The Amazing Kami-Khazi Syndrome

KERRANG! December 1983

MALCOLM DOME sits it out
with Slade's NODDY HOLDER

When St. Noddy the Holder, that renowned Bishop of Bludgeon, fmally elects to trade in his multi-storey, stackheeled pulpit for a slow-burning log fire, bungalow-level carpet slippers and a Barbara Cartland novel (ah. the quiet life!), hell doubtless snuggle under his duvet (complete with Wee Willie Winkle night cap) having first offered praise to his 'Lordy Lordy' for creating Quiet Riot ('And on the eighth day .. .')

Now, cum, on, the reason's obvious! The Los Angeles quartet recently blasted into the US Top Five with their version of that klassic, 'Cum On Feel The Noize' (or in Phil Mogg's case, 'Cum On Feel The Noze'), thereby awakening a whole generation of sibling Yanks to the pleasures of etymological contortion, and at the same time ensuring a steady flow of offshore bucks into the Slade reservoir. Bank managers, stockbrokers and hotel doormen now eagerly rush to call Holder 'sir', as they assiduously pump his flesh (to use a political hustings term) and feel his newly bulging wallet.

If the 'silent' hell raisers from LA are the fast-food 'rocky burger' taste of the moment then Slade have undoubtedly helped light the flame that makes 'em so hot! For not only have QR struck a rich precious Meta1 vein with 'Cum On Feel The Noize', they've done it in a manner so like the Wolverhampton wacky racers - a case of Mike Yarwood and Harold Wilson!
“It's a good version of the song. I don't think Quiet Riot have added anything to the original, but they've updated the sound."
Noddy Holder looks professionally relaxed (everything Slade do has that air of the old pro' about it) as he contemplates higher things (a full can of lager stuck on a very tall shelf) whilst lounging across his publicist's couch.
"The first Slade knew about Quiet Riot was when they approached our publisher for permission to do 'Cum On .. .'. We agreed, never believing something like this would happen. In fact, the record was out for some while in the States before becoming a big hit, wasn't it'? The really nice thing about the whole affair is that it proves how strong our songs are. After all; 'Cum On Feel The Noize' is now ten years old, so it's obviously stood the test of time rather well!
"We've actually been approached in the recent past by people wanting us to update one of our classics. But, not even seeing what a band like Quiet Riot have done so successfully with modern studio technology on an old Slade tune has persuaded us it's worth doing. There was a spontaneity and electricity about the numbers when we first did 'em that could never be recaptured now. There just wouldn't be the same feel so, no matter how much money is offered, we're not into prostituting our own heritage."
Of course, why should Slade bother revisiting past glories, when QR are doing it for them? Rumour (unsubstantiated at present) has it that 'Mama We're All Crazee Now' and/or 'Gudbye T’Jane’ might well crop up on the stripe-happy lads' next album. So, there's every possibility that the Slade back catalogue will become legitimate plunder fodder for a host of American hard rock pirates (possessed of a sheep mentality) looking for healthy chart pickings. The irony of it is that Holder's heroes are presently without a US recording deal ("we're hoping to clinch one soon") and have always been regarded as too parochially British to rock 'em dead on the transatlantic route.

But, in Britain during the early Seventies, Slade could boast more hits than any assassination squad. However, being in the pop business is rather like playing the fruit machines. You can get a run of luck when every coin triggers a jackpot, then inexplicably the winnings just dry up. There's no obvious logic to either streak and Slade have been stuck in the latter groove for some years, releasing a torrent of strong stuff that's scarcely dented the charts.

Until now, that is, cos it's 'flame-on' time again as 'My Oh My' has burnt a cinder trail up the Top 20. A ballad in the tradition of 'Everyday' and 'C'est La Vie', this song sways with an almost waltz-style rhythm (a case of 'We'll Bring The Strauss Down'?) yet retains a north-face- of-the-Eiger (i.e. very rocky) foundation - balls to the waltz??

