Slade: (Glam Yobs)

Slade’s Dave Hill Music Star , a cover and one-page article in Music Star , July 6, 1974.

Slade's "The Bangin' Man" is a non-album single released by Polydor Records on June 28, 1974. Written by lead vocalist Noddy Holder and...

Slade’s SUPERSLADE , an article in Official Magazine , May 1974. Cover Inside Cover Page 3 Page 4

Slade's "Everyday" b/w "Good Time Gals." was released in the UK as a 7" vinyl single on March 29, 1974. It reached number 3 in the UK...

A lively, domestic‑set feature in which Dave Hill — Slade’s flamboyant guitarist — reacts to the band’s Disc Music Poll Awards triumphs with trademark charm, humour, and a few surprises from the Hill household.

Slade’s Old New Borrowed And Blue arrived on February 15, 1974, debuting at No. 1 on the UK Albums Chart. Produced by Chas Chandler, the album blends classic Slade stompers with piano‑driven singles that marked a shift in the band’s sound.

Slade’s "Better Slade" , a one-page article in Music Scene Magazine , February 1, 1974.

1974's Oldies Dust-Off Reflection The one-page article in Sounds (February 2, 1974) questioned who still buys singles, admitting the author knows nobody who does and that it feels like a difficult problem without personal market research. It described singles as never looking very good value — small, short, and a hassle to turn over — yet conceded it’s quite a gas to discover someone with a pile of oldies and blow the dust off some of those golden grooves. Article Overview Pu

Slade's Album Assessment in Melody Maker The review in Melody Maker (February 2, 1974) of Slade’s album (titled “Old New Borrowed Blue”) weighed up the band’s assets and defects in their third year as Britain’s most popular act. It acknowledged Noddy Holder’s good rock and roll voice and Jimmy Lea’s knack for catchy pop singles, but questioned whether their musicianship was more than rudimentary or their songs sustained interest across an album. The reviewer concluded Slade

Kick Over the Braces published in Sounds on February 2, 1974. The review praises Slade for successfully using the 60s technique of treating every song as a potential single, resulting in a fluid, varied, and instantly hummable album that avoids formulaic repetition. Each track stands alone yet fits perfectly in context, delivering a "kick in the pants" with every start—no one falls asleep listening. The reviewer draws comparisons to Beatles albums like Rubber Soul, noting sim