Cum on Feel the Noize

Composed by
Noddy Holder & Jim Lea
Arranged by
Jock McKenzie
Price
£ 25.00 

Cum On Feel the Noize is a song by the English rock band Slade, which was released in 1973 as a non-album single. It was written by lead vocalist Noddy Holder and bassist Jim Lea, and produced by Chas Chandler. It reached No. 1 in the UK Singles Chart, giving the band their fourth number one single and remained in the charts for twelve weeks

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  • For Conductors, Teachers and/or Students
  • Percussion Backing Tracks to accompany Superbrass Educational Material
  • Backing Tracks are Free to Download
  • We always use 4 bars of Introduction before each tune starts (unless otherwise stated)
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  • 4 Trumpets
  • 1 Horn in F
  • 3 Trombones
  • 1 Euphonium (or Trombone)
  • 1 Tuba
  • 1 Drum Kit
  • All Alternative Brass Parts Included

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Description

In a 2015 UK poll Cum on Feel the Noize was voted one of the Nation's Favourite 1970s Number One’s. The band's manager and producer Chas Chandler devised a strategy to get the single to number one on the first week of release. The strategy used pre-release airplay to build up pre-order sales for the single. "Cum On Feel the Noize" detailed the atmosphere found at the band's concerts. Originally titled "Cum On Hear the Noize", Holder changed the title after recalling one of the band's 1972 UK concerts, where he "felt the sound of the crowd pounding in his chest". The song's introduction of Holder shouting "Baby, baby, baby" had just been a microphone test and was not intended for the finished recording. In a 1984 interview, Jim Lea spoke of "Mama Weer All Crazee Now" and "Cum On Feel the Noize": "I was at a Chuck Berry gig and everybody was singing his tunes. He kept stopping and letting the crowd sing and it wasn't just a few people, it was everyone. I thought it was amazing and thought – why not write the crowd into the songs, and so we got round to 'Mama Weer All Crazee Now' and 'Cum On Feel the Noize' and all the chants were written into the tunes.” In another interview, guitarist Dave Hill said: "The song was based around audiences and things that were happening to us. They were just experiences. Obviously, when you are on the road, you are writing about being on the road, you're writing about what's going on.” In 1983, American heavy metal band Quiet Riot covered the song. Their version went on to reach No. 5 on the Billboard Hot 100 in November 1983 and helped their album Metal Health become a number-one hit. The song's success drew huge nationwide attention to the 1980s Los Angeles metal scene.

“Stunning playing all round and a perfect 'snapshot' of the incredibly high standards of performance in brass playing in London today."

Peter Bassano
Head of Brass Royal College of Music (retired)

“Just wanted to give a general shout-out to SUPERBRASS - who are truly super-bad; for my money, one of the most exciting large brass ensembles EVER.”

Rex Richardson
International Trumpet Soloist

“Every now and again a recording that is both truly outstanding and will have great appeal to brass band listeners appears on the shelves. We are delighted to make it the first recipient of our CD of the Year Editors Award.”

Kenneth Crookston
British Bandsman

“The end result, is a resounding success. This is not a commercial CD, this is education, passion and self belief written in the sleeve notes”

Richard Walker
British Trombone Society

“This is absolutely one of the finest and most creative brass ensembles in the world."

Marc Dickman
University of South Florida writing in the International Trombone Association Journal

“Many recordings over the last few decades have demonstrated the superb quality of British brass playing; 'Under the Spell of Spain' will rightfully take its place among them.”

Paul Sarcich
www.dailyclassicalmusic.com

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