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Slade’s Don's Dreams , a cover and one-page feature in Music Star Magazine , August 24, 1974.

Slade and Jim Lea’s "I can see why they were scared of us!" , a one-page feature in Record Mirror , September 23, 1972.

Slade’s "Beatles Fantasy" , a one-page feature in Disc Music Newspaper , September 30, 1972.

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

Slade’s "Match of the Day" , a one-page article, 1973. A POLICEMAN singing Mama, Weer All Crazee Now," and beating time on his helmet, drew an expression akin to despair to the face of a London Palladium attendant on Sunday night. The latter knew it was no use expecting help from the Law in moving on several hundred youngsters from the jammed aisies of the venerable old variety theatre. Slade were on stage, yelling, posturing and blitzing the air with the shrapnel of rock. The orgy of Footstamping and cheering would have to take its course, until the National Anthem could be guaranteed to clear the premises. It would be impossible to deny the excitement and Infectious expenditure of energy, that Slade unleash on stage. They are professionals, and filled with a kind of demonaic power rare among groups. Most of this stems from the lungs and larynx of Noddy Holder, a gent with a murderous smile, a mirrored top hat, and a voice that makes Joe Cocker sound like Vera Lynn. The voice is all-powerful. The band's volume, is relatively low and well balanced. They were much less ear piercing than the warm-up group. The lead guitar is a fairly non-committal jangle and drone, the one, drums speak with little fire, only the bass takes a strong line, probing and stomping. But the voice dominates, a relentless yelling that the owner delivers without apparent effort or pain. And Noddy has total know- ledge and control over his audience. He breaks off in the middle of a ballad (yes, they do play a quiet number, the attractive, "Darling, Be Home Soon " by John Sebastian), and organises a kind of pantomime call and response routine with the audience, based upon foot- ball chants. What proved extraordinary (to me at any rate), was the obvious popularity of the game, football. To my surprise, as Noddy mentioned various teams," the audience, even including young girls, began uttering and even sang You'll Never Walk Alone." Indeed it was a kind of match of the day atmosphere throughout. Slade music is community music. The fans identify to such an extent they wear glitter in the eyes and hair, or Slade girls hurl items of underclothing on stage, fondly embroideredity ashsilvery or top Indeed Noddy was moved to warn the audience not to stamp too much, and there had been discussion backstage about the safety of the ancient structure. During "Get Down And Get With It," the floor of the circle sprang up and down like a trampoline, and I fied to the rear looking for a handhold, in case we were all pitched into the stalls in a shower of rubble. My fears subsiding, I began to thoroughly enjoy this ex- pression of youthful exuberance. "Gudbye T'Jane," I bawled with considerable force, until I realised the orchestra were in fact playing "Look Wot You Dun." The driving rhythm, the lashing lights, and Noddy's boisterous scampering around the footlights, all combined to induce a quickening of the heartbeats, a hot flush around the temple, and an and an unaccountable desire to tap one's left foot with considerable vigour. The encores came, not like a roar of applause for a Rick Wakeman organ solo, or 20 minute marathon of improvisation by Soft Machine, but rather like a particularly good goal by Dixie Dean or Stanley Matthews. The hit tunes had been played, the fans had thrown their last pair of panties, and Noddy's voice seemed as powerful as a young ox, unimpaired by an entire evening of soulful bellowing. Even Slade seemed slightly awed by the response, and offered heartfelt thanks for their fans' loyalty, as they completed the second encore. It complete is always something of an accolate to play the Palladium, although doubtless Judy Garland fans would be horrified to know the front row seats unfortunately gave way to the pressure of many tiny bodies crawling about the place. But it was all in good humour, and and one hopes the theatre authorities were not too horrified to the extent of preventing any future such entertainments. It certainly proved an entertaining evening, as the passer- by shouted at me in the street on our way home: "Weer all crazee now!" Er right on brother, as we Slade fans say. -CHRIS WELCH. *Dixie Dean and Stanley Matthews: Believed to be popular football, heroes, mentioned in order to "up-date" one's commentary. Get it on! (Oh no, sorry, that's the wrong group). -CHRIS WELCH.

