We'll Bring the House Down
Encyclopedia
We'll Bring The House Down is an album by English rock
band Slade
. It was released on 13 March 1981 and entered the UK charts at number 25. This was due to the Reading Festival success the previous year, when they had stood in for heavy metal
singer Ozzy Osbourne
. Slade got exactly what they needed, and received a huge amount of notoriety from the concert. All of a sudden, as if overnight, they were now deemed 'cool'. Their record company didn't take long to jump on their success either, and released a sharp compilation Slade Smashes! which reached the #20 spot.
As this album was released almost a month after their Reading appearance, there was little time to record new tracks, so some of the tracks were recycled from their failed Return to Base
album of the previous year.
The sleeve shows a Slade 'fist' bursting through a shield with four diagonal stripes on it. According to the band this is supposed to signify "four royal bastards", although in heraldic terms this is not strictly correct.
The album was remastered in 2007 and included the remainder of tracks from Return to Base
and 3 non-album bonus tracks.
The album peaked at #473 for 1981 on rateyourmusic.
Both tracks "Dizzy Mamma" and "Nuts Bolts and Screws" were especially remixed by the band at Portland Studios in London for this album.
The album artwork featured the new Slade logo which was created by Slade's manager and producer Chas Chandler
.
With a three-quarters full 1977 theatre tour and after the unsuccessful 1977 album Whatever Happened to Slade, the band were taking any gig they could. The band could still sell out performances at University student union bars and draw respectable crowds at small to average sized venues. However, it was only four years since the band had headlined Earls Court and even the earthiest band had to admit it was a bit of a comedown. Bassist Jim Lea however was unfrazed. "I still thought the band was great," he told Chris Charlesworth in 1983, "We were playing as well if not better than we ever had...Now we had something to prove again." The band would prove their worth night after night in clubs and colleges up and down the country, often running at a loss bringing their own PA and lightshow. The band were still releasing singles through manager Chas Chandler's Barn Records which sold little.
The band's luck changed when Slade found themselves in front of 65,000 rock fans at the Reading festival in August 1980 (thanks to a late cancellation by Ozzy Osbourne
. In the aftermath of the Reading triumph, the band rush-released the Live at Reading E.P.
on the band's own label Cheapskate Records in October 1980, which became the band's first chart showing in three years, while Polydor records issued the compilation Slade Smashes
which went on to sell 200,000 copies.
In January 1981, Slade released the single We'll Bring the House Down
which took Slade to the upper reaches of the charts. Shortly after, the album with the same name was released, consisting of previous tracks from Slade's little known Return to Base album with a few new tracks. The follow-up single Wheels Ain't Coming Down stalled at #60 but was just enough to keep the momentum until the fresh campaign later in the year.
After the success of the album, Hill was asked in a fan club interview about trying to extend the band's new found success in Europe. Hill responded "It's got to follow on. What we suffer from at the moment is that we haven't sorted a record deal abroad. There's only Belgium where we have actually got something sorted out - and we have had a bit of success there already. I think that over the next few weeks we have got to be very seriously sorting something out for Europe. I mean we want to be as big as far away as Australia, like we used to be."
After the album's release, drummer Don Powell was asked in a fan club interview as to why he no longer writes any Slade material. Powell replied "Well, the trouble is as I don't play any instruments, I can only write lyrics. And when I used to write with Jim, I used to have to try and sing to him how I thought the song should go, and he'd sing it back to check that he'd got the right thing, and then write it down. It would take a hell of a long time to get a song together. So as Nod and Jim write songs a lot quicker and better, I leave it to them."
. The track was laster released as a single in 1981 after Slade's 1980 Reading Festival performance which put them back in the public eye. It peaked at #60. The track also became part of the band's live set list. Geoff Ginsberg for allmusic stated the track ranked among the band's best work.
. The song became part of Slade's live set. Chris Ingham stated "When I'm Dancin' I Ain't Fightin'" is a catchy rock song with a sing-a-long hook." Allmusic wrote "When I'm Dancin' I Ain't Fightin" is pure classic Slade. This is just the type of song that made people go crazy over this band in the first place, and it stacks up to their chart-topping singles."
song "Tush
". It became part of the band's live set and was for some time, the band's stage opener. Ingham wrote "Dizzy Mamma is a Southern 12-bar boogie number" Allmusic stated "Dizzy Mama" was the Reading show-opener, and it grabbed that crowd by the throat even thought the audience had never heard it."
