Review Summary: Play it loud? I might do just that, thank you very much.
Slightly over a year and a half passed and Ambrose Slade reduced the band name to the one they’re known for, changed their image and got on board Chas Chandler, a man not unknown at the time (
The Animals,
The Jimi Hendrix Experience,
Soft Machine), to produce the second studio album.
In the overall scheme of things it is this release that can be called their debut, since on it Slade present original material, which is only slightly diluted with covers (three, to be exact). Compared to the official first album this ratio is practically reversed.
The image of skinhead rockers imposed by the band’s manager and the boisterous title are not reflected in the contents (though the move was more successful in terms of promotion and recognition). Yes, the LP has its share of bravado and aggression (the latter is more pronounced in the signature shouting vocals of Noddy Holder). However the station where the band stopped and which is still in the area of looking for identity is called “classic groovy hard rock”.
Making not a single step outside these boundaries Slade nevertheless find things worth saying, focusing on rhythmic melodies fueled with distinct basslines and punctuated with still cautious but already getting brazen and at times quacking guitar by Hill. Sometimes noticeable signs of punk (
The Shape of Things to Come) as well as flirtations with the psychedelic era
Beatles (
Could I,
Pouk Hill) and funk (
Dirty Joker) only mark like dotted lines the areas where the band can go if it wants to. It should not confuse the audience since it is not in the nature of Slade to dart between the genres. It is just that having occupied a warm niche of hard rock, the band clearly understands it is not a permanent retreat and can take a walk to the adjacent surroundings.
The single thing that gives away the eccentric Brits as newcomers attesting to their vibrant maximalism and youthful performance is the lyrics. Having been instructed by the producer to create not exploit and given the full freedom to write the musicians rushed to the pen. The creative tandem Holder-Lea-Powell authored nine of the twelve songs present on the album, with lyrics reflecting both inspiration and imagination as well as haste and levity of the approach.
The album has it all: evident navel-gazing (
See Us Here), description of the everyday life on the road (
One Way Hotel), self-mockery (
Pouk Hill), attempts at philosophizing (
Know Who You Are), as well as allegoric depictions of higher animals (
Raven,
Dapple Rose), and hastily slapped together / chosen lyrics without particular meaning (
Could I,
Angelina,
Sweet Box).
Nevertheless and regardless of a repeated blank shot at success, the band managed to announce themselves as a full-fledged creative unit. The album which today sounds as a fine example of classic rock finds Slade firing up the fuse of their arsenal and walking towards a better future.
Best songs:
Raven,
Dapple Rose,
Know Who You Are,
Sweet Box
