In late 1990, both Holder and Lea produced a cover of “Merry Xmas Everybody” by the band The Metal Gurus, known mainly as The Mission.[103] The single peaked at No. 55 in the UK[104] and both Holder and Lea appeared in the song’s music video,[105] whilst Holder provided lead vocals on one of the single’s b-sides, another Slade cover, “Gudbuy T’Jane”.[106] All artist royalties from the sale of the single were donated to Childline.[103]

Brief comeback and break-up (1991–92)[edit]

In April 1991, the Slade fan club-organised a 25th anniversary party. The band, who were invited, played one song, Chuck Berry‘s “Johnny B. Goode” which turned out to be their last live performance.[107] In that same year, Lea produced the single “Where Have All the Good Girls Gone” for the Crybabys, which was not a success.[77] Later, Polydor Records contacted Slade about a new compilation album. It was hoped that Slade would promote it by releasing two brand new singles and, if successful, would record a new studio album.[108] The first single, “Radio Wall of Sound“, written by Lea and originally intended for a solo project, was released in October.[58] The compilation album, Wall of Hits was released the following month, along with a video compilation under the same name. Both the single and the album were moderately successful reaching number 21 and number 34 respectively.[22] The album later went certified UK Silver and in an attempt to promote it further, a second single, “Universe” was released in December. Despite a number of TV performances, the single failed to reach the top 100 and as a result, Polydor withdrew the idea for a new album.[14]

By 1992, Holder had become weary of the constant touring and effectively managing the day-to-day running of the band. He left after 25 years with the band to explore other career paths. Believing Holder to be an integral member of Slade, Lea also effectively retired from the band, preferring to work alone in the studio. Powell entered the antique business but Hill decided to remain in music and form a new band.

Aftermath and recent years (1993–present)[edit]

Don Powell signing copies of his biography Look Wot I Dun – My Life in Slade at Liverpool One‘s Waterstones in 2014

Slade II was formed in 1992 by Hill with Powell and three other musicians. The suggestion to call the group Slade II came from Holder but Lea was not happy with the Slade name being used at all. The group’s name was later shortened to Slade. Working solidly on the UK theatre circuit during the winter months and throughout Europe the rest of the year, the band released one studio album in 1994 entitled Keep on Rockin’ , which featured Steve Whalley on vocals.[109] The album was not successful nor were the singles “Hot Luv” and “Black and White World”. The band have seen many line-ups but Hill and Powell have remained constant throughout.[14]

Slade were reunited for two events during 1996: the funeral of long-time Slade manager Chas Chandler and an episode of the television show This Is Your Life which featured Holder as the subject.[110][111] During 1997, a new Slade compilation, Feel the Noize – Greatest Hits, reached number 19 in the UK, while in the following year, a remix of “Merry Xmas Everybody“, released under the name Slade Vs. Flush, made number 30.[22]

In 1999, BBC One broadcast a newly made documentary on the band, titled It’s Slade, which featured new interviews with all four members of the band, along with various other musical artists and celebrities such as Ozzy Osbourne, Noel Gallagher, Status Quo, Toyah Wilcox and Suzi Quatro. It was narrated by Radio One’s Mark Radcliffe.[112][113] In 2000, a compilation entitled The Genesis of Slade was released, which contained rare and some previously unreleased material from The Vendors, Steve Brett & The Mavericks and The ‘N Betweens.[114] 2000 also saw Holder appointed as a Member of the Most Excellent Order of the British Empire[115] for his services to music and his voice was famously recorded for lift announcements at the Walsall New Art Gallery.[116]

In 2002, Slade II shortened their name to Slade and re-released their album Keep on Rockin’ with a handful of new tracks included, retitled Cum on Let’s Party.[117] The band also released two new singles, titled “Some Exercise” and “Take Me Home”. Both singles were released in Belgium through Virgin Records.[118][119] An American compilation was also released, titled Get Yer Boots On: The Best of Slade.[120]

In 2003, incarcerated serial killer Rosemary West announced her supposed engagement to bassist Dave Glover. The supposed engagement was called off shortly afterwards and Glover was summarily fired from Slade by Dave Hill. Glover admitted having written to her about the case, but denied any romantic involvement.[121]

