|Studio album by Slade|
|Released||5 March 1976|
The Record Plant,
|Label||Polydor (UK), Warner Bros. (US)|
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.
- 1 Background
- 2 Recording
- 3 Music
- 4 Release
- 5 Critical reception
- 6 Track listing
- 7 Chart performance
- 8 Personnel
- 9 References
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.
After returning to the UK in 1975, Slade were feeling stale. After the mixed reception of their 1975 movie Slade in Flame and the less-than-frantic rush for tickets for the group's last UK tour (in decided contrast to the mayhem of their 1973 tour), manager Chas Chandler came to the only conclusion he could find, to crack America—the only major territory to thus far resist Slade's sound, at least as far as chart action had gone—the group would have to move there permanently and build a solid reputation from their live performances, just as they had in the UK. Slade, sensing they were becoming worn-out, agreed. "During the past five years when the band peaked," Noddy Holder said in 1975, "we did five major tours of Britain, six tours of Europe, two tours of Australia, two of Japan, visited the USA a few times, made a film...you can understand why we felt more than a little jaded. We reckoned that we needed to undertake a fresh challenge to regain that old spark."
So it was that Spring of 1975 that Slade relocated to New York City; Noddy Holder lived in a suite at the Mayflower Hotel on the south west corner of Central Park, Jim Lea and Dave Hill took apartments on the Upper East Side and Don Powell went downtown, near Greenwich Village. They toured constantly, often on packages with the likes of Aerosmith, ZZ Top and Black Sabbath. Usually second on the bill, Slade honed their live show, taking the idea of playing skilfully seriously which went down consistently well with the American audience. The success wasn't translated into US airplay, but the band felt improved and rejuvenated.
In between tours Holder and bassist Jim Lea got down to what Holder called some "serious writing", booked themselves into New York's Record Plant in mid-1975 and recorded the album which would be called Nobody's Fools.
Holder was interviewed about the album for the Slade Fan Club Newsletter of April, May and June 1976. Holder stated:
We recorded the album in New York (The Record Plant), where we spent something like six weeks on it. We did it all in one go, more or less, well we also did a couple of days in a L.A. studio a couple of months before, just to get into the swing of things.
Holder also stated that the band's intention was to concentrate on producing a "really first class album" which meant the band had to take time off of touring. "We decided not to rush the album, like we have done on past recording sessions. We wanted to get everything just so. It wasn't just a 'wam bam' job. The sound and production is the best yet." According to the Holder, the reason why the band went to America was purely to record an album over there, saying "The album is why we went to the States, not for tax reasons, folks! We wanted to get fresh ideas, we felt we were getting a bit stale living in England."
According to the band's fan club, guitarist Dave Hill remarked a few months before the interview that New York was "literally throbbing with ideas". He said inspiration came just by strolling along the sidewalks, drinking in the bars and chatting to the old men or old women in the local drugstores, to which Holder replied that "yeah, he's right, New York is such a lively, vibrant city, just living there gave me and Jim a lot of ideas to work on."
Holder spoke of the musical influences on the album; "Ya know we've been influenced by a lotta things, particularly soul. We used some coloured chicks for back-up vocals and I really enjoyed working with them, it was something different for us, and at the same time it gave our a lot of body! Those girls have great voices. We enjoyed doing all sorts of sounds, like country, funk, rock. I mean every track has its own particular style."' Holder was asked whether he personally thought the musicianship was better on the album, saying the band "had a long time to get things how [they] wanted them," adding they "had six weeks in the studio to get better and better, so the playing got better, and the sound got better, so yeah in terms of improvement it's a big step ahead." Lea spoke in a mid-1976 fan club interview about the recording of the album; "We just got a terrific buzz when we were working on the album. We were more relaxed than we've ever been, more willing and able to be more experimental in the studios, and we took it easy and relaxed. Certainly we felt we had a good product in the making, so it seemed right to put everything we had into it."