What sets it up as different from anything Slade have ever attempted before is the neotechnological sound gained by producer John Punter
''Yeah, it is slightly more modem than our previous stuff. But we didn't deliberately set out to get something like that. It was more a case of John Punter getting involved.
"It was RCA's idea to get him in. They asked us to write a couple of songs specifically for singles release. So we recorded demos of two numbers, 'My Oh My' and 'Run Runaway'. When the label heard them, they flipped and thought the songs were great, but ... they insisted we get in an outside producer to do the final versions. To be frank, we thought the demos themselves were good enough to put out, however the success of 'My Oh My' suggests RCA were right.
"Working with an outside producer for the first time in, well, years (all recent Slade vinyl has been self-produced) was certainly interesting. It provided us with a fifth pair of ears and a new outlook in the studio. John was easy to work with in the end cos he was prepared to work with us rather than trying to dictate to us. And it was enlightening to actually do things in a slightly different manner to our norm, We built the sound of each instrument layer by layer with Punter rather than just putting down all the basic tracks in one go and then overdubbing,"
The thought might traverse a few minds that Slade were almost pressurised into using an outside producer by RCA. Indeed, given the fact that there's been a virtual Stalin-style purge recently of the label's comradely heavy rock roster (R.I.P Hawkwind, Alkatrazz, Budgie among others), were Slade in any danger of a concrete handshake?
"No, I don't think that's really fair. We've always got on very well with everyone at RCA. Certainly, they didn't issue us with any ultimatum over John Punter. It was just felt that we needed him to give us a more out-and-out modem style. I admit I was against it at first, but events have proven them right. I don't believe RCA ever doubted we could have hits, cos our track record shows we can write the sort of tunes that have instant pop appeal and, once you've got that ability, it doesn't simply dissipate. Maybe the problem with those other bands like Hawkwind was that they'd no previous experience of having successful and regular chart entries."
Whether or not 'My Oh My' is the birth of something big, we'll be able to judge when 'Run Runaway' ("a heavy jig") comes out in January. And that might well be the final song Punter records with Slade.
"He was only brought in for those two singles. We'd already finished our new album (self produced) by then and, in fact, the LP versions of 'My Oh My' and 'Run Runaway' have been recorded without John. So people will be able to compare the two approaches and hear whether or not an outside producer made that much difference to 'em."
The album is strangely titled 'The Amazing Kamikaze Syndrome'. Now, with some bands, a monicker like that would immediately throw up an explanatory comment like: 'Oh, it was inspired by an obscure Herman Hesse novel/a long-lost episode of 'The Prisoner”/a rare Salvador Dali portrait (delete where applicable). So, which is it, Nod?
"Well, I was reading the sports pages one day and there was an article on motor sport. It talked about the 'kamikaze complex' those guys who compete seem to have in putting their life on the line every time they go on the track. I think Barry Sheene was mentioned as a specific example. Anyway, it struck me that some of our songs fitted in with this idea, so the title seemed a logical choice. And let's face it, everyone has something of that complex in 'em, we all take gambles at some point in our lives."
Could it be that Noddy Holder is a budding Freudian figure in the rock hierarchy? Psychological woargh-fare lives, head for the couch! Still, at least the above explanation will allay lascivious rumours that 'The Amazing Kamikaze Syndrome' is, in fact, a title inspired by a new type of Japanese outdoor super-loo!
As for the music, well, at the time of writing, I've heard not a screech or tweet from the album, so all I can do is refer you back to the Mayhem column in our last issue for track details and leave Holder to deliver just one comment ...
"I'd say 75 per cent of it is really out-and-out rock."
It's in the shops now so check it out for yourself.

