http://www.slade40years.com/, Slade, Dave Hill, Don Powell, Jim Lea, Noddy Holder, Glamrock, Slade40years, Don Powell Fanclub, Wolverhampton, Bilston,

 

MOJO 

 

 

 

MOJO 169 / December 2007 FREE CD: HEAVY NUGGETS


Fifteen lost British hard rock gems, 1968-1973.

Starring Terry Reid, Slade, Leaf Hound, The Pretty Things, Procol Harum and The Move.

1 Terry Reid - Tinker Taylor 2:50
2 The Pretty Things - Old Man Going 3:03
3 The Open Mind - Magic Potion 3:22
4 Mighty Baby - Egyptian Tomb 5:25
5 Second Hand - Rhubarb! 3:42
6 Leaf Hound - Freelance Fiend 3:07
7 Atomic Rooster - Night Living 3:36
8 The Move - Don`t Make My Baby Blue 6:03
9 Slade - My Life Is Natural 3:15
10 Possessed [GBR] - Climb the Wooden Hills 2:28
11 Procol Harum - Long Gone Geek 3:07
12 Blossom Toes - Peace Loving Man 4:52
13 Luv Machine - Witches Wand 2:41
14 Pete Brown & Piblokto! - Aeroplane Head Woman 6:36
15 Warhorse - Solitude

 

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Noddy Holder erhält den Mojo Magazin Award für die DVD Slade In Flame

THANKS to Rudolf Schubert for sending the pic to us !

 

 

On Monday 18th June Flame won the Mojo Vision Award held at The Brewery in
London, the award was presented to Noddy Holder by Glen Matlock of The Sex
Pistols.


 

 http://images.q4music.com/content/teaserimages/mojo/mojo_honours_2005/mojologo.gif

 

 


Slade in Flame beat T.Rex on TV to scoop this award and that's no mean feat.

The MOJO Vision Award
To the film/DVD project that has taken MOJO music values into the celluloid
or small screen arena with utter artistic success.
AND THE WINNER IS: SLADE IN FLAME

http://promo.emapnetwork.com/mojo/honours2007/

And Noddy Holder has now been re-instated to the Walk of Stars
http://www.walkofstars.co.uk/?cat=1
A bug which allowed multiple votes from the same computer has now been
fixed.

THANKS a lot for this message to Gary Jordan

K.O.R.

 

 

Guillemots and Slade up for Mojo awards

 IC Birmingham 17.05.2007:

"Rising Birmingham band Guillemots have been nominated for song of the year in the annual Mojo awards.
That comes as singer Amy Winehouse continues her ascent to the top of the music world - bagging three nominations.
...
Black Country legends Slade are nominated in the vision section for their 1970s movie (Slade In) Flame and Midland-based Fairport Convention are in the running in the catalogue release of the year section, for Live At The BBC.
...
The Who are also nominated for best live act after Roger Daltrey and Pete Townshend reunited for the band`s first world tour in more than 20 years.
...
He added of the other categories: "The live scene right now is remarkably vibrant, reflecting just how excited people are about music as a whole. The nominees in the live category reflect the fact that it doesn`t matter whether you`ve been around for four years or 40 years.
...
The awards, attended in the past by the likes of James Brown, Sir Elton John, Morrissey, Ray Davies, Jimmy Page and the Red Hot Chili Peppers, take place on June 18 in central London."

http://icbirmingham.icnetwork.co.uk/birminghampost/news/tm_method=full%26objectid=19078211%26siteid=50002-name_page.html#story_continue

K.O.R. - Ilpo

 

MOJO, Mark Paytress

The only person who seemed impressed by Slade`s 1974 film the first time round was notoriously sniffy TV critic Barry Norman. Thirty years later, when a poorly mastered transfer was released, everyone from Noel Gallagher to the broadsheets heaped praise on it. Slade In Flame was, Mark Kermode opined, "the Citizen Kane of pop pictures".

It wasn`t. If anything, Flame was the Poor Cow of rock `n` roll cinema, in its kitchen sink realism and because, like Carol White, the star of Ken Loach`s film, the careers of virtually everyone involved - not least themselves - took a sharp downturn after its release. Slade In Flame was a brave if foolhardy project, but anyone expecting Wellesian grandeur will be disappointed.