In 2005, Steve Whalley, original singer for Slade II, left the band and was replaced by Mal McNulty, who has sung for the band since.[122] In November 2005, Polydor released a new Slade compilation, The Very Best of Slade, which features two discs which include the majority of Slade singles for the first time on a compilation.[123] The compilation peaked at number 39. A DVD was also released for the first time, featuring a collection of Slade videos and promos.[124]

From 2006 to 2007, music label Salvo remastered and released all of Slade’s catalogue, including a four-disc anthology set entitled The Slade Box (Anthology 1969–1991) and a package of all live albums in one Slade Alive! – The Live Anthology.[125][126][127] The remastered series also included the release of a new compilation called simply B-Sides, which featured all of the band’s B-sides.[128]

In late 2006, UK chart rules changed to allow downloads of old singles eligible to chart, which allowed “Merry Xmas Everybody” to return to the chart. It has re-entered the UK Top 75 every Christmas since then, most successfully in 2007 when it peaked at number 20.[22]

In 2009, a new compilation was released, Live at the BBC. It featured songs recorded for BBC sessions between 1969 and 1972, Radio 1 jingles recorded in 1973 and 1974, and, on the second disc, songs recorded live at the Paris Theatre, London, in August 1972.[129] In November 2009, Universal Music released a new compilation entitled Merry Xmas Everybody: Party Hits, which peaked at number 151 in the UK.[22]

In 2011, Salvo released a remastered version of Sladest which included a previously unreleased studio version of the live track “Hear Me Calling”.[130] On the evening of 21 December 2012, BBC Four held Slade Night,[131] which consisted of a showing of the 1999 documentary It’s Slade, Slade at the BBC,[132] and the band’s 1975 film Slade in Flame respectively. Slade at the BBC is a compilation of the band’s performances from the BBC archives throughout their career from 1969 to 1991, introduced by Noddy Holder.[133] According to BARB, the viewing figure for It’s Slade was 608,000 whilst Slade at the BBC had a total of 477,000 viewers.[134]

After years of working with Lise Lyng Falkenberg, since 2006, Powell’s biography Look Wot I Dun – My Life in Slade was released on 14 October 2013, by Omnibus Press (Music Sales Ltd).[135] The book is based on more than 50 hours of interviews with Powell as well as his own 20 years of diaries and notebooks he kept due to his problems with short-term memory following his 1973 accident.[136] Additionally the book featured contributions and quotes from interviews of 28 of Powell’s friends, colleagues and family members.[137] It looks in detail at Slade’s long career and Powell’s life, which included booze-ups with Ozzy Osbourne. To promote the book, Powell appeared at a number of Waterstones book signings, as well as a charity “Tea with Don Powell” event, a question and answer session, where Powell discussed his life with Clive Eakin of BBC Coventry & Warwick. It was in support of the National Autistic Society.[137]

In November 2013, “Everyday” was used to advertise the Google Nexus tablet on UK television. The track subsequently re-charted into the top 75 British singles chart the following month, reaching a peak of number 69.

In December 2015, Holder told the UK’s Daily Mail that his biggest regret was that:[138]

“It really saddens me that the four guys who were in Slade can’t get together now and sit round the dinner table. Five years ago I got the four of us together so we could air our grievances face-to-face, but it was so painful I’d never want to repeat it. I was shocked.”

Musical style[edit]

Slade have been associated with a number of genres including progressive rock, heavy metal, glam rock, hard rock and pop rock.[139][140] Many Slade songs were written specifically for audience participation, such as “Get Down and Get With It”, “Mama Weer All Crazee Now”, “Cum on Feel the Noize”, “Give Us a Goal”, “We’ll Bring The House Down”, “Rock and Roll Preacher” and “My Oh My”.[141] In the days before Slade, Holder, Lea, Hill and Powell were influenced by American blues artists such as Sonny Boy Williamson II, John Lee Hooker and Howlin’ Wolf but then became interested in the work of Little Richard.[142][143] Later they were to draw artistic influence from contemporary rock acts including the Beatles, Chuck Berry, Joe Brown, Cream, the Kinks, Wilson Pickett, Otis Redding, the Rolling Stones, Rufus Thomas, the Who, the Pretty Things, and Screaming Lord Sutch.[139] Chas Chandler‘s connections with The Animals and Jimi Hendrix also had an influence.[144]

