By the dawn of the 1980s, Slade, the once mighty glam rock titans, were teetering on the brink of irrelevance. Their platform boots had gathered dust, their glitter had faded, and their chart-topping days seemed a distant memory. But just when it seemed like the final curtain was about to fall, they unleashed 'We'll Bring the House Down,' a defiant roar that proved they still had some fight left in them.
The album's title track was a declaration of intent, a raucous anthem that kicked the door down and announced Slade's return. Noddy Holder's vocals were as powerful as ever, a primal scream that cut through the synth-pop haze of the early '80s. Dave Hill's guitar riffs were jagged and raw, a reminder that Slade were still a rock band at heart.
But 'We'll Bring the House Down' wasn't just a nostalgia trip. It was a bold attempt to reinvent themselves for a new era. The production, helmed by Slade themselves and their longtime manager Chas Chandler, was lean and muscular, stripped of the excesses of their glam rock heyday. The recording, captured at Portland Recording Studios by engineer Andy "Pugwash" Miller, was raw and immediate, capturing the band's energy and urgency.
The album wasn't without its controversies. Some critics dismissed it as a desperate attempt to recapture past glories, while others accused the band of selling out to commercial pressures. But for Slade's diehard fans, 'We'll Bring the House Down' was a welcome return to form, a reminder of the band's raw power and unbridled energy.
Songs like 'Wheels Ain't Coming Down' and 'Hold On to Your Hats' were classic Slade, full of swagger and attitude. 'Night Starvation' was a poignant ballad that showcased Holder's vocal range, while 'When I'm Dancing I Ain't Fighting' was a playful rocker that proved the band hadn't lost their sense of humor.
The album's second side was a mixed bag. 'Dizzy Mama' was a forgettable filler track, while 'Nuts Bolts and Screws' was a clumsy attempt at social commentary. But 'My Baby Got It' and 'Lemme Love Into Ya' were infectious pop-rock gems, and the album's closing track, 'I'm a Rocker,' was a defiant statement of purpose.
'We'll Bring the House Down' wasn't a perfect album, but it was a vital one. It proved that Slade were more than just a relic of the glam rock era. They were survivors, adapting and evolving to stay relevant in a rapidly changing music scene. The album's cover, designed by Chas Chandler, captured this spirit perfectly. It featured a stark black and white image of the band, their faces etched with determination.
In the end, 'We'll Bring the House Down' didn't quite live up to its title. It didn't bring the house down, but it did shake the foundations. It was a reminder that Slade were still a force to be reckoned with, a band that refused to go quietly into the night. It was a boot to the head in 1981, a wake-up call to anyone who had written them off.
