Legendary Rock Songs: CUM ON FEEL THE NOIZE: SLADE.
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Disc:Sladest.
Year:1973.
With Slade, fun and debauchery were guaranteed. Proof of this is the famous “Cum on feel the noize”, the ideal soundtrack to scream with freedom at the end of a tiring day at work or school and another of the songs in the long list of number ones of the British quartet of spontaneous and overloaded glam image. No less than six of their creations reached the first position in the English charts between 1971 and 1973, in addition to seven other top 5 singles until the mid 80s.
In England it was the first single to go straight to number one since the Beatles' “Get Back”; quite an achievement. However in America the song didn't get past number 98...well, not exactly. The same year in which Slade was giving his last breaths in the charts with his “My oh my” and his second position in the islands, a quartet from Los Angeles, California, reached the glory with their version of “Cum on feel the noize”.
It was 1983, and that band went by the name of Quiet Riot, who placed the song in the top five of the Billboard chart, propelling their third album, the legendary “Metal Health” to the top of the well-known barometer of American success. “Metal Health” would go down in the annals of music for being the first album classified as ‘Heavy Metal’ to reach the top spot on the prestigious list.
And although the Quiet Riot-Slade relationship did not end there (the Americans would also re-record another song by the British. “Mama Weer All Crazee Now”, of much less impact than its predecessor) that is another story... ‘Cum on feel the noize’ was born many miles away from the American west coast. It was concerted one night in 1972, when at one of the band's British tour concerts, Noody Holder, Slade's vocalist and guitarist, found that he could barely hear himself sing because of the screaming crowd.
Thus he devised the first one titled “Cum on hear the noize”, typical example of the characteristic typographic variation to adapt it to his phonetic pronunciation that Slade liked so much (noise-noize), very provocative in the case of the initial word, “come”, since its substitute, “cum”, refers in the Anglo-Saxon language to a vulgar voice to define the act of ejaculating. Be that as it may, Slade ended up recording what in the end would be one of his most famous themes, without forgetting that curious intro in which Holder shouts to his companions that of “baby, baby, baby” calling them to the work and that the producer Chas Chandler kept in the take remaining for posterity as inseparable and recognizable beginning of the theme.
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