The 1969 album Beginnings, released under the name Ambrose Slade, featured many musical influences with covers of songs by Steppenwolf, Ted Nugent, Frank Zappa, The Moody Blues, The Beatles and Marvin Gaye.[145] The album contained elements of psychedelic rock and classic 1960s rock.[146][147] Play It Loud (1970), was also influenced by 1960s classic rock but also showed leanings towards a harder rock sound.[148] Their 1972 live album, Slade Alive!, featured cover versions of songs by Ten Years After, The Lovin’ Spoonful, Bobby Marchan and Steppenwolf[149] and although the album contained strong elements of classic rock it also hinted at the glam rock sound to come.[149][150]

The 1971 single “Coz I Luv You“, was inspired by the guitar styles of Django Reinhardt and Stephan Grapelli.[151] Slayed? (1972) merged glam rock with classic rock, and whilst the 1974 album, Old New Borrowed and Blue, continued in this vein, it also featured pop-rock, rock ballads and novelty tracks.[152] The next album was the 1974 soundtrack Slade in Flame which saw a return to 1960s classic rock, to fit with the theme of the film. The single from the album, “Far Far Away” had an acoustic rock sound, whereas the following single “How Does It Feel?” featured the use of brass and woodwind instruments.[20]

In 1975, while residing in the States, Slade was influenced by Southern boogie rock bands and as a result, Nobody’s Fools featured a wide mixture of styles including soul, country, rock, funk, folk and blues. The album also featured some soulful female backing vocalists.[153][154] After the band returned to the UK in 1977, they began to merge their American influences with a classic, hard rock. The resulting sound, in turn, became an influence to American grunge artists.[155] Return to Base…. (1979) featured elements of classic rock, acoustic rock, rock ballads, ambient rock and rock and roll.[156] Two albums, released in 1981; We’ll Bring the House Down and Till Deaf Do Us Part adopted a hard rock and heavy metal sound, as a result of the band’s revival amongst heavy metal fans, following their success at the Reading Festival.[156][157][158]

The 1983 album The Amazing Kamikaze Syndrome featured a change in musical direction, with a more commercial-friendly rock sound on some tracks, mixed with hard rock and glam metal influences. Some of the tracks hinted at a motor racing theme.[159] One single from the album, “My Oh My” followed a power ballad sound, whilst the next single, “Run Runaway” was reminiscent of a Scottish jig. Slade’s next album, Rogues Gallery featured a strong use of synthesisers, which were a popular instrument in the latter half of the 1980s[160] as did the band’s final album You Boyz Make Big Noize, although this album had a slightly grittier hard rock sound.[161]


Slade have influenced numerous artists including: Nirvana, the Smashing Pumpkins, the Ramones, Sex Pistols, the Clash, Kiss, Mötley Crüe, Quiet Riot, Poison, Def Leppard, Oasis, Cheap Trick, Twisted Sister, the Undertones, the Replacements and the Runaways.[162] Other artists include Hanoi Rocks, Queen, Kirka, Hot Leg, Candlebox, Cock Sparrer and Girlschool. Their anarchic attitude was adopted by the Damned, the Wonder Stuff, and Oasis, the latter of whom covered “Cum on Feel the Noize”. Comedians Vic Reeves, Bob Mortimer, Paul Whitehouse and Mark Williams affectionately parodied the band in a number of what the band called ‘hysterically accurate’ “Slade in Residence” and “Slade on Holiday” sketches, in their The Smell of Reeves and Mortimer television programme in the early 1990s.[7]

Joey Ramone stated “I spent most of the early 70s listening to Slade Alive! thinking to myself, “Wow – this is what I want to do. I want to make that kind of intensity for myself. A couple of years later I was at CBGB’s doing my best Noddy Holder.”[7]

Steve Jones of Sex Pistols stated “Slade never compromised. We always had the feeling that they were on our side. I don’t know but I think we were right.”[7]

NME commented on Slade’s legacy in a review of a greatest hits album, “They embodied the glorious absurdity of the greatest pop, in the sideburns, the mirrored top hat and Dave Hill’s pudding bowl haircut. As such they were the simplest, most effective possible, riposte to prog rock’s bloated pretensions and pseudo-intellect.”[163] In 1981, Adam and the Ants‘ lead guitarist and co-songwriter Marco Pirroni stated that he was greatly influenced by the first gig he ever attended which was Slade at Wembley Pool in 1973.[164][165]