Slade’s Part of the Glam Rock Movement , a cover and one-page article in Disc Music Newspaper , August 19, 1972.

Slade’s "Bouncers Right Back" , a one-page feature in Record Mirror , September 11, 1971.

Slade’s "Ta Very Much Best Live Band" , a one-page advert in New Musical Express , January 27, 1973.

Slade’s "Traumatic America" , a one-page feature on Don Powell in New Musical Express , November 4, 1972

Slade’s "Dave Hill PopFax" , a one-page article in Popswop , February 17, 1973.

Slade’s "Old New Borrowed And Blue" , a one-page album review in Sounds , February 2, 1974.

Slade’s "Number One British Group and Number One British Live Band" , a one-page advert in New Musical Express , January 27, 1973.

Slade’s Amazing Face To Face , a cover and one-page article in Record Mirror , April 22, 1972.

Slade’s "Love Me Or I'll Kick You" , a one-page article in Circus Magazine , January 1, 1973.Slade: Love Me Or I'll Kick You In The Head With My Silver Boots Slade: Skinheads in silver boots show England that ugly is beautiful. But would you let your sister marry one? All right Il right everybody, let your hair let your hair down I want to see everybody get off their seats, clap your hands and stamp your feet GET WITH IT!" GET DOWN AND One/Two/Three/Four. stomp stomp stomp goes the music. Hands start clapping and bodies start swaying, feet start stamping and girls start fainting. It's somewhere between a revival meeting, a Nazi rally, a rock and roll concert and a down-and-out- drunken-free-for-all. It's a riot by any standards, and the group that's causing it all is Slade. Why? Because that's the way Slade like it to be. Slade (whose latest album is called Slade Alive! (Polydor)) are from the north of England. They all live in an industrial city just south of Birmingham called Wolverhampton. They speak with broad accents that bring back a faint glimmer of those past days we all remember. They're not pretty; in fact, they're downright homely. Several years ago they all cut their hair to skinhead length, wore suspenders and combat boots and tried to make it that way. It didn't work. Now, they wear silver plat- form boots, plaid knickers and long hair. But no matter how much silver and glitter they throw around, they're still not cosmic. In the old days the headlines read, "Would you let your daughter marry a Rolling Stone?" Now (especially since Marc Bolan married) mothers quiver at the very vision of their daughters coming home lovingly clutching the hand of Dave Hull (lead guitar), Noddy Holder (lead vocals), Jimmy Lea (bass guitar) or Don Powell (drummer) of Slade. Were they ugly enough? T.Rex thought so. Though it appears on the surface that Slade is enjoying an over- night success, they've been working together for about five years. In the beginning they were called Ambrose Slade. Then, when the name was shortened to Slade, they brought out an album on Atlantic Records called Play It Loud. Around this time in England, Britain's youth, then searching for musical decadence to sink their teeth into, discovered them. Though nothing had really changed, "Get Down And Get With It," "Cos I Luv You" and "Take Me Back 'Ome" sailed up the English charts. Soon they had T.Rex clattering off from the high number one spot and Rod Stewart stopping cold in his tracks. It looked as though Chas Chandler, original bass guitarist from the Animals and ex-manager of Jimi Hendrix knew what he was doing by managing and producing this band of roughnecks. The band is coarse. Maybe that's why the English working class youths love them so. Instead of having to settle for warmed-over, upper-class refined funk by the likes of Masters Jagger and Bolan, these new idols are just like the kids themselves. They don't speak perfectly, they don't look beautiful and they don't make any attempt to hide it. Their clothes are take-offs on construction workers' gear. It doesn't matter that the boots are silver; they're still bovver boots that are good enough to kick ass with. The words are plain and simple: "If you feel like shoutin', say whatever you like, it all adds to the atmo- sphere." Noddy Holder, the bulging- eyed, slightly paunchy lead singer calls out. "So, all you drunken louts, say what you will" And, as the beer flows and the tension reaches yet another orgasmic peak, the girls start screaming and the boys start dancing madly. Belches are a girl's best friend. That's another of the unique things about Slade. While the little girls are getting turned on by the slightly sweeter looks of Jimmy Lea and Dave Hill, the guys in the audience are ad- miring the toughness of Noddy Hold- er and the stamina and drive that keep Don Powell drumming at such a feverish pitch. The beat lets up only long enough to allow for "Darling Be Home Soon." Sandwiched between the gen- tle vocals (Noddy usually comes across in much the same way as Steve Marriott did in early Small Faces days) and the tight harmony work of Dave Hill, Noddy Holder belches. Right in the middle of a chorus, just as the girls begin to soften with senti- mentality, the music gets just that little bit uglier than all the other sounds around. Slade are ugly, but they're human, much more so than any group the English have identified with in years.