And so, to a thorny subject - Girlschool. Since the release of the Holder/Lea produced 'Play Dirty', some rather silly comments have appeared in print concerning my supposed opinions on both the album and the band. So, let me briefly put the record straight. I still admire the gals. Furthermore, I applaud the direction they've attempted to take on 'Play Dirty'. I just think it's not quite come off. However, I'm most certainly not waging any vendetta against 'em and nothing would give me greater pleasure than to be forced into eating a slice of home-grown humble pie as 'PD' becomes an international best-seller, but…

Not surprisingly, Noddy doesn't share my reservations.
"I think it turned out really well, especially after the problems we had. For example, they were so difficult to motivate. When the girls got down to playing, they were great, particularly Kelly who is an amazing guitarist. But for some reason, they couldn't perform at their best unless they really wanted to. It wasn't due to any laziness, just an inability to self-motivate. So, Jim and I had to capture them at just the right moments. On top of this, they were always arriving late and then slinking off to the pub. In the end we were forced to lock 'ern in the studio to ensure the deadline for delivery of the final product was met.
"Originally, we were approached just to do a single. Bronze Records were looking for a hit so we got together with Girlschool and recorded one of our songs, 'High 'N' Dry', plus one of their numbers. Anyway, things turned out so well that we were then asked to do the album. Spencer Proffer was being lined up for the LP and he even came over to meet the band. But in the end, it was decided to stick with Jim and me.
"To be honest, I can't really bear to contemplate what might have happened had they gone off to Los Angeles with Spencer. He seemed like a nice guy who knew what he was doing, but the girls actually went into the studio to record the album with one song fully written ('Breaking All The Rules'), one half-written and a collection of partially thought-out ideas. We had to help 'em get the numbers together so I can imagine what a state they'd have been in without Jim and me to pull things together.
"I was amazed how much time they wasted in the studio just writing. With the year gap between 'Screaming Blue Murder' and 'Play Dirty' I expected 'em to have ten strong songs fully written and arranged. In the event, a lot of expensive recording time was wasted on composing.
"With Slade I'm used to having things totally ready before going into a recording studio and once work begins on an album we simply slog at it until it's ready, rarely taking extensive pub breaks. But I was talking with Ozzy recently and he told me Sabbath used to do things like Girlschool and I've since learnt a lot of other famous bands work that way as well, so maybe we're in the minority.
"But, let me say this. Girlschool are potentially a great band and this album is very good. Certainly, everyone around 'em – management, record company - are convinced it'll sell exceptionally well. I just hope they're right."
I bet he does!



My Oh My 1983

November 11th. 1983


RCA Records RCA-373
My Oh My evolved when Jim Lea decided he wanted to write a song in the vein of Rod Stewart's 'Sailing', that everybody could sing along with. The song appeared on both The Amazing Kamikaze Syndrome and on the band's 1984 American counterpart release, Keep Your Hands Off My Power Supply. It reached number two in the UK chart by Christmas 1983 and a year later became the band's second US Top 40 hit, reaching number 37. The single was kept from the #1 spot in the UK by The Flying Pickets cover of Only You.

This was the first track that Lea and Holder had ever demoed because for the first time the group were working with an outside record producer John Punter. The raw demo of Holder singing over Lea's piano was received with wild enthusiasm by Slade's record label RCA.
"We learnt a lot from him... he spent a lot of time getting the right sounds and it was worth it."
Don Powell: Ken Sharp Interview 
The song came from an idea that Jim had while listening to Dave and Noddy tuning up in the dressing room before a gig at a University in Wales.
"It reminded me of bagpipes, I wrote the melody in my head to the drone of the strings"
Jim Lea
.
Don Powell wanted to keep the drums out until the end of the song. 
"Do you remember a song by Billy Preston called That's The Way God Planned It? That's what I wanted to do at the end of My Oh My."
Don Powell: Ken Sharp Interview
My Oh My replaced C'est La Vie in the bands set list for the December '83 tour. RCA released the single in early November and by December it had entered the UK Top 20. The bands new album, The Amazing Kamikaze Syndrome, was scheduled for release in February '84 but RCA decided to release it immediately (December 3rd) to cash in on the singles success. A February release may have produced a better album cover. They even cancelled one of Slade's concerts in order to promote the song on Top Of The Pops, much to the disdain of those fans with tickets. The group claimed that the venue had 10 days warning but continued to sell tickets. 




The track was performed on many UK TV shows such as David Frost, Hall of Fame, Russell Harty Show, Saturday Superstore, Rock and Pop Awards and Saturday Show which featured a different backing track. It  also featured on Top of The Pops on a number of occasions.


