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'Palepoli' is Osanna's crowning achievement, and a definite cornerstone in the hard wave of Italian prog - the band members themselves describe it as the first Italian opera rock ever (in their offcial website). The album consists basically of two sidelong suites, plus a brief reprise of 'Oro Caldo' intro that serves as an individual interlude. From the very beginning of the first suite 'Oro Caldo', you can anticipate that this is going to be a very special experience: the North African Muslim intro, with those hand drums, and those evocative, exuberant flute lines, with street sounds laid in the background... until an incendiary heavy bluesy rock section surfaces and contaminates the ambience with its infectuous red heat.
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Ghost formed in Birmingham in the late sixties. They started out playing a heavish sort of blues-rock before they met up with singer Shirley Kent who'd already recorded two tracks on a charity EP, The Master Singers And Shirley Kent Sing For Charec 67 (Keele University 103) in 1966. Paul Eastment had earlier played in Velvett Fogg.
They recorded their album at the end of 1969, spawning their first 45 at the end of the year. When You're Dead was a strong song with a clear US West Coast influence. It was hardly Chart material, though, so predictably sales were poor. The album came out in January 1970. There's a clear contrast between the folk pieces that Shirley Kent sings on like Hearts And Flowers and Time Is My Enemy, which in style recall Sandy Denny's heyday in Fairport Convention, and the blues-rock numbers contributed by the rest of the band, of which For One Second sounds the strongest. Also worth checking out is the powerful Too Late To Cry. The album has now become a major collector's item, partly on account of its rarity but also on account of the breadth of its appeal to fans of both blues-rock and folk.
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Steamhammer (aka Reflection) was the debut album issued in 1969 by the British blues-rock band Steamhammer. The musicians in the band were Martin Quittenton (guitar), Kieran White (vocals, guitar, harmonica), Martin Pugh (guitar), Steve Davy (bass), and Michael Rushton (drums). The album included classic blues numbers by B.B. King ("You'll Never Know") and Eddie Boyd ("Twenty-four Hours"), as well as compositions by band members White, Quittenton, and Pugh. The session musicians Harold McNair (flute) and Pete Sears (piano) also played on the album.
Already in 1970 the song "Junior's Wailing" was recorded by Status Quo on their album Ma Kelly's Greasy Spoon.
The self-titled debut from Steamhammer has been issued under a number of titles — the most famous of which is Reflection (1969) — all of them including an identical track list and in essence, are one and the same. The numerous and short-lived incarnations of the band began on this long player and spilled over onto a subsequent 7" single with an edit of "Junior's Wailing" b/w the non-LP track "Windmill". [Note: Interested parties can find both cuts among the "bonus tracks" on the CD reissue of MK II (1969).] For these sides Steamhammer features the talents of: Kieran White (vocals/harmonica/acoustic guitar), Martin Pugh (lead guitar) Martin Quittenton (guitar), Steve Davey (bass) and Michael Rushton (drums).
Like Chicken Shack, Fleetwood Mac, Cream, Ten Years After and a plethora of other late ‘60s British rock groups, Steamhammer had been influenced by the mostly American-made R&B. However, a conspicuously high ratio of original material separated them from many of their more prominent contemporaries. They also included a few somewhat obligatory covers, such as the seven-plus minute workout on Eddie Boyd's "Twenty-Four Hours" as well as a high and mighty rendition of B.B. King's "You'll Never Know". Other standout sides come from within the band and include the trippy and slightly progressive "Even The Clock" as well as the jazzy syncopation of "Down the Highway" — with Harold McNair (flute) of Donovan fame making some notable contributions to the latter. The previously mentioned "Junior's Wailing" should not be missed as it sports a heavy-duty and otherwise propulsive blues shuffle. Every subsequent Steamhammer long player was accompanied by a personnel change that yielded a tremendous stylistic vacillation from release to release. Their subsequent effort, MK II, would venture farther out into a progressive and jazz-fusion style akin to that of Egg or Gong than to the electric blues-based heavy metal found on this platter.
