SLADE BOOTLEGS

Much has been written elsewhere about what is out there in that naughty place known as Bootleg-land.

This page will try to give a few reviews of what's out there that can be had to increase the collections of those Slade fans who are prepared to do a little digging. We can't tell you where to find them. We simply just don't know in a lot of cases. Please bear in mind that unauthorised CD's etc, give no money to the artist and are considered to be illegal.

These reviews are just personal opinions, by the way.

SLADE - LIVE IN THE BIG EASY
Recorded at the Warehouse, New Orleans, June 15th 1974.

it's rather miraculous that this tapes still exists and has surfaced in such good condition, thirty years later!
The sound quality is excellent, (with all parts clearly audible, right down to the bass) especially considering the age of the source material.

The group come on to a good reception and start in a no-nonsense manner with a blistering version of 'Take me bak 'ome', after which Nod says brief hello's to the crowd on what is their first visit to New Orleans. It's rare to hear 'Good time gals' played live and the version which follows is a cracker. Dave Hill's guitar is all present and correct. The song finishes with the ending from 'Do we still do it?' While H tunes his guitar, Nod goes into what became an irritating feature of Slade's act in America. .... telling the audience to enjoy themselves and make a noise, instead of just letting them find out for themselves and get on with it in their own time. Anyway, they head straight into 'Gudbuy 'T Jane' .This is far closer to the single version than the more 'arranged' takes from later years. 'Move over' is played hard and fast, just like it was on 'Slayed?' Nod is in really fine voice and does a good bit of ad-libbing here and there.

The group then plough through 'When the lights are out' at some speed and do a remarkably good job of it, too. Jim's vocals are well to the fore. Another rarely heard live song, this version stays very close to the original album version. The more familiar 'Darling be home soon' follows, despite the crowd wanting Slade to 'boogie a bit'. They play a nice restrained version of the song - except for the guitar freak-outs, of course. Their vocal harmonies are all in place and the group are showing what a tight little outfit they really were at that time. The crowd were probably aware of the song via The Lovin' Spoonful's original version.

'We're really gonna raise the roof' is next, prefaced by Nod again reminding the crowd to 'really let it go'. The guitar work is all here, including a nice solo from Dave and once again, the version is close to that on the album again. The album once again provides the next track 'Just a little bit' - another chance for Nod to ad-lib a bit, which makes the song last quite a bit longer. His voice really is powerful on this show. He once again tries to make the crowd sing, though with little result.

Jim Lea let the bass do the work on 'Let the good times roll' and got a chance to show just what a really good, fast player he was. Nod bellows out an intro for the song, cueing first Don's drums, then Jim's bass. They again attack this song at quite some speed. The band use the familiar 'Keep it rollin' section mid-song and towards the end. A slight hush met the announcement of the next song. Despite not being a hit in America, 'Cum on feel the noize' was well recieved at the end - maybe it was just because they played it really well and a good song is a good song. The dramatic ending would certainly have helped.

'Get down and get with it' seems just a little wasted on a crowd who don't know how to let themselves go, but the band plough through it determinedly. Nod's vocal gymnastics at the start are dragged out a bit, but he's having fun and obviously hopes that the crowd are too. Nod practically bullies the crowd into singing along and again doesn't get that far. In Britain the crowd would have been going nuts at this point. But Slade were not big in America. The song ends with Nod making a series of silly noises in an attempt to make the crowd join in. They must have been plain baffled. Here in the UK, we were of course used to the silliness of Nod hooting like an owl mid-song and just took it for granted.

There are a few people there who know how to start a proper chant for more and the group are summoned back for an encore and 'Mama weer all crazee now' finishes the show (as far as this CD goes anyway). Nod told the crowd how good they were, while probably not really thinking so at all ... The crowd shouted for more a considerable time after Slade leave the stage, so they had obviously got through to a lot of them.

Overall result: Slade turned in a live performance most fans would give various limbs to be able to watch, but at least we can now hear it and let the imagination do some work. It wasn't the crowd's fault that they didn't know how to participate. Possibly a lot of the songs were totally new to them, which would explain Nod's problems in getting them going. Oh, what a few more radio plays would have done for them....

It really is a wonder that this tape has surfaced and it's one I'm very grateful to have heard.

Slade In England label


To be updated with more reviews :

LIVE IN LONDON - MISC CD

WATCH OUT - HERE CUM T'NUTZ - OH BOY LABEL CD

CENTRAL PARK, NEW YORK- MISC CD

LONDON MUSIC MACHINE 1980 - MISC CD

LIVERPOOL 1983 - SIE DVD


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