Shake N' Vibrate Feels The Noize

This is the latest installment on Shake N’ Vibrate, a monthly vinyl series at Cafe Nine led by musician, DJ, and filmmaker Brendan Toller. To get the full taste of Shake N’ Vibrate, New Haveners still have to go to the events themselves. But here, readers can get a glimpse—or a listen—into some of what they’re in for. The next Shake N' Vibrate is scheduled for Sunday, Feb. 24 at 8 p.m. For more information on the event, click here.

Time to rev this column up with some true-blue-glitter-glue rock n' roll.

Our city-slicker pal, Todd-o-phonic Todd, will be trekking from New York City as the first Shake ‘N’ Vibrate guest DJ. So what better sweaty, warm welcome than to discuss the merits of Slade and their pioneering platform boot-stomper “Cum On Feel The Noize.”

First, Todd Abramson is one of New York’s most important rock ‘n’ roll fixtures. Todd is a former owner of the legendary Maxwell’s club in Hoboken, N.J., where a number of influential artists have cut their teeth. Think Yo La Tengo, the Replacements, Guided By Voices, Nirvana, Minutemen, Amy Rigby. That man they call “The Boss” even shot his “Glory Days” video there.

If he’s the boss I quit, but I’m digressing.

Todd is also a member a secret order—the Mystic Knights of Mau Mau, who throw the Ponderosa Stomp music festival each year. Near and dear to the mission of Shake N' Vibrate, the Ponderosa Stomp works “to ensure that the unsung heroes of American music are given their due: celebrated, included, and remembered, but most of all, heard—during their lifetimes."

 "[They] provide both a voice and a stage to overlooked sidemen, session musicians and other influential pioneers whose contributions have shaped American culture for over 50 years,” reads the mission statement.

Amen. Many of the Shake ‘N’ Vibrate Allstars—Irma Thomas, Barbara Lynn, Roy Head, Gary U.S. Bonds—have stormed the stages of New Orleans and New York City in service of their incredible cause.

Todd can also be caught weekly spinning Saturday afternoons on WFMU, perhaps the greatest freeform station in the nation. Soul, 70s glam, power-pop, and country roll alongside the hottest moderne rock ‘n’ roll bands. Connecticut-garage-heroes Jacques Le Coque have even played live sets on Todd’ show—twice.

As far as I'm concerned, screw Spotify and streaming services—let's keep the avant garde and cutting-edge alive by contributing to WFMU and their on-demand app. O-Phonic’s shows are a weekly homecoming for me. My taste feels vindicated as he blasts through artists like the Equals, Thin Lizzy, the Raspberries and of course Slade.

Slade hails from, I’m not kidding, a town in England called Wolverhampton. These glitter, glam, flannel, short bangs, ugly-faces-awesome-music revolutionaries had 17 consecutive hits on the U.K. singles chart. Musical word on the street is that Slade’s 1973 jingle-jangle “Merry Xmas Everybody” generates over $500,000 a year.

But popularity ain’t no barometer to judge anything by—Shake ‘N’ Vibrators are interested in the resonance of art through time—and these boys deliver.

“Cum On Feel The Noize” was Slade’s fourth U.K. number one hit, released in February 1973. This wammer-jammer was penned by mutton-chop-savant Noddy Holder and bassist Jim Lea (possible relation to Matt Lea of New Haven’s Honch? We'll never know.). It was produced by Chas Chandler, the original Animals bassist and former manager to Jimi Hendrix.

The song is an ode to loud crowds at concerts. Lea was apparently inspired by a 1972 Chuck Berry show where Berry let the zealous crowd chant his lyrics. He wrote “Cum On Feel The Noize” and “Mama Weer All Crazee Now” with audience refrains in mind. Call and response, we love it! The song can be found on long players Sladest and Slayed. The latter is definitely in my pantheon of best rock ‘n’ roll album covers ever.

As American culture is wont to do, “Cum On Feel The Noize” was bashed into the ground by a wimpy ’83 hair metal band who was about ten years late to the party aesthetically. But sonically? Chop wise? Please.

Nothing beats the Slade version as the secret instrument of rock ‘n’ roll, the maracas, sizzle and cut, Dave Hill’s overdriven Sam LI Custom guitar is ready to kill and Noddy Holder’s high-pitch wail completely decimates. Though enduring U.S. success eluded them at the time, Slade went on to influence everyone from the Ramones, Blondie, Bay City Rollers to Cheap Trick and beyond.

Get on your platform glitter boots and see you on the dance floor Sunday!