Nobody's Fools
| Nobody's Fools | ||||||||||
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| Studio album by Slade | ||||||||||
| Released | 5 March 1976 | |||||||||
| Recorded | Mid-1975 The Record Plant, New York |
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| Genre | ||||||||||
| Length | 42:03 | |||||||||
| Label | Polydor (UK), Warner Bros. (US) | |||||||||
| Producer | Chas Chandler | |||||||||
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| Professional ratings | |
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| Review scores | |
| Source | Rating |
| Allmusic |    |
| Record Mirror | (positive) |
| New Musical Express | (mixed) |
| Music Week | (positive) |
| Unknown Magazine | (positive) |
| Classic Rock | (positive) |
Nobody's Fools is the fifth studio album (eighth overall) by the British rock group Slade. It was released in March, 1976 and reached position #14 on the UK Album Chart. The album also peaked at #14 on the Swedish Albums Chart.
The album was their first album (since their rise to fame) not to reach the UK Top 10, and to drop out of the chart after a chart run of only 4 weeks. It would be their last album that would make an appearance on the chart until 1980s compilation Slade Smashes!. Musically, the album showed the band dropping their 'loud' and 'rocky' type songs, as they moved towards a more "American" soul/pop sound. British fans accused Noddy Holder and Jim Lea of "selling out" and forgetting about their fanbase in the UK, as the band had been in the States for most of 1975, trying to crack the market.
Slade had always had very limited success in the United States. In the period of 1972–73, the band not only took their first step towards American success but also as the biggest group in the United Kingdom, complete with attendant record company hype touting them the next Beatles. Such hype did the band no favours. Slade had built up a huge live reputation but for all their strengths, Slade were far from the successes of the Beatles, which they well acknowledged. "So much hype," Holder told Geoff Barton in 1975. "And the American public don't like that at all. They like to go out and see things for themselves on stage, and make their own minds up...we knew that it was impossible to live up to."
Several American cities, such as St Louis, Philadelphia and New York City, took positively to Slade, but more often than not, Slade's stage act that was such a hit in the rest of the world was received with bemusement and indifference by the stateside crowds. The average 1970s American rock audience expected to be wooed by vibes and virtuosity, as opposed to Slade's anthemic pop rock songs and brash exhortations.
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Wikipedia