The song was re-worked by Lea, re-titled "Poland". It was released under the artist name Greenfields of Tong in 1982. It was also the b-side to the 1983 Sue Scadding single "Simple Love" which was written by Holder and Lea, produced by Lea. The "Poland" song also appeared on the 1992 album "A Day in the Life of the Dummies", a collection of all the demos and recordings that Lea recorded with his brother Frank Lea and wife Louise Lea, under the name "The Dummies".
"Lemme Love Into Ya" was voted #2 of the top three Slade album tracks in the Slade Fan Club Poll of 1979.
Daily Star wrote "Their new album, called 'Well Bring The House Down' is in the same old Slade style - thumping, no-nonsense, high-decibel rock."
Record Mirror wrote "The Slade revival has been something of an ongoing affair, stretching back at least as far as 79's commendable 'Return To Base' and a sprinkling of dynamic Music Machine dates around that time. These conveyed a refreshing circa '72 all-'avin-fun-together atmosphere a million miles away from the current gang war attitute that dictates one must be a futuristic / rockabilly / skinhead / headbanger etc. So why are they continuing to gain ground now? Well, whatever the escapist merits of New Romanticism, there's still a fair bit to be said about the properties of getting down and getting with it, the kind of grass roots entertainment that Slade personify. Plus however loud and raucous they are they can still write songs - y'know, those old-fashioned, well-rounded things with structures, story-lines and neat, irresistable hooks. Here the latter are represented by 'Wheels Ain't Coming Down' and 'Lemme Love Into Ya'. The first is about the relief of finding out that the aircraft you're on isn't so dodgy after all and thus is an honest evocation of the good to be alive feeling so beloved by us all. The second is a surprisingly progressive ballad, slow, splintery and swash with more synthesised effects. Yep, Slade can be experimental but since their ace card has always been to seduce with the most banal of football terrace chants, it's there that they really excel. Not even the remorseless 'Nuts Bolts And Screws / I Heard It On The News' grates too badly though 'When I'm Dancin' I Ain't Fighting' does truly become a bit of a pain. The concept of 'It's so bad that it's good' also rears it's head on 'Hold On To Your Hats' which with a bit of luck won't be released as their next 45. Elsewhere Noddy, Dave and the boys show a good capacity for variety, their manager's 'My Baby's Got It' a reasonably rockabilly rip-off and Chuck Berry's I'm A Rocker' a vindication of their pub rock roots.
At the same this is something of a double-edged sword. Too untamed for parties and too undanceable for discos. It's difficult to justify a record like this on it's own terms. Slade are essentially a live act and on vinyl the vital ingredient of spilt beer is sorely missed. But all things considered the pros outweigh the cons, a point which is unlikely to escape the attention of the fans who've put them back in the singles chart."
Sounds Magazine wrote "Hey kids, bored with all this so-called futuristic disco dross? Tired of doing the old Two-Tone two step? Wanna change from the foolishness of current top fashions?
Then Slade (gawd bless 'em) have produced a pole-axing panacea which is just up your street. Ten tracks of rejuvenated roguery guaranteed to cause severe structural damage to the sturdiest of dwellings and delight the most surly of yobs. We'll Bring The House Down' is both a monumental triumph for the band who over the last few months have swept spectacularly back into favour, and a real treat for those kids who've moved unreservedly behind 'em. It is, in short, a corker, brimming with a knowing confidence and expertise that has far from withered through age. The title track opens the show. I must confess to being wholly unimpressed by it when it was first crammed down my lug'oles pre-chart smash time. 'Not a touch on't earlier 'un' could be heared muttered sagely about Neasden. Well of course time and sales have proved me completely off the ball, the single has capitulated Noddy and Co firmly back into the charts. Anyway it quickly careers into the splendidly sexist 'Night Starvation' wherein young Holder postulates on the potential pleasures of the horn. It is quite possibly the album's standout, or should that be stand-up, track. With a faultless hook and breezy beat it'd make a brilliant single, even if it's saucy subject isn't exactly staid TOTP fare. 'I Wanna feel her, hold her, squeeze her,' drools the lecherous Nod, to which the Sladettes in the background coo, They like it, you like it, we want it/more oh yeah!' - marvellous stuff.