The B-side featured Keep Your Hands Off My Power Supply, a previously unreleased track that would lend it's title to the groups US release. An unusual number that echoes some of (I assume) Jim Lea's earlier musical experimentation. An 'ostinato' medley over an atmospheric backdrop of 'program music' sets the scene for the song. Lyrics, revolving around drinking and driving with an amorous passenger, alongside abrupt crashing chords which build the mood until, almost half way through the song, a disappointingly basic chorus lets it down. A shame because it has great promise but clearly they succumbed to the bands new Heavy Metal association and threw it away.



My Oh My
Keep Your Hands Off My Power Supply
Don't Tame A Hurricane


The release was also put out in a My Oh My 12" format containing an Extended Version and an extra track. My Oh My is not titled or timed as extended but is actually 1:15 longer. It's essentially the same, the song is extended by doubling up on the chorus passages and extending the solo at the end. Far from dragging out the song, it actually makes it better.

The extra track, another previously unreleased song called Don't Tame A Hurricane, is another short piece with an urgent and abrupt melody featuring the usual Slade wall of sound and a refrain that echoes the groups mid 70's sound but with an edge that catered for the new rock crowd. Both B-side tracks featured on the groups American album release, Keep Your Hands Off My Power Supply.
The single's chart run in the UK for a total of 12 weeks:
  • 19/11/1983 - #73
  • 26/11/1983 - #36
  • 03/12/1983 - #15
  • 10/12/1983 - #5
  • 17/12/1983 - #3
  • 24/12/1983 - #2
  • 31/12/1983 - #2
  • 07/01/1984 - #2
  • 14/01/1984 - #11
  • 21/01/1984 - #30
  • 28/01/1984 - #55 
  • 03/03/1984 - #100 

In a last ditch push to get the record to that much-coveted Christmas Number One slot, RCA brought out another version of the single, with the "Live & Kickin' " version of Merry Xmas Everybody as a bonus track, on 7" only, but, alas, The Flying Pickets with their á cappella cover of Erasure's Only You could not be shifted!





The last entry was a re-appearance in the chart and the single was certified UK Gold by BPI in January 1984. The single was a huge hit worldwide:
  1. Austria - #5 for 10 weeks
  2. Belgium - #4 for 8 weeks
  3. Canada - #35 for 18 weeks
  4. Germany - #4 for 18 weeks
  5. Ireland - #3 for 7 weeks
  6. Netherlands - #9 for 7 weeks
  7. Noway - #1 for 13 weeks
  8. Poland - #21 for 9 weeks
  9. South Africa - #9 for 11 weeks
  10. Sweden - #1 for 10 weeks
  11. Switzerland - #2 for 13 weeks

Mrxican red vinyl 12" RCA TEC-145


The US release of My Oh My was backed with High And Dry on the flip side.


After Slade's top 20 hit Run Runaway, the band/record label decided to release My Oh My on American soil. The single's chart run in the US lasted for a total of 11 weeks:
  • 07/07/1984 - #80
  • 14/07/1984 - #64
  • 21/07/1984 - #50
  • 28/07/1984 - #47
  • 04/08/1984 - #42
  • 11/08/1984 - #39
  • 18/08/1984 - #37
  • 25/08/1984 - #37
  • 01/09/1984 - #49
  • 08/09/1984 - #69
  • 15/09/1984 - #93
A promo video was made for the single which was shown in the US but was never seen in the UK until 1991 on a video compilation titled Wall of Hits.



Many thanks to Gordon Kerr for supplying the 12" artwork. It's only right to mention that the pretentious musical twaddle was added by Mr. P. The single peaked at #305 for 1983 on rateyourmusic. The track is recommended by allmusic. Artists who covered this track were John Holt, Godsettre, Alex Rosen, Extrabreit, Kai Kill, K & K Studio Rock Set, Oxford United & Prism, Hurrah Torpedo, Combo Colossale, Hamburg Football Team, Frank Schöbel; Bodies Falling Downstairs, Southern Cross Ingemar Nordströms, SAPO and Dave Glover.