Slade’s "The Beginning" , a one-page advert in New Musical Express , September 7, 1972.

Slade’s "Slade's Sixth Gold" , a one-page article in Record Mirror , February 24, 1973.

Slade’s "Slade's New Single" , a one-page article in New Musical Express , February 10, 1973.

Slade’s "Slaid Say Thanx" , a one-page article in Record Mirror , September 2, 1972.

Slade’s "Slade at Wembley" , a one-page advert in Music Star Magazine , April 1, 1973.

Slade’s "Live Sundown Review & SNS" , a one-page advert in Melody Maker , September 30, 1972.

Slade’s "Slade Alive In U.K." , a one-page feature in Melody Maker , October 7, 1972.

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

Slade’s "Slade & Thin Lizzy" , a one-page on tour advert in New Musical Express , October 14, 1972.

Slade’s "No.1 Noize" , a one-page article in New Musical Express , February 17, 1973.

Slade’s "Slade Driver" , a one-page feature in Melody Maker , October 7, 1972.

Slade’s "Slade Scrap Shows" , a one-page article in New Musical Express , October 14, 1972.

Slade’s "Raise the Roof" , a one-page review in Melody Maker , February 2, 1974.

Slade’s Slade Tour , a cover and one-page concert review in New Musical Express , September 2, 1972.

Marc Bolan’s Marc Bolan Anniversary Special , a cover and three-page feature in Record Mirror , September 12, 1987.

T.Rex’s "Children Of The Revolution" , a one-page review and one-page review in Melody Maker , September 16, 1972.

T.Rex’s "Weeley Festival Of Progressive Music" , a one-page headline advert in Disc , August 28, 1971.

T.Rex’s "Has His Time Now Come?" , a one-page feature in New Musical Express , September 23, 1972.

T.Rex’s "Vamp Power" , a one-page advert in Melody Maker , February 13, 1971.

T.Rex’s "Will America Learn?" , a two-page feature in Melody Maker , September 23, 1972.

T.Rex’s "Marc Time, New Album" , two articles in Melody Maker , August 28, 1971.

T.Rex’s "Round Table Rock" , a two-page article on Weeley Festival in Record Mirror , September 11, 1971.

T.Rex’s "Marc Tops Forever" , a one-page article in Disc , August 28, 1971.

T.Rex’s "Electric Warriors In Concert" , a one-page advert in Melody Maker , October 9, 1971.

T.Rex’s "Blame Yourselves!" , a one-page article in Melody Maker , February 2, 1974..

T.Rex’s "Light Of Love & The Beginning of Doves" , a one-page album review in Circus Magazine , December 1, 1974.

T.Rex’s "Why Marc Wont Be Giving Up" , a one-page article in Melody Maker , September 1, 1973.

T.Rex’s "Nirvana Here We Come?" , a two-page feature in Sounds , February 2, 1974.

T.Rex’s "The Slider" , a one-page advert in Melody Maker , October 22, 1972.

T.Rex’s My Music, Film & Future , a cover and three-page feature in Beat Instrumental Magazine , October 1, 1972.

T.Rex’s "A Difficult Time" , a one-page Weeley Festival review in Melody Maker , September 4, 1971.

T.Rex’s A Child Named Marc, a cover and seven-page feature in Rock & Folk Magazine, September 1, 1972.

T.Rex’s "Truck Off Dates" , a one-page article in Music Scene Magazine , February 1, 1974.

T.Rex’s "The Slider" , a one-page advert in New Musical Express , October 21, 1972.

T.Rex’s "The Dragon Bops Back" , a one-page concert review in Record Mirror & Disc , February 28, 1976.