There's an apparently re-recorded version of the live stunner 'Wheels Ain't Coming Down' - it was you may recall one of the more formidable cuts from the 'Return To Base' elpee - as well as a studio version of the 'When I'm Dancin' I Ain't Fighting single, both of which feature some tremendous axe work from Dave (well pied on TISWAS) Hill. In fact he excells himself throughout, giving the sound a distinctive and stylish muscle. The second side is more out and out heavy metal, what with the almost AC/DCish 'Dizzy Mama' and a thunderous 'Nuts Bolts And Screws'. And such is their power that they even breath a sort of life into that horrible old Chuck Berry chestnut 'I'm A Rocker', a considerable feat in itself, I'd say. 'We'll Bring The House Down' is when all's said and done an invaluable addition to the realms of demolition rock. Slade are back with a vengeance!"
Rock music
Rock music is a genre of popular music that developed during and after the 1960s, particularly in the United Kingdom and the United States. It has its roots in 1940s and 1950s rock and roll, itself heavily influenced by rhythm and blues and country music...
band Slade
Slade
Slade are an English rock band from Wolverhampton, who rose to prominence during the glam rock era of the early 1970s. With 17 consecutive Top 20 hits and six number ones, the British Hit Singles & Albums names them as the most successful British group of the 1970s based on sales of singles...
. It was released on 13 March 1981 and entered the UK charts at number 25. This was due to the Reading Festival success the previous year, when they had stood in for heavy metal
Heavy metal music
Heavy metal is a genre of rock music that developed in the late 1960s and early 1970s, largely in the Midlands of the United Kingdom and the United States...
singer Ozzy Osbourne
Ozzy Osbourne
John Michael "Ozzy" Osbourne is an English vocalist, whose musical career has spanned over 40 years. Osbourne rose to prominence as lead singer of the pioneering English heavy metal band Black Sabbath, whose radically different, intentionally dark, harder sound helped spawn the heavy metal...
. Slade got exactly what they needed, and received a huge amount of notoriety from the concert. All of a sudden, as if overnight, they were now deemed 'cool'. Their record company didn't take long to jump on their success either, and released a sharp compilation Slade Smashes! which reached the #20 spot.
As this album was released almost a month after their Reading appearance, there was little time to record new tracks, so some of the tracks were recycled from their failed Return to Base
Return to base
Return to Base.... was an album by the British rock group Slade. It was released on 1 October 1979 and did not enter the charts. The album's cover didn't help matters either. It's said that the band were so low on money at the time they didn't have the funds to hire a photographer, so all the album...
album of the previous year.
The sleeve shows a Slade 'fist' bursting through a shield with four diagonal stripes on it. According to the band this is supposed to signify "four royal bastards", although in heraldic terms this is not strictly correct.
The album was remastered in 2007 and included the remainder of tracks from Return to Base
Return to base
Return to Base.... was an album by the British rock group Slade. It was released on 1 October 1979 and did not enter the charts. The album's cover didn't help matters either. It's said that the band were so low on money at the time they didn't have the funds to hire a photographer, so all the album...
and 3 non-album bonus tracks.
The album peaked at #473 for 1981 on rateyourmusic.
Both tracks "Dizzy Mamma" and "Nuts Bolts and Screws" were especially remixed by the band at Portland Studios in London for this album.
The album artwork featured the new Slade logo which was created by Slade's manager and producer Chas Chandler
Chas Chandler
Bryan James "Chas" Chandler was an English musician, record producer and manager of several successful music acts....
.
Background
After four years of commercial failure, We'll Bring The House Down made Slade big news once again; back in larger venues for live performances, back on UK music show Top of The Pops and back in the charts.With a three-quarters full 1977 theatre tour and after the unsuccessful 1977 album Whatever Happened to Slade, the band were taking any gig they could. The band could still sell out performances at University student union bars and draw respectable crowds at small to average sized venues. However, it was only four years since the band had headlined Earls Court and even the earthiest band had to admit it was a bit of a comedown. Bassist Jim Lea however was unfrazed. "I still thought the band was great," he told Chris Charlesworth in 1983, "We were playing as well if not better than we ever had...Now we had something to prove again." The band would prove their worth night after night in clubs and colleges up and down the country, often running at a loss bringing their own PA and lightshow. The band were still releasing singles through manager Chas Chandler's Barn Records which sold little.