My Oh My
(Noddy Holder & Jim Lea)
I believe in woman My Oh My
I believe in lovin' My Oh My
Don't a woman need a man
Try and catch one if you can
I believe in woman My Oh My

We all need someone to talk to My Oh My
We all need someone to talk to My Oh My
You need a shoulder to cry on
Call me I'll be standing by
We all need someone to talk to My Oh My

We all need a lot of lovin' My Oh My
Yeah a whole lot of lovin' My Oh My
I can lend a helping hand
If you ain't got nothing planned
We all need some lovin' My Oh My

So lets all swing together My Oh My
We can all swing together My Oh My
You've got troubles of your own
No need to face them all alone
We can all swing together My Oh My

So lets all pull together My Oh My
Yeah lets all pull together My Oh My
We can ride the stormy weather
If we all get out and try
So lets all pull together My Oh My
Yeah lets all pull together My Oh My

Keep Your Hands Off My Power Supply
(Noddy Holder & Jim Lea)
The hero of the airtime at home and in no fit state
Cos we have when it's two O thirty eight
I need to relieve myself can't wait
Blue light flashing comin' up a-right behind
Get up Mary, hittin' the cats eyes
Trying hard to follow the white line
I aint ready to face the law
I ain't runnin' and that's for sure
Maybe they'll just want an autograph
So keep your hands off my power supply
There's no chance that we'll get away
So keep your hands to yourself my oh my
I guess it ain't our lucky day hey hey
A wine inceptor maybe they're flagging us down
Now the boys in blue have their nose to the ground
Watching over can I see your licence sir
I aint ready to blow in the bag
I ain't ready to lose my rag
Gotta work out what I'm gonna say

So keep your hands off my power supply
There's no chance that we'll get away
So keep your hands to yourself my oh my
I guess it ain't our lucky day, yay, yay
Gotta get away
I aint ready to face the law
I ain't runnin' and that's for sure
Better leave my gear stick alone
So keep your hands off my power supply
There's no chance that we'll get away
So keep your hands to yourself my oh my
I guess it ain't our lucky day, yay,  yay
Gotta get away
Gotta get away

Don't Tame A Hurricane
(Noddy Holder & Jim Lea)
I wanna I wanna I wanna tell ya
He'll be sharper than any razor
With a phoney idea of life
He's got a hurdy-gurdy temper
To cut you like a knife hey hey hey
He's ever ready to catch the cheetah
You know the leopard don't change it's spots
He's the international cocktail
Who'll end up on the rocks woh oh oh
So don't try to tame a damn hurricane
A hurricane 'll backfire
Don't try to tame a damn hurricane
You can't hold on a live-wire
You need a five gear book on the good times
In the houses of ill refute
Different smokes for different folks
There ain't no substitute no oh oh
So don't try to tame a damn hurricane
A hurricane 'll backfire
Don't try to tame a damn hurricane
You can't hold on a live-wire
Woh oh oh oh oh
Hey hey hey hey
Woh oh oh oh oh
I wanna I wanna I wanna tell ya oh-oh oh-oh
The girlie's innocent airs took over
Her baby face did not engage
Don't need no firm and learn relations
He'll never change his ways no oh oh
So don't try to tame a damn hurricane
A hurricane 'll backfire
Don't try to tame a damn hurricane
You can't hold on a live-wire
Don't try to tame him blame him
The hurricane 'll backfire
Don't try to tame him blame him
You can't hold on a live-wire woh oh

Quiet Riot

L.A. March 1983

The Los Angeles band Quiet Riot are commonly referred to in connection with Slade. The band took two Slade covers high up into the American charts in the early/mid 1980s.

Quiet Riot began in 1975, consisting of two notable members Kevin Dubrow and Randy Rhoads. The band was based in Los Angeles and despite making something of a reputation, the band couldn’t secure themselves a record contract. After two years, 1977 proved to be a turning point for the band. The band made a deal with Sony however the records would only be released in Japan.
A very quick-made album was released, conveniently titled Quiet Riot and a follow up in 1978 titled Quiet Riot II. Both made little impact overall in Japan. After the recording on the second album, bassist Kelly Garni left the band for good and so the replacement Rudy Sarzo was credited for Quiet Riot’s second album as well as being pictured on the front cover.