Reflecting on the album in an early 1986 fan club magazine interview, Hill spoke of the album, saying the band "were maybe musically cleverer in those early years, which could have introduced [them] to new things - but it never happened, apart from "How Does It Feel?". "Nobody's Fools" was a bit different, wasn't it? That was recorded in America, but it didn't happen over there."
Title and packaging
Speaking about the album's title "No it doesn't really carry any interesting meanings. We didn't quite know what to call it, and then one day we were listening to one of the tracks called "Nobody's Fool", and we decided we'd just add an 's' to 'Fool', and call it Nobody's Fools. Good though ain't it?" The album's cover was created to coincide with the band's 10th anniversary, showing the band adopting the same positions as they had on the cover for their 1970 album Play It Loud.
Slade's last top 20 hit in the UK until 1981, "Let's Call It Quits" was described as having a "slinky rock groove".
Slade's first single not to chart in the UK Top 50 since their rise to fame in the early 1970s, "Nobody's Fool" features Tasha Thomas on backing vocals.
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As a result of their experiences in the United States, Nobody's Fools presents a different musical direction. Described as having a "California" sound by Allmusic, a genre popular at the time from bands such as The Eagles, the album explores various different genres. Allmusic said that "many of the numbers on this record are loaded with Dobros, mandos, and female background vocals." The song features a strong influence from soul music, most prominently on the songs featuring female backing vocals.
"Nobody's Fool" is the opener from the album. The track was released as the last single from the album. The track failed to chart in the UK, the first time since Slade's rise to fame. The track features Tasha Thomas on backing vocals. The first time a female singer had appeared on Slade material. Chris Ingham of Rock Backpages stated "Nobody's Fool has a rousing chorus, a stinging guitar lick, thunders agreeably along with the added bonus of Tash Thomas and co's soulful backing vocals." The single version has an edited piano introduction. Allmusic wrote "The title track is excellent, but marred by a bad arrangement."
In the Slade Fan Club Newsletter of February and March 1976, the track was described by the editor Diane Kelly. "The title track and a piece of work I immediately thought would make a future single. Although it is four minutes and twenty seconds long I do not feel this a disadvantage. "Nobody's Fool" starts with some strident Jimmy Lea piano work and when Noddy joins in on vocals it's a slightly more subtle Noddy than we've known in the past. But by the time he reaches the chorus, Noddy is back in full throttle. I liked the guitar work too reflecting the main theme of the song, plus the restrained drumming of Don Powell."
Do The Dirty
"Do The Dirty" is a mid-tempo track influenced by the American rock sound. Chris Ingham wrote "Do The Dirty is a splendid example of Slade's new interest in conspicuous ensemble excellence. A blend of a start-stop boogie groove, classic Slade sounding power chords, a nice 'n' heavy funk lick on the guitar and some characteristically fluid bass playing from Jim Lea." Allmusic wrote "Do The Dirty is a foot-stomping rocker with a little funkiness thrown in for good measure." The track is recommended by allmusic.
In the Slade Fan Club Newsletter of February and March 1976, the track was described by the editor. "This is very different from the first track. It starts with a roar from Noddy, the guitar of Dave Hill, the use of echo and shows the direction the band could take in the future along the lines of these highly successful heavy metal bands Led Zeppelin and Deep Purple. I'd say this is the first track influenced by Slade's stay in America, which has given their music much more depth and range, no doubt because of their exposure to all the different sorts of music around them out there. There's some really good and intricate guitar playing and good timekeeping by Don Powell. The production too is particularly strong on this track."
The song opens with the shout of the word "boogie". Holder explained the meaning behind this in a mid-1976 fan club interview. "It seems to me that American youngsters prefer Slade to boogie on down. Whenever Slade go on stage requests and shouts of 'boogie' from the crowd can be heard machine-gunning around the theatre. It's a great feeling. We might be doing something a bit slow and ya get all these kids screaming 'boogie!'. That's why we decided to put a great big 'boogie' at the beginning of "Do The Dirty"".
Lea added "What we did was to audition our American roadies to see who could come up with the best 'boogie'. It was a bit of a lark really, although the guy we used didn't get a credit, we forget to put it on the sleeve."