The band's luck changed when Slade found themselves in front of 65,000 rock fans at the Reading festival in August 1980 (thanks to a late cancellation by Ozzy Osbourne
Ozzy Osbourne
John Michael "Ozzy" Osbourne is an English vocalist, whose musical career has spanned over 40 years. Osbourne rose to prominence as lead singer of the pioneering English heavy metal band Black Sabbath, whose radically different, intentionally dark, harder sound helped spawn the heavy metal...
. In the aftermath of the Reading triumph, the band rush-released the Live at Reading E.P.
Live at Reading (EP)
"Live at Reading" is rock band Slade's second extended play from 1980. The three tracks that appeared on the album were taken from Slade's live performance at the Reading festival in 1980. Ozzy Osbourne, during his Blizzard of Ozz tour, cancelled his set at the Reading Festival at short notice....
on the band's own label Cheapskate Records in October 1980, which became the band's first chart showing in three years, while Polydor records issued the compilation Slade Smashes
Slade Smashes!
Slade Smashes was a compilation album by the British glam/hard rock group Slade. It was released November 1, 1980 and reached number 21 on the UK charts....
which went on to sell 200,000 copies.
In January 1981, Slade released the single We'll Bring the House Down
We'll Bring the House Down (song)
"We'll Bring The House Down" is a single from rock band Slade from their 1981 album We'll Bring the House Down. It was written by lead singer Noddy Holder and bassist Jim Lea...
which took Slade to the upper reaches of the charts. Shortly after, the album with the same name was released, consisting of previous tracks from Slade's little known Return to Base album with a few new tracks. The follow-up single Wheels Ain't Coming Down stalled at #60 but was just enough to keep the momentum until the fresh campaign later in the year.
Release
Just weeks before the release of the album, guitarist Dave Hill was interviewed for the Slade fan club newsletter where Hill explained why the album consisted of mainly previously used tracks. "Obviously a lot of the fans that have bought 'Return to Base', 'Six of The best' and one or two other things - they are going to have a lot of this material. But it is a compilation LP of a lot of the material that we have recorded over the last 18 months, which as the fans know, the majority of the public have never even heard. It's really for the benefit of the new fans that are coming along and who are in the fan club and have none of the old material. It won't be the same as 'Return to Base' as it will have a lot of the tracks pulled out and other numbers such as 'Dizzy Mamma' and 'Night starvation' and 'When I'm Dancin' I Ain't Fightin' added, making up a more rocky album. It will basically consist of the live act at the moment, so anyone who's into the live act should like the album. But for the benefit of the old fans, new material is in the pipeline. After this tour we shall be making a new single and a new album."After the success of the album, Hill was asked in a fan club interview about trying to extend the band's new found success in Europe. Hill responded "It's got to follow on. What we suffer from at the moment is that we haven't sorted a record deal abroad. There's only Belgium where we have actually got something sorted out - and we have had a bit of success there already. I think that over the next few weeks we have got to be very seriously sorting something out for Europe. I mean we want to be as big as far away as Australia, like we used to be."
After the album's release, drummer Don Powell was asked in a fan club interview as to why he no longer writes any Slade material. Powell replied "Well, the trouble is as I don't play any instruments, I can only write lyrics. And when I used to write with Jim, I used to have to try and sing to him how I thought the song should go, and he'd sing it back to check that he'd got the right thing, and then write it down. It would take a hell of a long time to get a song together. So as Nod and Jim write songs a lot quicker and better, I leave it to them."