British presenter Gareth Jones, also known as Gaz Top, is a known Slade fan who hosted the 1986 Slade documentary “Slade Perseverance”.[166][167] Jones also appeared at the 1986 and 1987 official Slade fan club conventions.[89] Other famous Slade fans include, English ex-football player Gary Lineker[168][169] and Welsh football player Nigel Vaughan, whom Lea and Hill visited on Boxing Day 1989 at the football ground of Wolverhampton Wanderers.[170][171]

Ozzy Osbourne commented during a Slade documentary, “Noddy Holder’s got one of greatest voices in rock ever.”[172] On his show, ‘Breakfast With Alice’ on Planet Rock, Alice Cooper stated “I love Slade. One of the oddest looking bands of all time….. Twisted Sister lived on Slade, and so did Quiet Riot pretty much. They wrote the catchiest songs around.”[173][174] In 2008, Nikki Sixx of Mötley Crüe said, ‘”…….like with Alice Cooper and Bowie and Slade – those fucking bands gave 150 percent. It was about fashion, it was about music, it was about pushing the envelope”.[175] Status Quo bassist John “Rhino” Edwards stated in a 2010 interview, “I thought the best violin player was Jimmy Lea out of Slade. Oh, he’s just brilliant. He’s a brilliant musician, that guy. He’s a serious bass player. That band (Slade) are so underrated as players. So original.”[176]

Twisted Sister vocalist Dee Snider once described Twisted Sister as Slade meets the Sex Pistols. Twisted Sister’s guitarist Jay Jay French stated “I would say our direct lineage these days is a bit of Slade and Alice Cooper.”[177] On the 2011 final Mark Radcliffe & Stuart Maconie BBC Radio Two show, Manic Street Preachers bassist Nicky Wire stated that he believed Slade’s post-Reading material was very underrated.[178]

Kiss bassist Gene Simmons admitted that his band’s early songwriting ethos and stage performance was influenced by Slade. In his book, Kiss and Make-Up, Simmons wrote “…..we liked the way they (Slade) connected with the crowd and the way they wrote anthems… we wanted that same energy, that same irresistible simplicity”.[179] Tom Petersson of Cheap Trick said that his band went to see Slade perform, and that they (Slade) used “every cheap trick in the book”, thus inadvertently coining his group’s name. Cheap Trick covered the song “When the Lights are Out” on their 2009 release, The Latest.[180] Quiet Riot had US hits with covers of “Cum on Feel the Noize” and “Mama Weer All Crazee Now“. The origins of Slade’s influence on Quiet Riot date back to the early 1970s, when Kevin DuBrow photographed Slade during their first Los Angeles appearance at the Whisky a Go Go.


In 1971, Record Mirror magazine voted Slade number 10 in the top UK groups based on singles for the year.[181] During 1972, the then popular teen magazine, Fab 208, voted the band “Group of the Year” whilst in the Record Mirror magazine that same year; Slade were voted number two in the most promising British groups list, number five in the top 18 groups list and number 17 in the male groups category.[182][183] Also in 1972, Slade were voted number one top band and leading recording act in the NME magazine chart points survey, and number one top live band.[184] Radio Luxembourg presented Slade with the award for “Britain’s act/group of the year” in 1973.[185][186]

In February 1973, Slade were voted Best Live Band by the Disc Music Awards. The same year, the band were again voted the world’s top group in the NME Poll and top group in the BBC World Service Poll. In April 1973, Record Mirror magazine ranked Slade at number three of top 10 in both the album and singles band chart. Record Mirror’s exclusive chart survey was based on a point system allocated according to position and length of time in UK charts for the first three months of the year.[187] In July 1973, Record Mirror magazine ranked Slade at number six of 10 in the UK group singles chart and number 3 in the UK group albums chart.[188] In 1973 and 1974, the band received the Carl-Alan award for Top Group.[189]