Let's Call It Quits
"Let's Call It Quits" is the second single from the album which peaked at #11 in the UK. Allmusic described the track as "a real screamer where Noddy Holder coughs up a great vocal." Chris Ingham wrote "Let's Call It Quits pursued the usual ribald lyrical theme but otherwise was entirely dissimilar to anything Slade had yet recorded. Preceded by a fanfare of overdriven jazzy chords on the guitar and bowing out on a superbly bluesy pay-off, a slinky rock groove with offbeat rhythm guitar and inspired call and response between Noddy Holder's vocals and Dave Hill's lead guitar." The track is recommended by allmusic.
In the Slade Fan Club Newsletter of February and March 1976, the track was described by the editor. "Another American influenced piece of work by Noddy and Jimmy, who wrote all the material on the album. A fascinating track with a deeper voiced Noddy reproducing a 1976 cowboy, but instead of an acoustic guitar on his knee there is a strong sound of electric guitar, making it sound totally modern. From Noddy, as he sings a rather plaintive song love song to end an affair, there comes too almost a hint of a yodel near the end. They used to sing things like this in Cowboy films, well not quite like this, but I think you'll know what I mean when you hear it."
Pack Up Your Troubles
"Pack Up Your Troubles" is a country acoustic-based ballad, something new for Slade to try. Chris Ingham stated "the camp-fire feel of Pack Up Your Troubles included dobro guitar which elevates the song into a classy piece of country pastiche. Holder's lyrics are based on a optimistic, seize-the-day philosophy with the image of catching 'a fish on the line' representing all that is real, simple and true."
In the Slade Fan Club Newsletter of February and March 1976, the track was described by the editor. "A real country rock number. It's the most different thing I've heard the group do yet and it works really well, right down to the acoustic guitar and that wonderful country sound of a pedal steel guitar. Another track I think would make a single, but I'm not sure that the disc jockeys would be as brave as the group in departing from what everyone expects from Slade."
In For a Penny
"In For a Penny" is the leading single from the album. It is a ballad and features the accordion which is the only Slade track to do so. The track peaked at #11 in the UK. Chris Ingham wrote "In For a Penny is an atmospheric, reflective piece fully of Beatlesesque harmonic traits and featuring the longest Dave Hill guitar solo used on a Slade single. It may come as a surprise to listeners seduced by the melancholy air of the record to discover that the lyrics content is full of risque."
In the Slade Fan Club Newsletter of February and March 1976, the track was described by the editor. "New version of one of the group's past hits, a little quieter and more subtle than on the original and the playing of Jimmy and Dave is perhaps more intricate showing that the group is not just experimenting but really broadening their musical experience. I think America has obviously done them a lot of good as musicians, because the competition is so hot there and also because you can hear so many good musicians. It's quite obvious the group has successfully absorbed this experience. This version of "In For a Penny" says all I mean."
Get On Up
"Get On Up" is one of the more rock-based tracks on the album and the second track to feature Tasha Thomas on backing vocals. The track became part of Slade's live song set and appeared on the 1978 live album Slade Alive, Vol. 2. It was the only track to be used live. Allmusic wrote "The album's best track is "Get on Up," which has an absolutely brutal riff." Chris Ingham stated "Get On Up betrays the influence of USA boogie music, with no more than four chords and a no-messing approach to the groove. Tasha Thomas's harmony and response parts work wonderfully, adding a whole new dimension of excitement to the sound."
In the Slade Fan Club Newsletter of February and March 1976, the track was described by the editor. "The most traditional Slade number on the whole album right from the opening raunchy guitar sound to Noddy's rendering of the typical Slade chorus. All the group join in the singing on this one."
"L.A. Jinx" originally appeared as the b-side to the single Nobody's Fool. The lyrics refer to the bad luck the band had in Los Angeles. Chris Ingham wrote "The track is notable for some elaborately double-tracked guitar parts, some virtuoso bass work for Lea in the verses and an archetypal Slade crunch in the chorus."