Promotion
During the band's 1980 tour, an independent film company created a documentary film about the band's life on the road. This film was never shown on TV, as originally intended. The same film company recorded the promotional video for the "We'll Bring the House Down" single. This video was filmed at the band's Ipswich Gaumont Concert on the 17th January 1981.Track listing
We'll Bring the House Down
"We'll Bring the House Down" is the opener from the album. The track was Slade's first hit single since 1976. It peaked at #10 in the UK, the style of the track shown Slade's sound heading towards a heavier rock genre. The track became part of Slade's live song set. Allmusic wrote "The title track is automatic. One listen and you'll be chanting along, just as Slade audiences did ever since the band started playing the song. An absolute must-hear."Night Starvation
"Night Starvation" is another new track from the album. The track became part of Slade's live song set. Chris Ingham of Rock Backpages stated "Night Starvation is a lusty piece of oompah rock." The track was released as a promo 7" single as well.Wheels Ain't Coming Down
"Wheels Ain't Coming Down" is the opener from the album. It tells the tale of a near death flying experience suffered by Noddy Holder and Jim Lea when travelling to Los AngelesLos Ángeles
Los Ángeles is the capital of the province of Biobío, in the commune of the same name, in Region VIII , in the center-south of Chile. It is located between the Laja and Biobío rivers. The population is 123,445 inhabitants...
. The track was laster released as a single in 1981 after Slade's 1980 Reading Festival performance which put them back in the public eye. It peaked at #60. The track also became part of the band's live set list. Geoff Ginsberg for allmusic stated the track ranked among the band's best work.
Hold on to Your Hats
"Hold on to Your Hats" was recycled from Slade's previous album Return to Base. The track is a mid-tempo track influenced by a more rock 'n' roll sound. The track uses backward reverb effects. The track features a question and answer technique between Noddy Holder and the other band member Dave Hill and Jim Lea during the chorus.When I'm Dancin' I Ain't Fightin'
"When I'm Dancin' I Ain't Fightin'" is another new track from the album. It was released as the main track on the E.P. "Live at ReadingLive at Reading (EP)
"Live at Reading" is rock band Slade's second extended play from 1980. The three tracks that appeared on the album were taken from Slade's live performance at the Reading festival in 1980. Ozzy Osbourne, during his Blizzard of Ozz tour, cancelled his set at the Reading Festival at short notice....
. The song became part of Slade's live set. Chris Ingham stated "When I'm Dancin' I Ain't Fightin'" is a catchy rock song with a sing-a-long hook." Allmusic wrote "When I'm Dancin' I Ain't Fightin" is pure classic Slade. This is just the type of song that made people go crazy over this band in the first place, and it stacks up to their chart-topping singles."
Dizzy Mamma
"Dizzy Mamma" was originally the b-side from the 1979 failed single "Ginny, Ginny". The track is influenced and similar to ZZ Top'sZZ Top
ZZ Top is an American rock band, sometimes referred to as "That Little Ol' Band from Texas". Their style, which is rooted in blues-based boogie rock, has come to incorporate elements of arena, southern, and boogie rock. The band, from Houston Texas, formed in 1969...
song "Tush
Tush (song)
"Tush" was the only single from ZZ Top's fourth album Fandango!. It reached number 20 on the pop chart.The song is a twelve-bar blues in the key of G. The recording was produced by Bill Ham, and recorded and mixed by Terry Manning...
". It became part of the band's live set and was for some time, the band's stage opener. Ingham wrote "Dizzy Mamma is a Southern 12-bar boogie number" Allmusic stated "Dizzy Mama" was the Reading show-opener, and it grabbed that crowd by the throat even thought the audience had never heard it."
Nuts Bolts and Screws
"Nuts Bolts and Screws" was taken from Return to Base. It is a rock-based track which allmusic states the track ranked among the band's best work.My Baby's Got It
"My Baby's Got It" is a track influenced by rock 'n' roll and boogie rock. The track was originally from Return to Base. The track was performed on the UK TV show Get It Together along with a cover of Okey Cokey in 1979.Lemme Love into Ya
"Lemme Love into Ya" is a minor-key ballad which became used as part of the band's live set list. Record Mirror stated "The production is by the band and Andy Miller which really is excellent, especially the little tricks like the backwards tremeloed guitar intro to 'Lemme Love into Ya' and the very ambient sound throughout." It was taken from the previous album Return to Base.The song was re-worked by Lea, re-titled "Poland". It was released under the artist name Greenfields of Tong in 1982. It was also the b-side to the 1983 Sue Scadding single "Simple Love" which was written by Holder and Lea, produced by Lea. The "Poland" song also appeared on the 1992 album "A Day in the Life of the Dummies", a collection of all the demos and recordings that Lea recorded with his brother Frank Lea and wife Louise Lea, under the name "The Dummies".