01."Water (Part One)" — (Martin Quittenton, Martin Pugh) 0:52
02."Junior's Wailing" — (Kieran White, Martin Pugh) 3:18
03."Lost You Too" — (Martin Quittenton, Kieran White) 3:28
04."She is the Fire" — (Martin Quittenton, Kieran White) 3:10
05."You'll Never Know" — (B.B. King) 3:27
06."Even the Clock" — (Martin Quittenton, Kieran White, Graham) 3:49
07."Down the Highway" — (Martin Quittenton, Kieran White) 4:28
08."On Your Road" — (Kieran White) 2:43
09."Twenty-Four Hours" — (Eddie Boyd) 7:28
10."When All Your Friends are Gone" — (Martin Quittenton, Kieran White) 3:49
11."Water (Part Two)" — (Martin Quittenton, Martin Pugh) 1:44
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John Verity, born 3 July 1949 in Bradford, West Yorkshire, England was a member of the band Argent from 1972 to 1976.
When Argent split up he formed Phoenix with Bob Henrit and Jim Rodford from Argent. The band recorded three albums with CBS Records and toured Europe before disbanding. Rodford joined the Kinks, John and Bob joined Charlie, to record an album with RCA Records. John produced the Phoenix albums and Charlie album as well as the first Saxon album.
During the early 1980s Verity worked with Brian Connolly (former vocalist with Sweet) in an attempt to launch him as a solo artist. A single, "Hypnotised" was released on Carrere Records in 1982 produced by Verity and written by Joe Lynn Turner of Rainbow fame. Verity was part of Connolly's backing band Encore when they supported Pat Benatar at the beginning of 1983. The line up of this band formed the basis of Verity's own band, imaginatively entitled Verity which went on release several albums including "Interrupted Journey".
He frequently plays with his band in and around Bedfordshire, Buckinghamshire and Hertfordshire. He also has many acoustic gigs as a duo with either Max Milligan or Mark Griffiths as well as with the band. The usual line up features Bob Henrit on drums and Mark Griffiths on bass.
There have been many requests for this album to be re-released on CD, and finally it's here... Re-mastered from original sources - just as it sounded way back in the 70's. These are the very first studio recordings by the JV Band - recorded in London just before John joined Argent, and released for the tour when the JV Band supported Argent. Soon after this tour ended, JV was asked to join Argent - the rest, as they say, is history! Very much of its time, harking back to the days when new bands were allowed a 'first album' with very little record company intrusion, so that fresh ideas could be explored, maybe some mistakes made, but the freedom to experiment and stretch out in the studio for the first time...
John Verity began his music career in the early 1960's, playing guitar in various local bands around his home town of Bradford, Yorkshire, until he was offered a full time gig with a band which was backing various visiting US pop acts, as well as Decca Records UK acts when they toured.
By 1969 John was living and working in the US, with the first ever line-up of the John Verity Band doing prestigious support slots with many of the big names of the day including Jimi Hendrix, Mountain, Canned Heat and Janis Joplin.
On his return to England in 1971, John secured a contract with producer Steve Rowland to record his first solo album for ABC/Probe records, 'John Verity Band', which was released in the spring of 1972. Whilst on tour promoting the album, JV was spotted by Rod Argent who was looking for new lead vocalist for his band following the departure of Russ Ballard. John eventually joined Argent in 1973 and there followed a period of intense recording and touring until the band decided to come off the road late in 1976. Argent never did go back on the road, and decided to disband, at which point John became involved with various new projects both as Artist and Record Producer. First of all, along with Bob Henrit and Jim Rodford from Argent he formed Phoenix, which soon signed to CBS records. The band recorded three albums and toured Europe before disbanding amicably when Jim Rodford joined the Kinks, and John and Bob joined Charlie, to record an album with RCA Records. John produced the Phoenix albums and Charlie album as well as the first Saxon album during this time, and decided to divide his time between sessions and record production whilst Bob Henrit teamed up with Jim Rodford once again by joining the Kinks.
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Found in OuterSpace
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Artwork made by "moonwall", Sweden
With the addition of Rod Stewart and Ron Wood the "small" part of the original band name was dropped, and they continued as Faces. Still, their first album was released in the U.S. under the name "Small Faces" due to a "mistake" by their record company.
Their most successful songs included "Had Me a Real Good Time", their breakthrough UK hit "Stay with Me", "Cindy Incidentally", and "Pool Hall Richard". As Rod Stewart's solo career became more successful than that of the group, the band became overshadowed by their lead singer. A disillusioned Ronnie Lane left the band in 1973, replaced by Tetsu Yamauchi (who had replaced Andy Fraser in Free). Released at about the time Lane left, Faces' final studio album was Ooh La La, about which Stewart was very scathing in the musical press on its release, much to the anger of the others.