In the Slade Fan Club Newsletter of February and March 1976, the track was described by the editor. "This one says it all really about the group's experiences over the past few years. And I'm glad to say that they sing about their American worries ending. In other words the band has conquered their fears about working and living in America. At first their experiences there were not good, but now judging from this album everything has worked out. Noddy is on good form here, and the new musical strength of the band is at its best."
In a mid-1976 fan club interview, Lea spoke of the message in the song, "I suppose it's self-explanatory that one. But the thing is every time we play in L.A. it's been disastrous!" Holder added, "Something always goes wrong; the gear blows up, we all get electric shocks, and, oh there's always some sort of equipment fault - we're always jinxed!"
Did Ya Mama Ever Tell Ya
"Did Ya Mama Ever Tell Ya" again features backing vocals from Tasha Thomas. Chris Ingham described the track as "a mischievous little song underlining the suggestive meanings in a series of nursery rhymes. It's set to a subtle funky reggae groove that's unusual for Slade."
In response to being asked for his favourite track on the album in a 1976 fan club interview, Holder replied "I really like them all. But I think one of my favourites is "Did Ya Mama Ever Tell Ya" which is a reggae number, with chick singers in the background. It's great. Not exactly roots reggae, more Wolverhampton stuff!"
In the Slade Fan Club Newsletter of February and March 1976, the track was described by the editor. "A naughty little modern nursery rhyme from Noddy all in good humour, I should add. What Jack and Jill really did when they went up that hill, is one of the musical disclosures. Several nursery rhymes are shown to have double meanings. Not too rude, as they used to say in the days of variety: naughty but nice."
Scratch My Back
"Scratch My Back" is another rock track in similar form to previous track "Get On Up" and again features Tasha Thomas on backing vocals. Allmusic wrote "Scratch My Back is pure Slade, even with the out of place arrangement." The track is recommended by allmusic.
In the Slade Fan Club Newsletter of February and March 1976, the track was described by the editor. "Another traditional Slade number just to prove that they're not leaving their faithful fans behind. Strong voice from Noddy, guitar work powerful too and pleasant use of girl backing group."
I'm a Talker
"I'm a Talker" is a folk based track featuring backing vocals from Tasha Thomas for the last time on the album. Chris Ingham wrote "I'm a Talker is an infectious folksy drinking song, celebrating the verbosity and affection for amiable company that comes with inebriation. Holder amusingly cites the duality of his own Gemini star sign as a sort of highfalutin' justification for going on a bender and bending someone's ear."
In the Slade Fan Club Newsletter of February and March 1976, the track was described by the editor. "Definite West Indian feeling to this one, without the out and out monotony of the reggae beat, which has marred many a white record in the past. Slade employ certain reggae techniques such as the laid back bass. Catchy chorus, another song reflecting California with its love of star signs. A song that gets better and better as it progresses. Backing group again is evidence on this one, which also helps fill out Slade's sound."
All The World Is a Stage
"All The World Is a Stage" is the album's closing track and features synthesizer. Chris Ingham wrote "The grandiose closer All The World Is a Stage, while building up a head of portentous musical steam, has the dubious honour of being one of the very few genuinely pretentious Slade tracks in their history. Invoking the Bard in the title and going on to attempt to invoke the universal connection between performer and audience, it makes heavy weather of one of Slade's acknowledged strengths." The track closes with sound effects of high pitched laughing.
In the Slade Fan Club Newsletter of February and March 1976, the track was described by the editor. "Probably the most imaginatively written song on the whole album and musically employing the electronics advancement heard on the first side in "Do The Dirty". Noddy's voice is again subtle and echoes around the guitar work. And a nice surprise ending, so I won't give the game away."
The album has been noted for still standing up today as "a varied and highly entertaining listen" and the band themselves are justifiably proud of their "American" album; drummer Don Powell rates it as his favourite Slade long player and Noddy Holder cites the single "Nobody's Fool" as the most overlooked of Slade's songs. Nonetheless, as was expected, the album fared only moderately in the UK Album Chart, peaking at #14 but disappearing from the top 75 after only four weeks. By comparison, the band could previously expect an album to hang around for four months or more. And from that, things would get much worse for Slade before it got better.