"Lemme Love Into Ya" was voted #2 of the top three Slade album tracks in the Slade Fan Club Poll of 1979.
I'm a Rocker
"I'm a Rocker" is a cover version of a Chuck Berry track. Allmusic stated "The version of Chuck Berry's "I'm a Rocker" is catchy as all get out." James Parade for Record Mirror stated "Noddy's vocal prowess certainly hasn't dimmed on I'm a Rocker." The track, originally from Return to Base, was mimed on UK TV to promote the We'll Bring the House Down album which I'm a Rocker was reused to close the album. A video of the band at Portland Studios in London also showed the band originally recording the track in 1979.Critical reception
Joe Geesin of Get Ready to Rock wrote of the remaster "Following the successful 1980 Reading rejuvenation, 1981 saw We'll Bring The House Down. Kicking off with the title track, a real rocker, it's almost as metal as Slade could get. 'Night Starvation' a modern chunky rocker with a catchy riff and vocal harmonies. A rightful return to the charts. The album combined some of the rockier tracks from the long overlooked/forgotten 1979 album Return To Base with some new numbers, and this CD comes bolstered by the remaining Return To Base numbers (to complete that album too) and some bonus cuts. A mixture of metal, rock'n'roll and new wave pop that worked remarkably well. Highlight is 'Dizzy Mama', a lengthy southern style boogie, a kind of nod at ZZ Top at their best. And for a bit of fun there's also Slade's rendition of 'Okey Cokey'. Left me smiling, but not sure in what context. Oh and Dave Hill with a shaven head - not a pretty sight."Daily Star wrote "Their new album, called 'Well Bring The House Down' is in the same old Slade style - thumping, no-nonsense, high-decibel rock."
Record Mirror wrote "The Slade revival has been something of an ongoing affair, stretching back at least as far as 79's commendable 'Return To Base' and a sprinkling of dynamic Music Machine dates around that time. These conveyed a refreshing circa '72 all-'avin-fun-together atmosphere a million miles away from the current gang war attitute that dictates one must be a futuristic / rockabilly / skinhead / headbanger etc. So why are they continuing to gain ground now? Well, whatever the escapist merits of New Romanticism, there's still a fair bit to be said about the properties of getting down and getting with it, the kind of grass roots entertainment that Slade personify. Plus however loud and raucous they are they can still write songs - y'know, those old-fashioned, well-rounded things with structures, story-lines and neat, irresistable hooks. Here the latter are represented by 'Wheels Ain't Coming Down' and 'Lemme Love Into Ya'. The first is about the relief of finding out that the aircraft you're on isn't so dodgy after all and thus is an honest evocation of the good to be alive feeling so beloved by us all. The second is a surprisingly progressive ballad, slow, splintery and swash with more synthesised effects. Yep, Slade can be experimental but since their ace card has always been to seduce with the most banal of football terrace chants, it's there that they really excel. Not even the remorseless 'Nuts Bolts And Screws / I Heard It On The News' grates too badly though 'When I'm Dancin' I Ain't Fighting' does truly become a bit of a pain. The concept of 'It's so bad that it's good' also rears it's head on 'Hold On To Your Hats' which with a bit of luck won't be released as their next 45. Elsewhere Noddy, Dave and the boys show a good capacity for variety, their manager's 'My Baby's Got It' a reasonably rockabilly rip-off and Chuck Berry's I'm A Rocker' a vindication of their pub rock roots.
At the same this is something of a double-edged sword. Too untamed for parties and too undanceable for discos. It's difficult to justify a record like this on it's own terms. Slade are essentially a live act and on vinyl the vital ingredient of spilt beer is sorely missed. But all things considered the pros outweigh the cons, a point which is unlikely to escape the attention of the fans who've put them back in the singles chart."
Sounds Magazine wrote "Hey kids, bored with all this so-called futuristic disco dross? Tired of doing the old Two-Tone two step? Wanna change from the foolishness of current top fashions?