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This was Chicken Shack's most popular album, making the British Top Ten. If you're looking for relics of the British Blues Boom, however, you'd be much better off with Ten Years After, to say nothing of legitimate artists such as Fleetwood Mac and John Mayall. British blues at its best could be exciting (if usually derivative), but it's difficult to fathom how this relentlessly plodding, monotonous effort met with such success.
Stan Webb took most of the songwriting and vocal chores, emulating the slow-burning Chicago boogie with little skill or subtlety (though he wasn't a bad guitarist). Christine Perfect did write and sing a few songs, but these unfortunately found both her compositional and vocal chops at a most callow stage of development. To nail the coffin, most of the songs were preceded by excruciating comic dialog that made Cheech & Chong sound sophisticated in comparison.
01. Baby's Got Me Crying
02. Right Way Is My Way
03. Get Like You Used To Be
04. Pony And Trap
05. Tell Me
06. A Woman Is The Blues
07. I Wanna See My Baby
08. Remington Ride
09. Fishing In Your River
10. Mean Old World
11. Sweet Sixteen
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One Way... Or Another (1971) was the second and final studio outing to feature the incipient incarnation of supergroup Cactus, comprised of Vanilla Fudge rhythm section Carmine Appice (drums) and Tim Bogert (bass), as well as former Amboy Dukes lead vocalist Rusty Day (vocals/mouth harp), and Jim McCarty (guitar) from Mitch Ryder & the Detroit Wheels and the Buddy Miles Express. Even as their debut was ostensibly rawer, they retained the same amp'ed-up electric blues reminiscent of early Grand Funk Railroad and Foghat.
The more polished outcome heard on their sophomore effort is undoubtedly the direct result of assistance from recording engineer extraordinaire Eddie Kramer and their upgraded digs at the recently completed Electric Lady Studios, which they inhabited shortly after the passing of the facilities' owner, Jimi Hendrix. Immediately, the proceedings are thrust into high gear with a languorous and seething interpretation of Little Richard's "Long Tall Sally." While not the extended barnburner it became in concert, it gets things off to a rousing start. The lightweight up-tempo "Rockout, Whatever You Feel Like" could easily be mistaken for Jo Jo Gunne, especially in Day's vocal asides, strongly recalling Jay Ferguson and company. "Rock 'N' Roll Children" is a heavier number with McCarty unleashing rounds of impressive and impellent fretwork churning atop the simmering backbeat.
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In the history of 1960s British rock, Birmingham was a source of talent virtually in the same league with Liverpool. Although the city never produced a group as big as the Beatles, it was a seething cauldron of musical activity and home to literally hundreds of groups whose activities and memberships were in a constant state of ferment, yielding acts such as the Move, the Moody Blues, and the Electric Light Orchestra, whose influences extended well into the 1970s and beyond. Perhaps the most important of the Birmingham groups that didn't make it to the front rank was the Idle Race.
The group occupies a strange focal point in the history of the city's music and, between 1960s and 1970s rock, as a link between Mike Sheridan & the Nightriders, the Move, the Electric Light Orchestra, and the Steve Gibbons Band. The Idle Race itself evolved out of one of the most promising of local early-'60s Birmingham bands, Mike Sheridan & the Nightriders, who recorded for EMI and later for Polydor and whose membership included a young Roy Wood. After the latter's exit to join the Move in 1965 and Sheridan's decision to stop performing regularly with the group, the other members -- Dave Pritchard, Greg Masters, and Roger Spencer -- tried renaming themselves the Nightriders for a time, initially with guitarist Johnny Mann (formerly of Carl Wayne & the Vikings, whose frontman also passed into the Move). Mann quit after just a few weeks and was succeeded by Jeff Lynne.
The reformed Nightriders had Lynne on lead guitar and backing vocals, Roger Spencer on drums, Greg Masters on bass, and Dave Pritchard on rhythm guitar and lead vocals. By the end of 1966, however, they'd begun evolving a new, more ornate sound, vaguely similar to some of the experimental tracks that the Beatles were putting on their albums, only more playful and straightforward; additionally, Lynne had become the dominant musical personality in the band. In later years, it would be called freakbeat -- the British equivalent of psychedelic punk (or, more correctly, garage punk) music in America -- and seem like a coherent body of music, yielding thousands of cheerfully trippy pop/rock singles, but in 1966, no one was exactly sure what the appeal of this music was. A name change seemed in order to go with their new sound, and the result, after flirting with the more poetic "Idyll Race," was the Idle Race.