Upon release, Holder was interviewed for the Slade Fan Club Newsletter of April, May and June 1976. Holder stated "Really proud of the album. We think it's our best, but we always say that every time we bring another one out. However, there is something special about this one." Holder also stated the album was one of Slade's best because it is a work of blood, sweat and tears as opposed to a quick, rushed job in between gigs and it is their most experimental work of the time. Years later, when Holder was asked for his favourite Slade album he stated that his "favourite Slade album would be Nobody's Fools. That is the only one I can really sit down at home and listen to from start to finish".
For the Slade Fan Club Newsletter of April, May, June, 1976, Jim Lea stated "I am really proud of the album and believe it is the best album we have ever done. I have no especial favourite track on the album - I love them all. I'm sure you will see quite an American influence on a lot of the tracks and we believe the hard work we put in, in America had paid dividends." During a fan club interview with Holder in mid-1976, Lea stated "This is the only album of all the Slade albums that I can sit down and play. Before I've been fed up with them by the time they came out. But I honestly like playing this one at home."
Lea was asked his opinion on the fans statement that every track could be a potential single. "Well, it's all down to taste, but we've had friends and people we know coming up and saying "oh, I think that should be the next single" or "this should be the next single", everyone seems to like different tracks. I think the ones we had out ("In For a Penny" and "Let's Call It Quits") proved to be pretty good singles."
According to the Slade fan club magazine, at the time of release, L.A. and other parts of America were positive towards Slade and so it seemed there was a good chance that Nobody's Fools was going to make the Billboard Hot 100. In the Slade Fan Club Newsletter for July, August and September 1976, it was stated that the St. Louis sales market for Slade was bigger than any other artist on the Warner Bros. record label in the area at the time.
In an early 1986 Slade fan club magazine interview, guitarist Dave Hill was asked if using female backing vocals on the album caused the limited success of the album. Hill replied "Yeah, I think that had a bit of a negative vibe with some of the fans. I think that they didn't like women singing on our records. As much as we enjoyed the idea, it had a bit of a negative response. We quite liked the sound of some of the black singers over there, you see. When you're successful, people pick on things."
|New Musical Express||(mixed)|
Upon release, Record Mirror magazine wrote "Having given out the information that a large part of motivation behind their moving to the States last year was to go for pastures new in order to widen their horizons somewhat, this album becomes important in more ways than one. Two of the tracks are already familiar - being Slade's two last singles, but the remaining numbers, all written by Noddy and Jimmy Lea offer a lot of variety. The most immediate thing I noticed was the arrangements - which included some solid bass work that would have done justice to Led Zeppelin. Next, there's the use of backup vocals, something Slade haven't used too much in the past. Finally, there's the pace, lots of it. "Pack Up Your Troubles" is about the slowest number on the album, but even then it bounces along briskly, using an almost busking tempo. It's not an album of singles - it does present tracks that are a lot deeper than I expected. You're right lads, you're nobody's fools!"
New Musical Express wrote "Well if this album is an accurate representation of their album-making ability I doubt it very much. Oh, Slade are an exciting band. Plenty of kick and grit, and their unrefined charm which has been captured from their live performances in the studio environment, but though superficially the music here is of reasonable standard, there's not a lot of depth. Really the album is just a collection of hooky little singles."
Music Week wrote "A cracking album, the group is now playing better than ever. Slade have matured to the point of being able to convert an older audience to their cause."
Another magazine wrote "'Boogie!' is the frenzied cry at the opening of "Do the Dirty," the second track on this album, and it's a sentiment that's repeatedly implied throughout the proceedings. Slade Boogie hard and they boogie good, and if there's a total absence of refinement and subtlety, then at least there's no pretence of being anything other. Playing as if they mean it, Slade have always had a closer affinity with REAL rock & roll than most bands of the Seventies, and for all its obvious limitations, it's a strategy that's served them well. For a couple of years they were indisputable kings of the castle, and for all that (musical) crudeness I've always felt they wore their crown with distinction. Recently of course, inferior bands have edged them out of the affection of young female hearts, while Slade have attempted to anticipate the growing maturity of their audience by pursuing their own natural desire to develop beyond the vigorous three-minute thrash. Their "Slade In Flame" album, for example, showed a much calmer, more tender side, which we might have assumed was the way they were going to play it from now on, in their bid for wider acceptance.