In 1979, guitarist Randy Rhoads auditioned for Ozzy Osbourne’s new band after the editors Slaughter bassist Dana Strum contacted Rhoads to see if he would be interested. Apparently, Osbourne himself stated that he hired Rhoads immediately. Kevin DuBrow and original Quiet Riot drummer Drew Forsyth tried to keep the band together following Rhoads' departure. From 1980 to 1982, the band changed its name to a simple DuBrow.
Randy Rhoads died in 1982 in a plane accident which sparked an interest in the young guitarist. This led to many fans to come across Quiet Riot’s first two albums. Somehow, DuBrow and his band bumped into producer Spencer Proffer which helped DuBrow’s band, now titled Quiet Riot once again, to signed to CBS Records in America that very year.
By this point, no original Quiet Riot members were interested except DuBrow so the line-up now included guitarist Carlos Cavazo, whom DuBrow had previously played with in a band called Snow, Rudy Sarzo re-joined the band on bass guitar, and his friend, drummer Frankie Banali, filled in the missing part.

Proffer told DuBrow that his vocals sounded a little like Slade’s vocalist Noddy Holder and so the suggestion of covering Cum On Feel The Noize came from Proffer. DuBrow and Banali were dead set on not covering the song, claiming that they hated it. They decided to try to cover the song badly in the studio believing the label would refuse to release it. As we know, their ruse did not work and on March 11, 1983, the album Metal Health was released.
By late August 1983, Quiet Riot's version of Cum On Feel the Noize was released as a single (even the Slade's trademark spelling was kept.) Their cover spent two weeks at #5 on the Billboard chart in November 1983. It was the first heavy metal song to make the Top 5 on Billboard's Hot 100 singles chart. The success of the single helped carry Metal Health to the top of the charts. According to the official billboard site, Metal Health didn't chart until 23/04/1983, where it peaked at #183. By the 26/11/1983 the album hit the #1 spot for a week. The total weeks on the charts were 74, making it the first American heavy metal début album to ever reach #1 in the USA. Quiet Riot were also the first heavy metal band to have a top 5 hit and #1 album on the same week.










Cum On Feel The Noize’s role is clear in this whole history. Without the song, the band wouldn’t have had the same success. Ironic that the bands only real hit was not only a cover, but a cover of a song which half the band hated.



As the album started to decline after peaking, the single Bang Your Head (Metal Health) was released in mid-February 1984, a song written by the band themselves. The single peaked at #31 but it couldn’t save the album as every week from then on, the album was dropping.

U.S. record companies began searching for the band who wrote the hit. In 1984, Slade had managed to get a record deal with coincidently Quiet Riot’s label CBS. By mid-April 1984, their single Run Runaway was released, peaking at #20 on the billboard and lasting a healthy 17 weeks. The follow-up was another success, although not as successful, My Oh My came out on July 7, the same year peaking at #37.

Another surprising coincidence was Quiet Riot’s follow up single, Mama Weer All Crazee Now (another Lea & Holder composition), which came out the very same time, peaking at only #51. The Slade album Keep Your Hands Off My Power Supply came out early May, peaking at #33 and staying on the charts for a total of 18 weeks.



Quiet Riot were quickly pressured with a follow-up. The group's follow-up, Condition Critical, was released on July 7, 1984 (yes, the same date again). Though successful – peaking at #15, it was a disappointment, critically and commercially, selling only 3 million copies. This album included Mama Weer All Crazee Now. Frustrated over the sophomore release's failure to duplicate the success of its predecessor, DuBrow outspokenly began expressing his opinion in the heavy metal press that many bands on the L.A. metal scene owed their success to what he saw as the doors opened for them by Quiet Riot. Of course without Slade’s Cum On Feel The Noize, Metal Health wouldn't have been the door opener so, in reality, the real thanks go to Slade and perhaps Spencer Proffer for recognising a good song.






