After several albums featuring few original compositions from the quartet came and went (1969's Beginnings, 1970's Play It Loud), the group began to write their own tunes, grew their hair long, and assumed the look of the then-burgeoning glam movement, joining the same cause championed by such fellow Brits as David Bowie and T. Rex. This new direction paid off in 1971 with the number 16 U.K. single "Get Down and Get With It," which soon touched off a string of classic singles and led to Slade becoming one of the most beloved party bands back home. They released Slayed? in 1972. Slade also utilized another gimmick, humorously misspelled song titles, as evidenced by such singles as "Coz I Luv You," "Look Wot You Dun," "Take Me Bak 'Ome," "Mama Weer All Crazee Now," "Gudbuy t'Jane," "Cum on Feel the Noize," "Skweeze Me, Pleeze Me," and "Merry Xmas Everybody" (the latter of which re-entered the charts every holiday season for years afterward). Several attempts at cracking the U.S. market came up empty (with track listings between their U.K. and U.S. full-lengths differing), although such albums as Slade Alive! and Slayed? are considered to be some of the finest albums of the glam era.
Slade continued to score further hit singles back home, including such correctly spelled tracks as "My Friend Stan," "Everyday," "Bangin' Man," "Far Far Away," "How Does it Feel," and "In for a Penny," but with glam rock's dissolution and punk's emergence by the mid-'70s, the hits eventually dried up for the quartet. Despite the change in musical climate, Slade stuck to their guns and kept touring and releasing albums, as the title to their 1977 album, Whatever Happened to Slade, proved that the group's humor remained intact despite their fall from the top of the charts. A large, dedicated following still supported the group as they offered a performance at the 1980 Reading Festival that was considered one of the day's best, resulting in sudden renewed interest in the group back home and Slade scored their first true hit singles in six years with 1981's "We'll Bring the House Down" and "Lock up Your Daughters."
Slade received a boost stateside around this time as well, courtesy of the U.S. pop-metal outfit Quiet Riot, who made a smash hit out of "Cum on Feel the Noize" in 1983 that resulted in a strong chart showing for Slade's 1984 release Keep Your Hands Off My Power Supply (issued as The Amazing Kamikaze Syndrome in the U.K. a year earlier). Slade then enjoyed a pair of U.S. MTV/radio hits, "Run Runaway" and "My Oh My." Holder and Lea also tried their hand at producing another artist around this time as well, as they manned the boards for Girlschool's 1983 release Play Dirty. Despite another all-new studio release, Rogues Gallery, and Quiet Riot covering another classic Slade tune ("Mama Weer All Crazee Now"), Slade was unable to retain their newfound American audience or rekindled British following and they eventually faded from sight once more, this time without a comeback waiting around the corner. During the '90s, a truncated version of the group dubbed Slade II was formed (without Holder or Lea in attendance), while Holder became a popular U.K. television personality as well as the host of his own '70s rock radio show. A 21-track singles compilation, Feel the Noize: The Very Best of Slade, was issued in 1997 (re-released under the simple title of Greatest Hits a couple of years later), which proved to be a popular release in England.
Discography
Beginnings (as Ambrose Slade, 1969)
Play It Loud (1970)
Slayed? (1972)
Slade Alive! (1972)
Old New Borrowed and Blue (1974)
Slade in Flame (1974)
Nobody's Fools (1976)
Whatever Happened to Slade (1977)
Return to Base (1979)
We'll Bring the House Down (1981)
Till Deaf Do Us Part (1981)
The Amazing Kamikaze Syndrome (1983), re-released in 1984 as:
- Keep Your Hands Off My Power Supply (1984)
Rogues Gallery (1985)
Crackers - The Christmas Party Album (1985)
You Boyz Make Big Noize (1987)
Keep on Rockin' (1994) (as Slade II), is the only studio album by Slade II. The album was released in 1994 and has seen various re-issues and guises under alternative names such as Wild Nites (1999), Cum on Let's Party! (2002) and Superyob (2003).
There are other artists with the same name:
2. Slade less commonly refers to Grady Slade, Jr, a Rap artist
3. Slade also refers to a rapper who made music from 2013-2016 under the label, Chapter 9. He currently makes music under a new alias, Dante Oasis.
One Way Hotel
Slade Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
The people were running galore
They asked for the time to make a number a-changes
And I let them
I sat on my case in the hall
The window would seemingly look tall
How long does it take to make a number a-changes When you let them
The case of another man was opened
And the contents were lying on the floor
I could tell by his face
He's a man like myself that's for sure
I was there for a fortnight or more
The place is full up to the door
My mind was deranged an' my habits were changed
Since I let them
I finished my chum nine till four
I thought that my boss do the score
It makes you feel sick when you think of the trick
They can add to
The locks on the windows were made
By yourself not to open
Come to think of it now
That if I were a child they'd be broken
I now spend a year behind this door
The doctors would see me no more
They asked me to sign with a pen on the line
I was done for
The lyrics of “One Way Hotel” by Slade describe the experience of a man who is down on his luck and ends up staying in a hostel. The song starts with the man being asked to sleep on the floor by the hostel staff, and as he sits on his suitcase in the hall, he observes the comings and goings of the people around him. He muses on the challenge of making changes in his life and wonders how long it might take, given the circumstances in which he finds himself.
