SLADE - Celebrate 50 years of Cum On Feel The Noize & Merry Christmas Everybody are back on tour this December 2023! - All About The Rock

About the Song

Few songs embody the unbridled chaos and jubilant energy of the glam rock era like “Mama Weer All Crazee Now” by Slade. Released in 1972 as the lead single from their album Slayed?, the track rocketed to #1 on the UK Singles Chart and became a defining anthem of the band’s career. Written by the unstoppable duo of Noddy Holder and Jim Lea, the song captures the rebellious spirit of rock ‘n’ roll with a fiery passion that still resonates decades later.

From the very first blast of guitar feedback and stomping drumbeat, “Mama Weer All Crazee Now” grabs listeners by the collar and drags them headfirst into a party they’ll never forget. Dave Hill’s crunchy guitar riff sets the stage for a performance brimming with attitude, while Don Powell’s thundering drums provide the propulsive backbone that drives the track forward. The production is loud, raw, and unapologetically raucous—perfectly aligned with Slade’s signature sound.

At the heart of the song is Noddy Holder’s iconic voice, delivering every lyric with a gravelly, almost gleeful ferocity. The chorus is a sing-along masterpiece, designed to unite audiences in a collective shout of carefree rebellion: “So come on feel the noise / Girls grab the boys!” It’s not just a call to action; it’s an invitation to throw caution to the wind and revel in the moment. The playful, intentionally misspelled title adds to the charm, reinforcing Slade’s irreverent approach to rock.

Lyrically, “Mama Weer All Crazee Now” reflects the chaos of life on the road and the euphoric, larger-than-life atmosphere of live performances. The song was inspired by the band’s own experiences of seeing audiences lose themselves in the music, capturing the essence of those unrestrained, joyous moments.

“Mama Weer All Crazee Now” isn’t just a song—it’s an experience. When it was performed live, it had an almost cathartic effect, with crowds chanting along, clapping, and stomping their feet in unison. It’s a track that taps into something primal and universal, a celebration of the wild, untamed side of life.

Decades later, “Mama Weer All Crazee Now” remains a cornerstone of Slade’s legacy and a defining moment in glam rock history. Its influence can be felt far and wide, with artists like Quiet Riot covering the track in the 1980s, introducing it to a whole new generation of rock fans. Whether played on vinyl, blasted through speakers at a party, or sung drunkenly with friends, this song continues to ignite the same sense of fun and freedom it did back in 1972. It’s not just a rock anthem—it’s a declaration of the joy and madness that make life worth living.

Video 

Lyrics: Mama Weer All Crazee Now

I don’t want to drink my whiskey like you do
I don’t need to spend my money but still do[Chorus]
Don’t stop now a c’mon
another drop now c’mon
I wanna lot now so c’mon
That’s right, that’s right
I said Mama but we’re all crazy now
I said Mama but we’re all crazy now
I said Mama but we’re all crazy nowA you told me fool fire water won’t hurt me
A you tease me and all my ladies desert me

[Chorus]

I don’t want to drink my whiskey but still do
I had enough to fill up “H” Hill’s left shoe

[Chorus]

Mama mama mama mama oh yeah…

 

You Missed

TWO MONTHS BEFORE ILLNESS SILENCED HIS VOICE, TOBY KEITH STOOD UNDER THE LAS VEGAS LIGHTS FOR ONE FINAL, DEFIANT STAND THAT NO ONE KNEW WAS A FAREWELL. In December 2023, after spending eighteen months largely away from touring while fighting stomach cancer, Toby Keith stepped onto the stage at Dolby Live in Las Vegas for three sold-out performances. He brought the exact same unapologetic humor, gritty confidence, and blue-collar pride that had carried him from Oklahoma oil fields to the summit of American country music. No one in the room—and perhaps not even Toby himself—realized that the final show on December 14 would mark his last public concert. For roughly two hours, he commanded the room, moving seamlessly through rowdy anthems, reflective storytelling, and the unmistakable anthems that defined his career. When the night reached its climax, he delivered a powerful encore with “American Soldier” and “Courtesy of the Red, White and Blue.” Before striking the final chords, he urged the crowd never to apologize for loving their country—a parting message captured on fan-recorded footage that would soon echo around the world. It wasn’t a sentimentally scripted goodbye; it was pure, unvarnished conviction from an artist who refused to soften his edges or disguise what he believed. Less than two months later, on February 5, 2024, Toby passed away at the age of sixty-two. Only then did those Las Vegas nights take on the heavy, sacred weight of a final chapter. Las Vegas didn’t witness a legend surrendering to disease; it watched a working artist give everything he had left, stepping off the stage entirely on his own terms.

EVEN AS STOMACH CANCER WHISPERED OF THE END, TOBY KEITH CLUTCHED THE MUSIC TILL HIS FINAL BREATH — LEAVING BEHIND A WORKING-CLASS CREED THAT NO ILLNESS COULD EVER SILENCE. Toby Keith never learned how to surrender quietly. When the bright lights of packed stadiums faded into the quiet, heavy shadows of an Oklahoma home, the fight didn’t stop; it just moved inward. Whether or not his hands literally gripped a battered wooden neck on his deathbed matters less than the hard, unvarnished truth of how he lived: a man who treated every lyric like a lifeline and every song like a handshake with the working people who built this country. He spent decades staring down critics, industry Nashville elites, and the brutal realities of front-line war zones without ever blinking. When cancer came knocking, he faced it with that same stubborn, blue-collar defiance—refusing to let the disease write his final verse. Even as his body wore down, his spirit remained anchored to the melodies that gave voice to factory floors, small-town front porches, and soldiers holding the line thousands of miles away. The room may have grown still, but the noise of his legacy never will. It echoes in every rowdy chorus, every uncompromised lyric, and every life touched by his quiet work for military families and kids fighting the same dark battles. Toby didn’t chase universal approval or play the Hollywood game; he stayed true to the grit that got him there, leaving behind an American soundtrack that will keep humming long after the dust settles.

WHEN A SUDDEN THUNDERSTORM BROUGHT DOWN “GENTLEMAN JIM” REEVES IN 1964, NASHVILLE MOURNED A GLOBAL SUPERSTAR, BUT TEXAS TOOK BACK HER FAVORITE SON. Long before his velvet baritone was melting hearts across the globe with timeless crossover hits like “He’ll Have to Go” and “Welcome to My World,” Jim Reeves was just a kid from Galloway, Texas, with his sights set on a baseball diamond. When an arm injury abruptly ended his stint in the St. Louis Cardinals farm system, he pivoted to radio in Shreveport—landing his life-changing break on the Louisiana Hayride simply because another singer failed to show up for a slot. By July 31, 1964, Reeves sat at the absolute pinnacle of country music, a polished icon in a signature bow tie who sang soft while the rest of the genre hollered. But while flying home to Nashville from a business trip in Arkansas alongside his pianist and road manager Dean Manuel, a violent thunderstorm swallowed the sky. Disoriented in the murk, the single-engine plane plunged into the trees near Brentwood, Tennessee, silencing one of the smoothest voices in American music at just forty years old. The grief split across state lines, resulting in two separate farewells: Nashville held the industry service, but Carthage, Texas, claimed the man. They buried him three miles east of town on Highway 79, beneath a striking marble statue of him in his tuxedo, holding his guitar. And in a final, heartbreaking testament to loyalty, when his beloved collie Cheyenne passed away in 1967, she was laid to rest inside that exact same circle—positioned just a few feet back and to one side, right where she would have walked beside him.