Quiet Riot slipped off the charts quicker than anything whilst Slade did the same. No Quiet Riot singles charted after Mama Weer All Crazee Now. Slade released their last charting single in America, titled Little Sheila in May 1985. The track adopted the new synthesizer craze of the 1980s. It peaked at #86 and #13 on the mainstream rock charts.

QR III came along in 1986, again another commercial disappointment. The album peaked at #31 and adopted a heavy keyboard sound, much like Slade’s April 1985 follow up to Keep Your Hands Off My Power Supply, Rogues Gallery (including Little Sheila) which only peaked at #132.

Fed up with DuBrow's antics, the rest of Quiet Riot fired him from his own band in February 1987 and replaced him with former Rough Cutt vocalist Paul Shortino, leaving no original members. The only album with Shortino, titled Quiet Riot, perhaps for a new beginning, peaked at only #115 and Quiet Riot never bothered the charts again. DuBrow resurrected the band in the early 90s, with Carlos Cavazo and Frankie Banali.

An interesting add on is Dubrow stated that he believed it was a mistake to record Mama Weer All Crazee Now when he was interviewed in 1987, after being fired.
(http://www.classicbands.com/QuietRiotInterview.html)

In a 2007 interview, DuBrow states:

FIB MUSIC: I have read a lot of great comments about REHAB.....

Kevin: People really like it....the people who understand it, really like it. If you are expecting Metal Health Part II, you won't get it and you won't like it. There are hardly any background vocals, I mean, it's very similar to a 70's record in that way...it's very retro. It's not super dry, but it's not super wet in the echo either. It's like the records I grew up listening to, Humble Pie, Led Zeppelin, Spooky Tooth, Free, bands from the 70's, retro bands. Our original roots were more towards glam, Bowie, Sweet, Slade, things like that. (http://www.fullinbloommusic.com/kevin_dubrow.html)

Finally, in 2001, DuBrow answered questions from fans.

Coral Gables, Florida: Were you guys big fans of Slade?

Kevin DuBrow: We were not big fans of Slade although we respect what they did. I don't own any of their records. The reason we recorded the songs we did was that our producer felt there was some similarity between my voice and Slade's lead singer.
(http://cgi1.usatoday.com/mchat/20010403006/tscript.htm)

Another interesting note is Slade's influence on Quiet Riot dated back to the early 1970s, when Kevin DuBrow photographed Slade during their first Los Angeles appearances at the Whisky a Go Go.

A change of story each time for the band who gave Quiet Riot there success.

Glam Metal

1980

For many, nothing was more exciting than the explosion of glam metal in the 1980s. Glam metal reached mainstream popularity by 1983 although it had been around since the late 1970s. Just short of a whole decade, glam rock was back in a new form, described as combining the flamboyant look of glam rock and playing a power-chord-based heavy metal musical style.

Slade were the most successful glam rock group, by far, in the United Kingdom during the 1970s. A total of 17 top 20 hits, 13 top 10 hits and 6 chart toppers ensured Slade's top rank of the period. Once Glam Rock died, it took a few years for glam to once again make a mark, this time on American soil.

By this point Slade had got back on solid ground after years of performing in small clubs around the UK since the punk uprising.

The first part of the true glam metal explosion was down to Quiet Riot or more so their producer Spencer Proffer who believed lead vocalist Kevin DuBrow sounded a little like Noddy Holder. This led to Proffer getting the band to record Slade's UK chart topper Cum On Feel The Noize. The classic Slade track helped make Quiet Riot's Metal Health album (dedicated to the memory of Randy Rhoads) a number-one hit in the US. The song's success drew huge nationwide attention. Metal Health, released state-side in March 1983, with the help of the popular lead off single (...Noize) sold more than 6 million copies. It could be argued that without Slade, Quiet Riot would never have made it. Two albums were released before Metal Health, although only in Japan.

But it wasn't just Quiet Riot that the song helped, it was the entire glam metal scene. Metal Health is said to have paved the way for a new, stronger commercial viability for heavy metal. Before this explosion, glam metal bands were already releasing albums to only small success.

