Nothing To Hide
02. Country Home
04. My Oh My
05. Now We're Three
06. The Spring Of 69
07. Glittery Obituary
08. On His Own
09. Too Soon
10. Gypsy Jam
- Eddie Golga - lead guitar, keyboards, vocals
- Alan Jones - guitar, vocals
- Tom Farmer - bass, keyboards, lead vocals
- Dave Farmer - drums, vocals
Make no mistake by the start of 1972 Slade were a, or perhaps even the, big noise in the UK. They already had scored their first number one and would go on to dominate the British charts with their no-frills, hook-laden, street level Rock ‘n’ Roll. So as a result the A&R people up and down the country began the inevitable search for similar outfits that could meld hard-hitting sounds to winning tunes in the same way as Noddy and the lads.
Blackfoot Sue (who should not be mixed up with the similarly monikered Lynyrd Skynyrd spin-off band Blackfoot) seemed to fit the bill to a tee, but were originally passed over by United Artists. However they did manage to attract the attentions of Noel Walker, an in-house producer at the label, who would become their manager. The Birmingham outfit were at the time working under the name of the Gift (there’s a Weller-tastic coincidence with this band that is too delightful to pass up – Blackfoot Sue beginning life as the Gift and then being signed to the DJM Records off-shoot JAM records!). Forming way back in the 60s around the Farmer brothers Dave and Tom originally as the Virus, the line up was completed by guitarists Eddie Golga and Alan Jones. Prior to their change of name they had featured in the BBC film “What Kind Of Life” playing the song “Celestial Path” (which would eventually end up as the flipside to their hit single).
They were far from just a copy of Slade though; Blackfoot Sue could definitely rock and while for expedience sake they could effect the fashionable Glam trend, they also had some winning melodies and different tinges to their sound. In Tom Farmer had a singer, that admittedly didn’t have the one-off Holder holler, but could sing both harmonic vocals and a raw Blues Steve Marriott rasp if required. Blackfoot Sue were also fond of “Magic Bus” style percussion interludes which also chimed in with the Glam stomping punch and coupled that with a typical Brum no-nonsense tough Rock attitude. They made an immediate impact: their first single “Standing In The Road” had echo drums, a rolling piano and the kind of hook-line Slade would have been proud of, all of which meant of a big Top Ten hit for the band. The follow up “Sing Don’t Speak” is probably the band at their most “Glam”, with an exotic drum beat that even threatens to turn into “Gary Gilmore’s Eyes” at times!
Though obviously pleased with the level of success achieved with their first two singles, they were not that enamoured with the “Teen Scream Scene” or Glam so sought to re-position themselves more as an “album act”. With their debut album “Nothing To Hide” for the most part they succeeded. The truth was they were far more a rock solid Rock group in the mode of the Faces or Stones than some Pop minstrels anyway. They came to the scene fully formed, which meant that unlike some “Glam” outfits, their debut album consisted entirely of original compositions with no recourse to Glammed-up 50s Rock ‘N’ Roll cover versions. Also, such was their faith in their own material, when it came to issuing their first LP they left all of the singles off. Unfortunately this may have contributed to the album not reaching the charts, but on the other hand it was value for money for the more hardcore fans who were rewarded with a varied and promising effort (Happily on this reissue you do get all the a and b sides of those early singles and very good they are too).
The album itself is fine display of hard rock with many little quirks and eccentricities which may have resulted in Blackfoot Sue never going onto be mainstream Pop stars but also means plenty of variety to keep one hooked. There’s the hint of the “Psycho Killer” riff in their kiss-off to the movement they were briefly drawn into (probably against their own wishes) “Glitter Obituary” which has a little of the same spirit as the Stones 70s and early Queen. Pride of place goes to “”The Spirit Of 69”: Blackfoot Sue were never too proud not to delve back into a bit of Psych here and there and this one does “quiet/loud” decades before Nirvana. Ok there is a little bit of “Stairway To heaven” in there without doubt but it’s a novel take on that kind of thing with some great harmony vocals and pile-driving guitar menace.