The Greatest Oldies Music

Oldies Musics

Slade – Cum on Feel the Noize

About the SongCum on, Feel the Noize: The Story of "Slade" by Grantley, Steve Paperback Book | eBay

“Cum On Feel the Noize” by Slade is one of the most iconic anthems of the glam rock era, a raucous celebration of music’s raw power and the unifying energy of live performance. Released in 1973 as a standalone single, the track shot straight to No. 1 on the UK Singles Chart, where it stayed for four weeks. Its success cemented Slade as one of Britain’s most electrifying bands of the decade, and the song’s enduring legacy has made it a cornerstone of rock music history.

From its very first moments, “Cum On Feel the Noize” commands attention. Noddy Holder’s guttural opening scream, “Baby, baby, baby!”, sets the stage for an all-out sonic assault, powered by thunderous guitars, stomping rhythms, and an irresistible chorus. The title, with its deliberately misspelled words, reflects the rebellious, free-spirited ethos of glam rock, while the song’s exuberant energy invites listeners to let loose and revel in the chaos.

Written by Noddy Holder and Jim Lea, the track is as much a celebration of the band’s connection with their audience as it is a rock anthem. The lyrics capture the unrestrained joy of live music, with lines like “So you think my singing’s out of time / Well, it makes me money” offering a cheeky nod to Slade’s critics while reinforcing the idea that music is about feeling, not perfection. The chorus, with its call-and-response structure, is tailor-made for singalongs, making the song a staple at concerts and parties.

Musically, “Cum On Feel the Noize” is a masterclass in glam rock. Dave Hill’s gritty guitar riffs drive the song, creating a wall of sound that’s both raw and electrifying. Don Powell’s drumming delivers a relentless, stomping beat that underpins the track’s infectious rhythm, while the layered production ensures every element shines. The combination of heaviness and accessibility is a hallmark of Slade’s style, and it’s on full display here.

The song’s massive success not only topped charts in the UK but also inspired future generations of rock musicians. In 1983, it was famously covered by Quiet Riot, whose version introduced the track to American audiences and became a hit in its own right. This cross-generational appeal speaks to the timeless energy and universal appeal of the original.

“Cum On Feel the Noize” is more than just a glam rock hit—it’s a rallying cry for music lovers everywhere. It’s a song that demands to be played loud, inviting everyone to embrace the unfiltered joy and connection that only rock ‘n’ roll can deliver. Whether you’re a lifelong fan of Slade or simply looking for a track that embodies the spirit of rock, this anthem remains as electrifying today as it was in 1973.Picture background

Video

Lyrics: “Cum On Feel The Noize”

 

Baby baby baby!
Ee-ow…So you think I got an evil mind, well I’ll tell you honey
And I don’t know why
And I don’t know why
So you think my singing’s out of time, well it makes me money
And I don’t know why
And I don’t know why
Anymore
Oh no[Chorus]
So cum on feel the noize
Girls grab the boys
We get wild, wild, wild,
We get wild, wild, wild,
So cum on feel the noize
Girls grab the boys
We get wild, wild, wild,
At your doorSo you say I got a funny face, I ain’t got no worries
And I don’t know why
And I don’t know why
Say I’m a scruff bag well it’s no disgrace, I ain’t in no hurry
And I don’t know why
I just don’t know why
Anymore
Oh no[Chorus]

So you think we have a lazy time, well you should know better
And I don’t know why
I just don’t know why
And you say I got a dirty mind, well I’m a mean go getter
And I don’t know why
And I don’t know why
Anymore
Oh no

[Chorus]

Related Post

Before the world knew the name Elvis Presley, there was simply a poor boy from Tupelo, Mississippi, growing up in a tiny two-room house with parents who often struggled to make ends meet. Elvis had no powerful connections and no obvious path toward fame. What he did have was an extraordinarily close bond with Vernon and especially Gladys, and a love of music that seemed bigger than the circumstances surrounding him. Long before millions believed in Elvis, his family gave him a place where he could believe in himself.

Most people arrive at Graceland looking for Elvis Presley the superstar. They want to see the famous rooms, the gold records, the jumpsuits and the world that surrounded the King. But beyond the mansion, there was another Elvis, one who could trade screaming crowds for the quiet sound of horses moving across a pasture. Horses became an important part of life at Graceland, and Priscilla later remembered Elvis giving her a horse named Domino as a Christmas present. What began as a gift became something larger. Riding offered moments when Elvis could simply be himself, surrounded by family, friends and animals that neither knew nor cared how famous he was.

Lisa Marie Presley was born into a world that already belonged to her father, but to Elvis Presley, she was never part of the fame. She was simply his little girl. Born on February 1, 1968, Lisa became one of the deepest loves of Elvis’s life. At Graceland, the superstar audiences knew could disappear for a while. He could spoil her, laugh with her, watch her race around the grounds and simply be “Daddy.” Lisa later described how intensely attached she had been to him, saying, “I was obsessed with my dad.” Those few words reveal something photographs cannot: beneath the extraordinary Presley name was an ordinary and powerful love between a father and his daughter.