Mötley Crüe (amidst rumours of being pre-fabricated) released their debut in 1982 which only peaked at #77. Their next album Shout At The Devil, which came, September 26th 1983, a few months after Metal Health, peaked at #17. Nikki Sixx of Mötley Crüe stated:
"Slade was pretty much the only thing metal about glam rock in the 70s."
Twisted Sister released their debut Under The Blade in 1982 which peaked at #125, their 1984 album Stay Hungry peaked at #15. KISS were suffering by 1981 when their album Music From "The Elder" only peaked at #75, unusual since they became popular in 1975. Their follow up in 1982 titled Creatures of The Night only hit #45. By 1983, the album Lick It Up came out, again months after Metal Health and peaked at#24. The next 3 Kiss albums also peaked in the top 20.

With this evidence, Metal Health started glam metal's 15 minutes of fame. Allmusic cites numerous bands that were heavily influenced by Slade, many from the glam metal background. Bands such as Kiss, Poison, Mötley Crüe, Wonderboy, Lizzie Grey, Hanoi Rocks, Queen, Quiet Riot, Orbit, Holy Ghost Revival, Kirka, Condo Fucks, Hot Leg, Def Leppard, Mozart, Dokken, Noel Gallagher, Rose Tattoo, The Clash and The New Electrics.

Although Twisted Sister isn't listed, an interesting observation was comparing Slade's final studio album You Boyz Make Big Noize with Twisted Sister's final studio album Love Is For Suckers. Both were released in 1987, Boyz in April and Suckers in August. Twisted Sister's songwriter and lead vocalist Dee Snider makes numerous lines relating to Slade. Firstly, both albums have the same titled track Me and The Boys, although both are different. Secondly, in Twisted Sister's Me and The Boys, there is a particular line: "me and the boys, we make a big noise". The closing track titled Yeah Right has the line: "so stomp your hands and clap your feet". This line is clearly from Slade's 1974 album Old New Borrowed and Blue which was retitled "Stomp Your Hands, Clap Your Feet" in America.
Alice Cooper once stated:
"Slade was the coolest band in England. They were the kind of guys that would push your car out of a ditch."
High praise I'm sure from the Coop but I think we know what he means? Kiss, on the other hand, were more likely to push your tour bus into the ditch and set the thing on fire. Kiss were selling platinum albums by the late 70's but Simmons and Stanley sacked the original drummer Peter Criss and lead guitarist Ace Freahley which lost them a lot of fans. Kiss member's Gene Simmons and Paul Stanley stated Slade as a clear influence. They also stated they simply took the Slade sound and took it to the farthest extreme.






To add to that there are a further two quotes from Simmons:
"Slade was certainly our greatest influence; not only in the crafting of rock songs but also as performers. Before Slade, no one really knew shit about how to make an audience riot. We really got off on that. There would probably never have been us without them and when I look at the greatest hits section by Sweet, or Slade, or any other of my favourite bands, there are TONS of compilation records."

(Interview, Utopia Records website.)
David Coverdale (Whitesnake) spoke of Slade in an interview:
"...whatever happened to bands that rocked liked Slade? Y'know, that no-bullshit, fuck you, in your face, we're bad-as-hell-and-we-know-it kind of band?"
Even when grunge became popular and glam metal died, Slade were still respected.
"...absolutely. Slade! A band that would never bend over."

Kurt Cobain: Nirvana
By the time glam metal exploded, Slade began being shown interest by American labels. Just Slade. No other glam rock bands but Slade. This proved to be a success as Slade scored their first hit in America shortly after with Run Runaway, peaking at #20 whilst the follow up My Oh My peaked at #37. Slade would eventually begin to tour with Ozzy Osbourne around this time until Jim Lea fell ill to Hepatitis and so the tour was cancelled.



Despite the large amount of evidence, Slade are not mentioned when it comes down to this musical event. Who knows if glam metal would have fully surfaced without Quiet Riot's cover of a Slade track? Regardless, there is no doubt that the most successful glam metal bands were influenced by the "God's of glam rock".