as already mentioned - you'll have to purchase direct from the US - I used discogs and the killer is shipping which in some cases is as much as the record itself, so in the end you will pay about $40-$45 (£30-35) to get a copy from the States - I decided it was worth it.
EW was seen as a great 70's record in the 70's. Now when the Slider came out I thought it was a great follow up but it lacked the impact of EW due to two things; EW came first and while we were waiting for 'The Slider' Bowie released 'Ziggy' - a masterstroke of band wagon jumping that stole a lot of Marcs thunder (and I suspect some of his fans). For me there's not that much to choose between EW and 'The Slider'. In hindsight maybe 'The Slider' is a bit more poppy and generically Glam with the hint of a formula beginning to coalesce; admittedly I'm also taking into account the single B-sides and 'Telegram Sam' being a rewrite of 'Get It On'. Another thing, I think the best of those 70's Slade singles stand up as well as the best of Marcs.
There were 3 copies at a Sunrise records in Burnaby B.C, and all were seriously smashed and seam-split both top and bottom of the back of the gatefold jacket holding the vinyl! Someone crushed the case! Unfortunately i didn't notice until i got home, and it was when returned to the store that I saw their other copies were the same (if not worse). The manager is trying to get another, so far no word from them in a week.
Just listened to Slider. First time in maybe Forty years. A fun, sometimes sloppy seemingly drug induced Album. Thick Visconti sound. Telegram Sam is the only really semi catchy thing on it. Someone thinks this is Rex’s Abbey Road? Really ? The only link to that great album is that Ringo took the photos for Slider.
I think Metal Guru, The Slider, Rock On & Spaceball Ricochet are very catchy. Anyway, I don't see a Abbey Road/Slider comparison either but both are my favorite albums from their respective artists.
Blasting this beast. What a monster. I think Kevin has the best cutting chain in the world. Better than mofi.
Visconti certainly couldn't put his "signature sound" on "Ziggy Stardust". That would have been Ken Scott
Make sure to pick up a collection that contains the fantastic non-LP singles from this era such as: Lady Thunderwing Children of the Revolution Jitterbug Love Sunken Rags Solid Gold Easy Action Cadilac 20th Century Boy Free Angel
That's why I will stay with my dutch press from 1971...surely inferior sounding but from tapes nevertheless and I don't want to begin to stress if each pressing of each record I own is the best one...I will enjoy what I have but I know this forum is not the good place to start if I want to enjoy what I have...
You've certainly got a point here...I had in my mind that Ken Scott was recording engineer on ziggy and that visconti produced it...Anyway, for me, when I listen to electric warrior, I always think it's exactly the same sound as on ziggy (we know in fact that chronologically it's the opposite as electric warrior was out in fall /beginning winter of 1971 and ziggy in summer 1972 if i recall correctly) . It's obvious on the drum sound on certain songs (listen to cosmic dancer) , the general placement of instruments, the way the acoustic guitar ring, the tone of the guitar on the few times when the guitar cuts in a heavy way on electric warrior (even if Mick Ronson has his own sound, no doubt about that). So let's say Bowie had a "response" to electric warrior in his mind and Ken Scott had it in his mind when producing it...
Interesting views and very true for me, except I don't share your feeling on two things 1) I am not so sure electric warrior was critically seen as a great 70's record in the seventies...in fall 71, it could be interesting to reread all those great rock and roll magazines from the time to see where T REX was put in the order of the lps reviews when it came out and what was said about it...and when Bolan began to make the cover everywhere, he was so huge then that the focus was more on the cultural phenomenon than it was purely on the perceived lasting value of his records. And his perceived position by the general public of the seventies as an artist to be reckoned with went down in a big way after the slider...It's obvious I think that his death in 1977 was not treated in the obituary column in the rock press then as the end of someone who had made great seventies long players...He was celebrated for the smash of his singles, for the way he was nothing in 1970 and was the absolute star in 1972 and then was not able to transform the point by reinventing himself in something else. 2) In my view, Slade singles, as great as they are, are more dated than the music of Marc...
Why can nobody extract those kind of sound from an accoustic guitar like that since the mid seventies ? Those gibsons accoustic were something else
All things considered and in the long term, is there in life a more profoundly satisfying moment than that ?
Sadly Slade records have dated terribly, and I say that as a huge fan. It is partly because they were simply poorly produced. The classic T.Rex records haven't dated as all, and that is partly due to Tony Visconti's fantastic production.
