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SLADE TRIVIA - THOSE LITTLE KNOWN FACTS

ANOTHER WIN
One of the songs Slade recorded a demo of, but which was never released. Status Quo also recorded this song.

CHEAP TRICK
The fabulous US rock group Cheap Trick came up with their name while watching Slade play live. On the new DVD 'From Tokyo to you', Tom Petersson says appreciatively that Slade used 'every cheap trick in the book' to win over the audience.

Cheap Trick later paid Slade the great compliment of recording their song 'When the lights are out' for their album THE LATEST.

COZ I LUV YOU
'Coz I luv you' was originally called 'Because I love you' and the spelling was changed to the far more familiar version to make it sound a bit less 'wimpish.' The song was written by Nod and Jim in Nod's Mum's house at Chas Chandler's insistence. It was based loosely on The John Dummer Blues Band track, 'Nine by nine' - a tune the group used to fiddle about with. The song was re-recorded by The WonderStuff and the rumour got out that Jim Lea played violin on it. The violin was played by Martin Bell. Jim Lea is not on the recording.

GINNY GINNY
Ginny, Ginny was previously titled Jeanie, Jeanie.

FAR FAR AWAY
Inspired by the band's travels abroad, this is Holder's favourite of Slade's songs. It has been used in a TV advert for Young's Fish and Chips, with Holder appearing and singing an altered lyric.


GUDBUY T' JANE
'Gudbuy T'Jane' was written about a girl the group met when they were doing a TV show in America. She was the co-host of the show and she had lost some huge platform shoes. According to Nod, she had a hell of a strop and refused to do the show 'til they were found. The song was almost called 'Hello to Jane' until it was decided that the opposite sounded better! If the band had thought about it more, they could also have incorporated some details of her TV show, where she sold marital aids, into the lyric of the song. Then again, perhaps not...

LOOK WOT YOU DUN
Dave is playing a guitar he borrowed from Peter Frampton on the recording of Look Wot You Dun.

MAMA WEER ALL CRAZEE NOW
Originally titled 'My My We're all crazy now', but the title was amended after the end choruses were recorded. It was Chas Chandler who believed Nod was singing 'Mama' rather than 'My, My'.

MERRY XMAS EVERYBODY
Nod pretty much wrote 'Merry Xmas everybody' all on his own. The song was originally called 'Buy me a rocking chair' and was the first thing Nod ever came up with. It pre-dates Slade by a few years. For a song so well associated with all things typical about a British Christmas, it is interesting to remember that the song was recorded in New York studio in sweltering summer heat, with the doors open wide, disturbing all the local office workers, who were probably rather perplexed to hear Nod's dulcet tones ringing out and screaming about Christmas.

MY BABY LEFT ME
Another track where Dave Hill apparently wasn't present for the recording. My Baby Left Me/That's Alright was recorded as a tribute to Elvis who died two months before it came out.

NOD'S BROKEN NOSE
Nod was attacked by one of the bouncers at Stoneleigh Club in Porthcawl, Glamorgan on August 28th 1978.
"We played a place down in South Wales last night and eh, if you can see all me black eyes and bruises... One of the Bouncers decided to use me as a punch-bag. He eh, he beat the fucking shit out of me.... broke me nose and everything. But eh, the show must go on."

Courtesy of Roots to boots

OKEY COKEY
Jim lea was aghast at the notion of Slade recording the song and has said he was told by Noddy Holder that if he didn't turn up to the studio for the recording session, Nod would play the bass on the track. The song was released as a single on the Barn label, after a one-off deal with RSO records fell through. The record was actually allocated a catalogue number RSO051, but no copies were ever pressed.

RADIO WALL OF SOUND

Written and mainly recorded solely by Jim Lea, for his own solo use. Pulled into the frame as a contender as a Slade release when Slade were offered a short deal with Polydor - a hits album and two singles plus b-sides. If the singles did well enough, a new album would follow. The recording already existed, complete apart from lead vocals. It wasn't in Nod's key and they weren't going to spend any serious money in the studio re-doing it, so Nod just dubbed vocals onto the chorus, leaving Jim's lead vocal where it was. Other tracks recorded at the time (including Hill / Hunt songs) were probably better options than Jim's other nearly complete solo track, 'Universe'. 'Universe' got lost in the Christmas rush, which was a great shame, and the deal for a new album never came to be, which set the stage for Nod's final departure from the group.

RESPECT
The Aretha Franklin song was recorded at the group's final 'Ritch Bitch' studio sessions for Polydor, but remains unfinished and unreleased.

THE SUPERYOB GUITAR
Years after he had traded it against two guitars to the Musical Exchanges shop in Birmingham, Dave borrowed the Superyob guitar back from its owner Marco Pirroni (of Adam and The Ants) for the making of the promo video for Little Sheila. It also appears prominently in the Madness video for the song 'Shut Up'. Members of the band dressed as Policemen respectfully tap it with their truncheons.

THE APRIL 1ST 1966 SHOW AT WALSALL TOWN HALL
It never took place. The group were busy in Newcastle Upon Tyne. The story about the local April Fools day date was very convenient for promotional purposes, but is not based in fact.

TIL DEAF
The much publicised changing of the 'ear and nail' sleeve design for the 'Til deaf do us part' album was never a serious option, just a publicity measure to try to help boost sales. Deaf people were supposed to have been offended by the sleeve. It's doubtful any of them were ever aware of it. The European CD reissue dumped the original design mainly because it was felt to be a better idea to have a group photo on the front - not due to any particular controversy.

UNIVERSE
The final Slade single by the original lineup. Another song Jim had mainly finished. Jim wanted to put strings on at EMI's Abbey Road studio in London, but it was already booked, so he did the strings on a synthesiser. The only noticeable difference is that it actually would be cheaper to buy the synth (and a rather good car to bring it home in) than book time at Abbey Road. A much better record than people credit it as being. It has apparently been heard as a demo with a Jim Lea vocal, but not by me! Jim later re-recorded the song completely for his solo album 'Therapy'.

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