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The Idle Race were an English cult rock group from Birmingham, in the late 1960s. In addition to being the springboard for a very young Jeff Lynne, the band holds a place of significance in Midlands rock history as a link between Electric Light Orchestra, The Move, the Steve Gibbons Band and Mike Sheridan and The Nightriders.
The core of the group -- Nightriders rhythm guitarist Dave Pritchard, bass guitarist Greg Masters and drummer Roger Spencer -- went relatively unchanged from 1959 until February 1972. The band went through several incarnations, lead guitarists and lead singers -- first Billy King and later, more successfully, with Mike Sheridan, with whom they first rose to prominence and, in 1964, to a record deal with EMI.
While Mike Sheridan and The Nightriders failed to crack the charts, the band's lineup during this period included a young lead guitarist and composer named Roy Wood, whose first commercial song "Make Them Understand," appeared on one of the band's B-sides in 1965.
Wood jumped ship to join the then Brum "supergroup" The Move in December 1965. Sheridan left shortly thereafter.
The Nightriders soldiered on with a new lead guitarist, Johnny Mann, for a few months. When they placed an advert in May 1966 for a younger replacement, the winning applicant was Lynne, then an unknown guitar prodigy from the Birmingham district of Shard End. The Nightriders recorded one single for Polydor, "It's Only The Dog/Your Friend," released in November 1966 with Lynne on lead guitar. Spencer sang lead on the former; the latter was written and sung by Pritchard.
Eager to showcase Lynne's vocal and guitar skills as well as his growing cache of psychedelic songs, the group changed its name -- first to Idyll Race, then Idle Race. Wood, now a national superstar as the Move stormed the charts, helped arrange for his old bandmates a partnership with pop producers Eddie Offord and Gerald Chevin. In 1967, The Idle Race were the first major rock signing by the new British arm of Liberty Records (which would soon merge with United Artists).
The group were well-received by the music press for their melodies, whimsical lyrics, and inventive production. They often appeared on the same bill with such bands as The Spencer Davis Group, The Who, The Small Faces, Pink Floyd, The Moody Blues, Status Quo, Tyrannosaurus Rex, Yes, Free, and the Move.
During this period, Idle Race was also -- as one member later termed it -- a very "schizophrenic" band. While their records were awash in pop hooks, acid backdrops and lilting harmonies, they were a much heavier act in a live setting. Lynne's early trademark around the clubs and colleges was his ability to coax an unusual "violin" sound out of his guitar, while Masters would occasionally take a bow to his Hofner bass. In addition to original material, their set list included extended covers of Steppenwolf's "Born to Be Wild," The Jimi Hendrix Experience's "Purple Haze," Moby Grape's "Hey Grandma," The Lemon Pipers' "Blueberry Blue," The Doors' "Love Me Two Times," and an electric version of "Debora" by Tyrannosaurus Rex.
Influential BBC disc jockeys such as John Peel and Kenny Everett were big boosters of the band. But despite heaps of critical respect and famous fans such as The Beatles and Marc Bolan, Idle Race failed to catch fire with the public.
Bad luck sabotaged efforts from the start. The debut single on Liberty, a cover of Wood's "Here We Go 'Round The Lemon Tree," was scheduled for release and heavily promoted in September 1967. When the Move's version began getting national in airplay around England as the B-side of the hit "Flowers In The Rain," Liberty abruptly pulled the single and replaced it with Lynne's crunching "Impostors of Life's Magazine" in October. With no promotion, "Impostors" never got out of the starting gate, drawing praise but little chart buzz.
"The Skeleton And The Roundabout" (February 1968) and "The End of the Road" (June 1968) suffered similar fates. Work continued throughout the year -- the band commuted in from Birmingham to London on Sundays, when they were granted free studio time at Advision -- on the Idle Race's debut album, "The Birthday Party," released in October of that year to strong reviews but tepid sales.
Lynne and Wood's mutual respect and friendship deepened. The demo for the Move hit "Blackberry Way" was recorded in Lynne's front room. "Way" borrowed motifs from the Idle Race; the chorus of Lynne's 1969 rocker "Days of the Broken Arrows" lifted part of a riff from the Move's "Wild Tiger Woman." Wood and Lynne spoke often of working together on a project that would integrate classical instruments in a pop/rock idiom.