The premise - aspiring pop `erberts get used and abused by the music industry - was hardly unfamiliar, thanks to Cliff Richard (in Expresso Bongo, 1959), Paul Jones (Privilege, 1967) and David Essex, who had spliffed and shagged his way through Stardust while getting royally shafted himself just months before Flame`s release.
Neither is the film distinguished by technical brilliance. Director Richard Loncraine and screenwriter Andrew (brother of Jane) Birkin were novices, the band were more ham than thespian, and everything had to be done in six weeks.

But Flame is classic of rock `n` roll cinema precisely because because it employs the same gloss-free approach that made Slade the most successful pop machine of the early `70s. No trick is missed: local band rivalry, the front man who gets left behind (Alan Lake), the hard-man agent (brilliantly played by Johnny Shannon, reprising his role from Performance), the slick money man (Tom Conti), the ludicrous publicity stunts, the sense that it was always going to turn out bad. Add in a splendid McCartneyesque theme time (How Does It Feel), a convincing club performance (Them Kinda Monkeys Can`t Swing), Don Powell`s pathos-filled canal-side scene, Noddy Holder and Jim Lea`s convincing stab as warring songwriters, ludicrous Dave Hill resembling a buck-toothed Brian Jones, and a string of a classic one-liners ("I`m not a bloody fishfinger"), and this quickly looks like neatly leavened miserablism.

There was one problem. The sour take on pop process was more convincing than the attempt to differentiate Slade from Flame, their fictional alter-egos. When bored and broken, Flame bow out at the end of the film, so too did the band`s audience. Dave Hill had predicted as much: "I wanted the funnies," he admits in the documentary here. Even Holder, who evidently had a ball making it, concedes that this dark film "killed a myth". Xmases aside, it was gudbuy to Slade.

 

AN  INTERVIEW  WITH  JIM  LEA

March 1997  -  As printed in Mojo Magazine

JIM LEA speaks about compiling  "Feel The Noize"  -  the SLADE retrospective

MOJO:  Have you enjoyed compiling your old hits?

JIM:  Yeah!  We're amazed at the attention this album's recieved.  Wheels spin round and suddenly we're cool again.  But we couldn't fit everything on, so we had these terrible decisions about what we were going to throw off.

MOJO:   You really broke through with  "Coz I Luv You", didn't you?

JIM:  Yeah.  We were a rock band but we made that as an out-and-out pop single.  It was the first song that Nod and I wrote together.  In those days, I was the only one with a phone, so Chas  (Chandler - the band's then manager)  rang me and said,  "We need a follow up to Get Down And Get With It"     So I got my five pound Spanish guitar, took it over to Nod's with my violin and said,  "I've come to write a song."    He said, "Oh. All right, then."    Half an hour later, we'd done "Coz I Luv You"     We were very big Stephane Grapelli and Django Reinhardt fans   (Nod called his baby boy Django)  and we often used to jam with jazz violin.

MOJO:  "Merry Xmas Everybody" has really become an annual fixture, hasn't it?

JIM:  I always wanted to write something like  "Happy Birthday".   Y'know, a song that would go on forever.   Normally I wrote the melodies for our songs but Nod had written a chorus years before, with these cheesy psychedelic lyrics that went:  "Buy me a rocking chair, I'll watch the world go by / Buy me a looking glass,  I'll look you in the eye"    We could never find a place for the words.   One day, I was in the shower and I began singing something Christmas-like.   I stuck that chorus on it.   Realizing it didn't fit at all, I rang Noddy up.   He put new, better lyrics to it and the rest is history.   That song is really Noddy's.   I just sort of arranged it.

MOJO:  What were the best and worst of times?

JIM:  We walked into the  "Top Of The Pops" bar when  "Cum On Feel The Noize"  had gone straight to number one, and it was like one of those cowboy films where you walk in the saloon door, and everyone looks around and the piano stops.   That was great.  We were very low in 1980 and about to split up.   But we did the Reading Festival that year and tore it to pieces.   That became another highpoint.

MOJO:  Do the four of you keep in touch?

JIM:   I speak to Noddy on the phone often but we tend to see each other in person only at funerals.  We've never fallen out.  We always know that the others are there. There's a feeling that we're together in our psyches.

Interview conducted by Paul Du Noyer.  

Reprinted from MOJO Magazine.

All copyrights apply.


 

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