You Missed

Country

Toby Keith’s tour bus crossed every highway in America, but only one road brought him home. That heavily traveled rig rolled through countless Nashville nights and blazing Texas dawns. It carried him straight into Madison Square Garden, rolled right up to high-risk USO stages across Iraq and Afghanistan, and hauled his crew into pockets of the world most performers would never dream of visiting. It crossed the rugged Rockies, the mighty Mississippi, and every single state line an old road map could draw, its bright headlights slicing through four decades of classic American asphalt. Yet the highway that truly mattered was never illuminated by blinding stadium spotlights. It was that familiar, quiet stretch of Oklahoma pavement that constantly pulled his soul back home—rolling past golden wheat fields, past the weathered oil rigs where his father once put in a hard day’s labor, and past cozy small-town diners where nobody bothered him for a signature because everyone already knew his face and called him by name. Toby Keith stood like an absolute giant under the arena lights. But staring out through that windshield, somewhere in the lonely hours between city limits, he was simply a hardworking man counting down the miles until he could finally sit on his own porch, hold his family close, and enjoy a peaceful morning beneath that massive Oklahoma sky. When the final note faded into the past on February 5, 2024, that legendary bus made one final, solemn journey—hauling him straight back into the comforting embrace of the earth that raised him. Some artists spend a lifetime chasing after the blinding glare of fame. Toby Keith outran it entirely, and then he just drove on home. But there was one quiet, hidden detail about that final road home that almost every fan completely overlooked.

Country

GLEN CAMPBELL RECORDED A DEEPLY PERSONAL FINAL TRIBUTE TO HIS ARKANSAS ROOTS WITH “ARKANSAS FARMBOY,” PROVING THAT MUSIC COULD OUTLAST EVEN THE WRECKAGE OF ALZHEIMER’S DISEASE. Growing up in rural Arkansas under the guidance of a grandfather who taught him “In the Pines” on a five-dollar Sears & Roebuck guitar, Glen Campbell built a foundation that would eventually carry him to worldwide country superstardom. Decades earlier, musician and close friend Carl Jackson had captured that journey in a song called “Arkansas Farmboy,” waiting nearly forty years for the right moment to share it with him. When Glen entered the studio for his final album, Adiós, following his Alzheimer’s diagnosis and farewell tour, his memory was rapidly fading, yet he effortlessly stepped into the first-person narrative of Carl’s lyrics. Delivering a hauntingly nostalgic performance that gave his longtime friend chills, Glen returned one last time to the simple beginnings of a legendary voice before the curtain finally fell.

Country

Behind the scenes, Patsy Cline sacrificed her own privacy, peace of mind, and financial security to break down doors in a deeply entrenched, male-dominated Nashville industry. Executives frequently tried to underpay female acts or treat them as secondary openers. Patsy refused to be pushed around, aggressively demanding fair pay scales and proper billing, which forced booking agents and record labels to treat women as major-tour headliners rather than novelty acts. Nashville in the late 1950s and early 1960s was heavily policed by conservative executives who dictated how women should dress, behave, and sound. Patsy’s refusal to act like a submissive, quiet pop-styled songstress meant she faced constant career resistance. She absorbed that professional backlash so that future artists could express raw emotion and individual identity without being blacklisted. Instead of viewing other rising women as threats in a scarce market, Patsy actively protected and mentored newcomers like Loretta Lynn. She opened her home, shared hard-earned industry survival advice, and stood up for Loretta when Nashville old-timers tried to marginalize the newcomer’s rough-hewn coal-miner background. Pushing herself back onto the road and into rigorous recording schedules long before fully healing from her 1961 car accident, she carried the physical toll of touring so she could maintain financial stability for her family and keep her market presence alive—paving a resilient path that proved female headliners could sustain long-term careers.

Country

ANNE MURRAY REFLECTED ON HER TERRIFIED FIRST NIGHT BACKSTAGE AT THE GRAND OLE OPRY, SINGLING OUT LORETTA LYNN FOR HER UNFORGETTABLE KINDNESS AMONG A ROOM FULL OF COUNTRY MUSIC ROYALTY. Stepping backstage at the historic Ryman Auditorium for the very first time, Canadian newcomer Anne Murray found herself crammed into a single dressing room shared with country legends like Dolly Parton, Minnie Pearl, Lynn Anderson, and Loretta Lynn amid a thick cloud of hairspray. Though the environment could easily have overwhelmed an outsider, Anne remembered being met with genuine warmth and hospitality from every corner of the room. Decades later, after selling millions of records and claiming four Grammy Awards of her own, the iconic singer still singled out Loretta Lynn for going out of her way to make a nervous newcomer feel at home. Rather than focusing on charts or applause, Anne’s fondest memory remained rooted in the quiet grace shown to her before she ever truly belonged in Nashville.