Lynne received an offer to replace Trevor Burton in the Move in February 1969 but declined with hopes of piloting The Idle Race onto the hit parade.
As a perk, Liberty allowed him to produce the band's second album, the self-titled "Idle Race," eventually released in November 1969. When the two Lynne-penned, Lynne-produced singles that presaged the LP, "Days of the Broken Arrows" (April 1969) and "Come With Me" (July 1969) also failed to chart, their composer's frustration mounted. Despite more good reviews, "Idle Race," the first LP ever produced by Lynne, flopped as well.
In January 1970, Lynne accepted Wood's second offer to join the Move, on condition that they would retire the band and concentrate on a new venture -- The Electric Light Orchestra.
Lynne made two albums ("Looking On" and "Message From The Country") and a handful of superb singles with the Move -- including the first version of "Do Ya" -- as work on the first ELO album continued in the studio throughout 1970 and '71. The Move, now comprising just Wood, Lynne and drummer Bev Bevan, ceased touring in 1970 and adopted its ELO alter ego permanently in 1972.
Meanwhile, Mike Hopkins (guitar) and Dave Walker (vocals) were hired to replace Lynne in The Idle Race. A cover of Mungo Jerry's "In The Summertime" on Liberty in 1970 finally got them into the top 10 -- in Argentina. A cover of Hotlegs' "Neanderthal Man" didn't fare as well.
In 1971 the band produced their final album, "Time Is" for Regal Zonophone. Pritchard and Spencer -- later to become comic "Ollie" Spencer -- left shortly thereafter.
After Masters quit the group in 1972, the remnants became the Steve Gibbons Band.
01. "Come With Me" - (Lynne) 2.45
02. "Sea Of Dreams" - (Lynne) 3.13
03. "Going Home" - (Lynne) 3.44
04. "Reminds Me Of You" - (Dave Pritchard) 2.54
05. "Mr. Crow and Sir Norman" - (Lynne) 3.17
06. "Please No More Sad Songs" - (Lynne) 3.20
07. "Girl At The Window" - (Lynne) 3.44
08. "Big Chief Woolley Bosher" - (Lynne) 5.15
09. "Someone Knocking" - (Dave Pritchard) 2.56
10. "A Better Life (The Weatherman Knows)" - (Lynne) 2.45
11. "Hurry Up John" - (Lynne) 3.33
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This is one of the most sought-after UK psychedelic albums. It's a fine amalgam of psychedelia and heavy R&B though not all the material is good. Their first two 45s are included and these four tracks are among its finer moments. The most psychedelic being The Otherside and Buffalo Billycan. The most commercial being Doctor Rock, a straight-ahead rocker, and Let's Take A Trip Down The Rhine.
There are also a couple of good Yardbirds' covers - Rock Me Baby and Psycho Daisies - and a competent effort at the Lovin' Spoonful's Sporting Life. Not as inventive as the Open Mind LP, for example, but with just a couple of throwaway tracks, it does deserve to be up there as one of the gold nuggets of British psychedelia. Recently sold at ebay for: 911 USD
01. Let`s Take A Trip Down The Rhine
02. Doctor Rock
03. The Otherside
04. Mr.Jones
05. The Mayville Line
06. Queen Of Hearts Blues
07. Rock Me Baby
08. Buffalo Billycan
09. Photograph
10. Psycho Daisies
11. Sporting Life
12. Pretty Girl Love You
13. Let`s Take A Trip Down The Rhine [Single Version]
14. Buffalo Billycan [Single Version]
15. Doctor Rock [Single Version]
16. The Otherside [Single Version]
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Slade are an English glam rock and hard rock band. Slade were one of the most recognisable acts of the glam rock movement and were, at their peak, the most commercially popular band in the UK. They are well known for the deliberate misspelling of their song titles and for the song "Merry Xmas Everybody" (released December 1973), now one of the most iconic Christmas pop songs in the United Kingdom.
The band started out as the N'Betweens in 1966, formed from members of two Midlands bands, The Vendors and Steve Brett & The Mavericks. They initially had little success, apart from on the local club circuit, where they were extremely busy and in the late 1960s the band changed its name to Ambrose Slade and hooked up with manager Chas Chandler. Their name was eventually shortened to Slade, and the band adopted a skinhead look, as an attempt to gain publicity from what was a newsworthy youth fashion trend. They later abandoned this look, due to the unwelcome association with football hooliganism. They grew their hair long again, in time to become a leading part of the glam rock movement, releasing songs with deliberately Black Country-style mis-spelled titles which made them stand out.