In early 1974, the band were voted the number one foreign group by Spain’s biggest music magazine of the time and were voted best overseas group in Finland, Belgium and Ireland.[189][190][191][192] The Disc Music Awards rated Slade as the best live group and top British group. Slade made number four in the “top groups in the world” category. Individual members were also acknowledged; Noddy Holder was number five in the best British male singers whilst Jim Lea made number nine in the top songwriter list. In the Record and Radio Mirror poll results of 1974, Slade were voted top British group, with Holder number two in the top British male singer list. Dave Hill and Jim Lea made the top British guitarist list at number one and seven respectively. Lea also appeared at number nine in the top British keyboardist list and number two in the miscellaneous instruments list. Don Powell was voted top British percussionist. The band collected the 1974 Belgian award for Best World Group.[193][194]

In February 1976, Record Mirror magazine voted Slade the third best UK group with Noddy Holder number eighth in the best male singer and number six in the best songwriter categories.[195] In 1980, Record Mirror voted the band number one for the most inspired comeback of the year.[196]


  • The Slade Story by George Tremlett. London: Futura Publications, 1975. ISBN 0-8600-7193-6
  • Slade, Feel The Noize!: an illustrated biography by Chris Charlesworth. London: Omnibus Press, 1984. ISBN 0-7119-0538-X
  • Slade – perseverance: 25 years of noize: a discography compiled by Morten Langkilde Rasmussen. Hvidovre: M. Langkilde Rasmussen, 1996. ISBN 8798497928
  • Noddy Holder – Who’s crazee now?: my autobiography by Noddy Holder with Lisa Verrico. London: Ebury Press, 2000 ISBN 0-09-187503-X
  • Cum on Feel The Noize! The Story of Slade by Alan Parker & Steve Grantley. London: Carlton Books, 2006 ISBN 978-1-84442-151-0
  • Look Wot I Dun: My Life in Slade by Don Powell and Lise Lyng Falkenberg. London: Omnibus Press, 2013 ISBN 978-1-78305-040-6



Current members
  • Dave Hill – Guitar, Vocals, Bass Guitar (1969–present)
  • Don Powell – Drums, Percussion (1969–present)
  • John Berry – Bass Guitar, Vocals, Violin (2003–present)
  • Mal McNulty – Vocals, Guitar (2005–present)
Former members
  • Noddy Holder – Vocals, Guitar, Bass Guitar (1969–1992)
  • Jim Lea – Bass Guitar, Vocals, Keyboards, Violin, Guitar (1969–1992)
  • Steve Whalley – Vocals, Guitar (1992–2005)
  • Steve Makin – Guitar (1992–1996)
  • Craig Fenney – Bass Guitar (1992–1994)
  • Trevor Holliday – Bass Guitar (1994–2000)
  • Dave Glover – Bass Guitar (2000–2003)


  • Steve Whalley – Vocals, Guitar
  • Steve Makin – Guitar
  • Dave Hill – Guitar, Vocals
  • Craig Fenney – Bass Guitar
  • Don Powell – Drums
  • Steve Whalley – Vocals, Guitar
  • Steve Makin – Guitar
  • Dave Hill – Guitar, Vocals
  • Trevor Holliday – Bass Guitar
  • Don Powell – Drums
  • Steve Whalley – Vocals, Guitar
  • Dave Hill – Guitar, Vocals
  • Trevor Holliday – Bass Guitar
  • Don Powell – Drums
  • Steve Whalley – Vocals, Guitar
  • Dave Hill – Guitar, Vocals
  • Dave Glover – Bass Guitar
  • Don Powell – Drums
  • Steve Whalley – Vocals, Guitar
  • Dave Hill – Guitar, Vocals
  • John Berry – Bass Guitar, Violin
  • Don Powell – Drums
  • Mal McNulty – Vocals, Guitar
  • Dave Hill – Guitar, Vocals
  • John Berry – Bass Guitar, Violin
  • Don Powell – Drums


Main article: Slade discography


Certified albums and singles[edit]

In the UK, the band has sold a certified 520,000 albums and 1.8 million singles.[197]

Albums BPI
Sladest Silver
Old New Borrowed and Blue Gold
Slade in Flame Gold
Slade Smashes! Gold
Crackers – The Christmas Party Album Gold
Wall of Hits Silver
Singles BPI
Skweeze Me, Pleeze Me Silver
My Friend Stan Silver
Everyday Silver
Far Far Away Silver
Merry Xmas Everybody Platinum
My Oh My Gold