Then Slade (gawd bless 'em) have produced a pole-axing panacea which is just up your street. Ten tracks of rejuvenated roguery guaranteed to cause severe structural damage to the sturdiest of dwellings and delight the most surly of yobs. We'll Bring The House Down' is both a monumental triumph for the band who over the last few months have swept spectacularly back into favour, and a real treat for those kids who've moved unreservedly behind 'em. It is, in short, a corker, brimming with a knowing confidence and expertise that has far from withered through age. The title track opens the show. I must confess to being wholly unimpressed by it when it was first crammed down my lug'oles pre-chart smash time. 'Not a touch on't earlier 'un' could be heared muttered sagely about Neasden. Well of course time and sales have proved me completely off the ball, the single has capitulated Noddy and Co firmly back into the charts. Anyway it quickly careers into the splendidly sexist 'Night Starvation' wherein young Holder postulates on the potential pleasures of the horn. It is quite possibly the album's standout, or should that be stand-up, track. With a faultless hook and breezy beat it'd make a brilliant single, even if it's saucy subject isn't exactly staid TOTP fare. 'I Wanna feel her, hold her, squeeze her,' drools the lecherous Nod, to which the Sladettes in the background coo, They like it, you like it, we want it/more oh yeah!' - marvellous stuff.
There's an apparently re-recorded version of the live stunner 'Wheels Ain't Coming Down' - it was you may recall one of the more formidable cuts from the 'Return To Base' elpee - as well as a studio version of the 'When I'm Dancin' I Ain't Fighting single, both of which feature some tremendous axe work from Dave (well pied on TISWAS) Hill. In fact he excells himself throughout, giving the sound a distinctive and stylish muscle. The second side is more out and out heavy metal, what with the almost AC/DCish 'Dizzy Mama' and a thunderous 'Nuts Bolts And Screws'. And such is their power that they even breath a sort of life into that horrible old Chuck Berry chestnut 'I'm A Rocker', a considerable feat in itself, I'd say. 'We'll Bring The House Down' is when all's said and done an invaluable addition to the realms of demolition rock. Slade are back with a vengeance!"
Chart performance
| Chart (1981) | Peak position |
Total weeks |
|---|---|---|
| UK Albums Chart | 25 | 4 |
Slade
- Noddy HolderNoddy HolderNeville John "Noddy" Holder MBE is an English musician and actor. He was the lead vocalist and guitarist with the rock band Slade....
- lead vocals, rhythm guitarRhythm guitarRhythm guitar is a technique and rôle that performs a combination of two functions: to provide all or part of the rhythmic pulse in conjunction with singers or other instruments; and to provide all or part of the harmony, ie. the chords, where a chord is a group of notes played together...
, producer - Dave HillDave HillDave Hill is an English musician, who is the lead guitarist and backing vocalist in the English glam rock group, Slade. The music journalist, Stuart Maconie, commented "he usually wore a jumpsuit made of the foil that you baste your turkeys in and platforms of oil-rig-derrick height...
- lead guitarLead guitarLead guitar is a guitar part which plays melody lines, instrumental fill passages, guitar solos, and occasionally, some riffs within a song structure...
, producer - Jim LeaJim LeaJim Lea , is an English musician, most notable for playing bass guitar, keyboards, violin, guitar, and singing backing vocals in Slade.-Career:...
- bass guitarBass guitarThe bass guitar is a stringed instrument played primarily with the fingers or thumb , or by using a pick....
, producer - Don PowellDon PowellDon Powell is a drummer who founded the English glam rock group, Slade.- Biography :As a child Powell joined the Boy Scouts where he became interested in the drums after being asked to join the band on a Sunday morning parade. After Etheridge Secondary Modern School he studied Metallurgy at...
- drumsDrum kitA drum kit is a collection of drums, cymbals and often other percussion instruments, such as cowbells, wood blocks, triangles, chimes, or tambourines, arranged for convenient playing by a single person ....
, producer
Additional credits
- Andy Miller - engineer
- Dave Garland - engineer (assistant)
- Mark O'Donoughue - engineer (assistant)
- George Peckham - mastering (cutting engineer)
- Laurie Richards - art direction
- Chas Chandler - cover concept