From 1971 to 1975, the band scored many huge-selling consecutive hit albums and singles. Their most noted Christmas anthem has resurfaced seasonally and formed one of a successions of singles that entered the charts at number one - a feat unheard of since the days of The Beatles. After dominating the chart in 1973, 1974 saw a slight change in musical direction for the band. The self titled 'Slade In Flame' album contained a more mature sound and perhaps remains to this day their most influential album, with clever use of brass and piano, somewhat forerunning bands such as the Jam and Oasis. Their concerts were all automatic sellouts, and the band was the first to take the risk of booking the massive Earls Court Exhibition Centre in London for a couple of nights (although David Bowie promptly booked the venue for a couple of dates before Slade were due to perform). Following the ground-breaking shows, Don Powell was critically injured in a car crash and with his life in danger, the band's future was left in the balance. Powell eventually recovered, although he still suffers with acute short-term memory and sensory problems.
Partly due to changes in music trends and the advent of punk rock and New Wave music, Slade's success faded somewhat by the late 1970s, although the group continued to release records and punk bands were not afraid to cite them as an influence. They enjoyed a return to the UK charts, after their 1980 Reading festival appearance and finally managed to enter the higher reaches of the United States charts.
In August 1980, Ozzy Osbourne's Blizzard Of Ozz cancelled their set at the Reading Festival with very short notice. Slade, who had all but disbanded, were recommended to replace them. A demoralised Dave Hill had effectively left the band and initially refused to do the show when asked by the other band members, but manager Chas Chandler convinced Hill to play what could very well have been their last ever live show in front of a huge crowd rather than in a small club. To Hill's utter astonishment, the band were well-received at the festival (highlights of their performance were also broadcast on BBC Radio 1's Friday Rock Show Reading special), and quickly became darlings of the music press again — despite doing nothing different at Reading than they had done onstage in recent years.
A new run of chart success followed, though not on the large scale of their 1970s heights. Holder and Lea became in-demand for production and songwriting duties for other acts for a while. Slade had another two UK top 10 hits in 1984, with the singles "Run Runaway" and "My Oh My" (#2 UK, #36 U.S.) "Run Runaway" reached #7, which would be their second top 40 hit in the U.S. — and their first since "Gudbuy T'Jane", which barely made the top 40 in 1972. Interestingly enough, these hits happened despite Slade not touring to support the releases.
They later returned to the UK Singles Chart in 1991 with the song "Radio Wall of Sound".
Holder became weary of constant touring, effectively managing the band and of the music business and left the band in late 1991 after 25 years. The remainder of the band were given a period of notice in which to consider their options. Rather than take on another singer, Lea effectively retired from live work, preferring to work quietly, at his own pace, alone in the studio.
Hill and Powell (the band's founder members) formed Slade II with three other local musicians at that point. The name was once again shortened to Slade after a period and over the years new members have come and gone with Hill and Powell remaining constant throughout.
Save for the release in 1991 of an album of demo recordings and gathered songs that had previously been released under the pseudonym The Dummies, Lea remained resolutely silent. In 2007, however, he finally released an album of mainly unheard new original material, entitled Therapy.
One of the most acclaimed British Rock bands of the 1970s, Slade are especially remembered for their brash songwriting and praised live performances. Today, the band is often regarded as an obvious pre-cursor to late 1970s British Punk (Sex Pistols, The Clash).
The group dominated the British charts during the 1970s. During the height of
their success, Slade out-performed their chart rivals Wizzard, Sweet, T. Rex, Suzi Quatro, Mud, Smokie, Gary Glitter, Roxy Music and David Bowie. In the UK, they achieved 12 top five hits from 1971 to 1974, six of which topped the charts. In total, Slade had 17 top 20 hits between 1971 and 1976 including six #1s, three #2s and two #3s. No other UK act of the period enjoyed such consistency in the UK top 40 and Slade actually came the closest to emulating The Beatles' 22 top ten records in a single decade (1960s). Three of their singles entered the charts at #1 and they sold more singles in the UK than any other group of the 1970s.