As the song progresses, the man’s sense of isolation and confusion deepens. He notes that the contents of another man’s suitcase are strewn across the floor, just as his own life seems to be in disarray. He spends more than two weeks in the hostel, feeling increasingly disconnected from the world outside. He reflects on a job he once had, which he left behind, and the ways in which he has changed since then.
Ultimately, the man is left with a sense of hopelessness and despair. He is trapped behind a locked door, unable to leave, and the doctors who once saw him refuse to do so any longer. He is asked to sign a document with a pen on the line, which seems to be the final straw. The song captures a powerful sense of loneliness and alienation, and the ways in which the choices we make can shape our lives in unexpected ways.
Line by Line Meaning
They asked me to sleep on the floor
I was asked to sleep on the floor
The people were running galore
I saw several people running around frantically
They asked for the time to make a number a-changes
They requested some time to make some changes
And I let them
I allowed them to make the changes
I sat on my case in the hall
I sat on my suitcase in the hallway
The window would seemingly look tall
The window appeared to be quite high up
How long does it take to make a number a-changes When you let them
I wondered how long it would take for the changes to be made, now that I had allowed it
The case of another man was opened
Someone else's suitcase was opened
And the contents were lying on the floor
The contents of the suitcase were on the ground
I could tell by his face
From his expression, I could tell
He's a man like myself that's for sure
He was definitely a man like me
I was there for a fortnight or more
I stayed there for two weeks or more
The place is full up to the door
The place was completely full
My mind was deranged an' my habits were changed
My mental state was unstable and my habits had altered
Since I let them
This was because I had allowed the changes
I finished my chum nine till four
I finished my job from nine in the morning until four in the afternoon
I thought that my boss do the score
I believed that my boss was keeping track of my performance
It makes you feel sick when you think of the trick
It was nauseating to think about the deceitful actions
They can add to
They can make things worse
The locks on the windows were made
The window locks were installed
By yourself not to open
But I couldn't open them myself
Come to think of it now
Now that I think about it
That if I were a child they'd be broken
If I were a child, I would have been able to break them open
I now spend a year behind this door
I have been behind this door for a year now
The doctors would see me no more
The doctors had stopped seeing me
They asked me to sign with a pen on the line
They asked me to sign on the dotted line
I was done for
This signalled the end of me
Lyrics © Sony/ATV Music Publishing LLC
Written by: DON POWELL, JIM LEA, NEVILLE HOLDER
Lyrics Licensed & Provided by LyricFind
@adartzt
They asked me to sleep on the floor
The people were running galore
They asked for the time to make a number of changes and I let them
I sat on my case in the hall
The window and ceiling looked tall
How long does it take to make a number of changes when you let them
The case of another man was open and the contents were lying on the floor
I could tell by his face he's a man like myself that's for sure
I was there for a fortnight or more
The place is full up to the door
My mind was deranged and my habits were changed since I let them
I finished my job nine till four
I thought that my boss knew the score
It makes you feel sick when you think of the tricks they get up to
The locks on the windows were made by yourself not to open
(By yourself not to open)
Come to think of it now that if I were a child they'd be broken
I've now spend a year behind this door
The doctors would see me no more
They asked me to sign with a pen on the line
I was done for
@flashtheoriginal
Another example of Slade in their prime. Excellently structured. Class
@KayEl58
'The locks on the window were made by yourself not to open. Come to think of it now if I were a child they'd be broken.' The wisdom of a lifetime in two lines. Genius. I really wish they'd stayed with this style, Play It Loud and Slade Alive are their best albums by miles.
@taffyterrier
Don Powell wrote the lyrics.
@KayEl58
@Taffy Terrier Yes, a few Lea/Powell songs on Play it Loud and they're great. Such a shame they didn't continue writing together.
@taffyterrier
@@kimlevy7992 I recently purchased Don Powell’s autobiography ‘Look Wot I Dun’ in which he claims he wrote the lyrics for every original track on ‘Play It Loud’ while Jim Lea came up with the tunes; a few early B-sides were Lea/Powell compositions such as ‘Candidate’, ‘Wonderin’ Y’ and ‘Man Who Speeks Evil’ which were also excellent IMO.
@KayEl58
@Taffy TerrierHe's not wrong. Aside from the covers, most of the tracks on Play it Loud are either Lea/Powell or Lea/Holdrr/Powell compositions, except Know Who You Are which credits the whole band. The three B sides you mention (all Lea/Powell) are my favourites. I have to get that autobiography, thanks for reminding me.
@taffyterrier
@@kimlevy7992 I bought the book brand new on eBay for £13.90. Don wrote the lyrics to ‘Know Who You Are’ (set to the tune of the 'Genesis' instrumental from the Ambrose Slade LP 'Beginnings') and ‘In Like A Shot From My Gun’ (on ‘Slade Alive!’); although some of the lyrics on Noddy’s A sides were arguably frivolous he did write ‘My Life Is Natural’ which is another one of my favourite early B sides.
@robertharding7495
Few bands, if any, can compare to these guys, Slade were special !!
@robharding5345
I'm 62, But I know what real music is supposed to sound like ! That's why I'm listening to this great band.
@GUR-ARYEA
I have a rock music site..join it.