NME journalist and music critic Eddie Shum and Oasis guitarist Noel Gallagher have both been quoted as saying the band were "Fundamentally more important to the development of music than Radiohead".[citation needed] While Slade's attempts at cracking the United States market were largely unsuccessful, they left their mark on a several US bands who cite Slade as an influence. Kiss bassist Gene Simmons readily admits that his band's early songwriting ethos and stage performance style was influenced by Slade. In his book "Kiss and Make-Up," Simmons writes on page 85, "the one we kept returning to was Slade," and "we liked the way they connected with the crowd, and the way they wrote anthems... we wanted that same energy, that same irresistible simplicity. but we wanted it American-style." Tom Petersson of Cheap Trick has said that his band went to see Slade perform, and that they used "every cheap trick in the book", thus inadvertently coining his group's name. Quiet Riot had a U.S. hit with their cover of Cum on Feel the Noize.
The original band's memory was kept alive by comedians Vic Reeves and Bob Mortimer, who respectfully sent up the band in a number of what the band called 'hysterically accurate' 'Slade in residence' and 'Slade on holiday' sketches in their The Smell of Reeves and Mortimer TV show in the early 1990s - these are available on DVD.
Slade are most associated with the Black Country in Britain's West Midlands, although the band's members came from Devon, Staffordshire, and the Black Country towns Walsall and Wolverhampton.
It has been said that Christopher Guest and Harry Shearer based their fictional band Spinal Tap, in the film This is Spinal Tap, on Slade. However, the comedians have since confirmed that the band in the film was based on the "tour diaries" of numerous UK "heavy metal" and "glam" bands. The events occurring to Spinal Tap in the film are based on the real exploits of not only Slade but also Deep Purple, Saxon, Led Zeppelin and Ozzy Osbourne.
While doing research for the film, Shearer and his fellow writers and cast-mates interviewed a number of 70s Rock stalwarts requesting their greatest "road stories". Slade happily contributed several. One of the film's primary plot-points revolves around Spinal Tap attempting to "break America". Slade spent a great deal of time trying to translate their very British style of entertainment to American audiences with minimal success. The story of Slade's bewildered (and sometimes misguided) tries at U.S. audiences resulted in the film's primary concept; thus, their frequent association with the movie.
In fact, at one point in the film, Spinal Tap is listed on a marquee as playing second billing to a Puppet Show. Noddy Holder tells a similar story regarding Slade's "low phase" in his autobiography, "Who's Crazee Now?!".
It is worth noting that Slade always have had a wonderful sense of humour about their success (or the lack thereof, depending upon the decade) and have always been honest and apt to parody themselves. All of the band's members have expressed a great affection for This is Spinal Tap.
01. "Genesis" (Holder/Lea/Hill/Powell) Did Not Chart
02. "Everybody's Next One" (Kay/Mekler)
03. "Knocking Nails Into My House" (Lynne)
04. "Roach Daddy" (Holder/Lea/Hill/Powell)
05. "Ain't Got No Heart" (Zappa)
06. "Pity The Mother" (Holder/Lea)
07. "Mad Dog Cole" (Holder/Lea/Hill/Powell)
08. "Fly Me High" (Hayward)
09. "If This World Were Mine" (Gaye)
10. "Martha My Dear" (Lennon/McCartney)
11. "Born To Be Wild" (Steppenwolf)
12. "Journey To The Center Of Your Mind" (Nugent/Farmer)
13. "Wild Winds Are Blowing" [Bonus Single 1969]
14. "C'Mon C'Mon" [Bonus Single 1970]
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https://rapidshare.com/files/2686871789/Ambrose_Slade.rar
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http://uploadmirrors.com/download/TDS7SW5N/Ambrose_Slade.rar
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Size: 92.7 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
Skin Alley was a progressive British- rock combo, that existed from 1969 to 1974. They are best known for their track, "Living In Sin".
Thomas Crimble (bass/keyboards/vocals), Alvin Pope (drums), Krzysztof Henryk Juszkiewicz (keyboards), and Bob James (sax/guitar) made inroads quickly and found themselves signed to CBS Records for their self-titled debut in 1969 and its 1970 follow-up, To Pagham & Beyond. Crimble moved on that year to play bass with Hawkwind and organising the Glastonbury Festival, and was replaced by Nick Graham (formerly of Atomic Rooster, though not the same-named musician from The End and Tucky Buzzard) before the album was completed, Graham singing on two of the tracks. Pope was later replaced by Tony Knight (real name Tony Brown), formerly of The Chessmen and Bronx Cheer.
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https://rapidshare.com/files/3525537079/Skin_Alley.rar
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http://uploadmirrors.com/download/9Y4LGCGH/Skin_Alley.rar
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