Unfortunately, judging by the comparatively apathetic reaction to their last few singles. the 'wider audience' hasn't embraced them too lovingly, and with "Nobody's Fools" Slade have now done a swift about turn as they attempt to recoup their losses . It's very much the wild Slade we have come to love/loathe, a panic stricken retreat to a faithful formula. The Holder/Lea songs (which make up all the material on the record) are straight forward and earthy, and Noddy's foghorn voice is characteristically raucous and raw. There's one moderately gentle country blues number, "Pack Up Your Troubles," which is given much appeal by the acoustic guitar rhythms, but that is the only basic diversion from the powerhouse onslaught—Slade the John H Straceys of rock! They apply a reggae tinged backing with good effect to "I'm a Talker", and the occasional ambiguity of their lyrics is given reign on the mildly rude, vaguely funny "Did Your Mama Ever Tell Ya?", On which they tell the 'true' story of those innocent nursery rhymes. The rest is the honest, driving, yet often quite melodic, commercial rock commonly associated with Slade, including their last two singles "Let's Call It Quits" and "In For a Penny", and the new one "Nobody's Fool". Solid, compelling stuff, even if it is a bit of a cop out."
Upon release, the editor of the Slade fan club stated "I should say for me this is the best album that Slade have made so far, and I say this not just because I am writing for Slade admirers but because musically this is the breakthrough I have been hoping they were going to make."
In early 2010, Classic Rock magazine featured Slade as part of their ‘The Hard Stuff Buyers Guide’ where the magazine reviewed numerous Slade albums. As part of the ‘Good: Worth Exploring’ section, a review of Nobody’s Fools wrote “At great cost to their popularity at home, during the mid-70s Slade had wasted 18 months courting the USA. The experience appears to have rubbed off on ‘Nobody’s Fools’, a surprisingly slick-sounding album that saw them out of the charts for five years. The singles ‘In for a Penny’ and the throbbing, suggestive ‘Let’s Call It Quits’ (‘I got something here for you that’s big enough for two’) are among its most immediate moments. A dalliance with reggae on ‘Did Ya Mama Ever Tell Ya?’ proves very regrettable. The reissued edition is all the richer for the inclusion of the non-album single release ‘Thanks for the Memory’.”
|1.||"Nobody's Fool"||Noddy Holder, Jim Lea||4:40|
|2.||"Do the Dirty"||Holder, Lea||4:42|
|3.||"Let's Call It Quits"||Holder, Lea||3:30|
|4.||"Pack Up Your Troubles"||Holder, Lea||3:25|
|5.||"In For a Penny"||Holder, Lea||3:35|
|6.||"Get On Up"||Holder, Lea||3:26|
|7.||"L.A. Jinx"||Holder, Lea||3:58|
|8.||"Did Ya Mama Ever Tell Ya"||Holder, Lea||3:06|
|9.||"Scratch My Back"||Holder, Lea||3:06|
|10.||"I'm a Talker"||Holder, Lea||3:18|
|11.||"All The World Is a Stage"||Holder, Lea||3:57|
|2007 Remastered edition bonus tracks|
|12.||"Thanks for the Memory"||Holder, Lea||4:34|
|13.||"Raining In My Champagne" (b-side of "Thanks for the Memory")||Holder, Lea||4:12|
|14.||"Can You Just Imagine" (b-side of "In For a Penny")||Holder, Lea||3:32|
|15.||"When The Chips Are Down" (b-side of "Let's Call It Quits")||Holder, Lea||4:15|
|Swedish Albums Chart||14|
|UK Albums Chart||14|
- Noddy Holder - lead vocals, rhythm guitar
- Dave Hill - lead guitar
- Jim Lea - bass guitar, piano
- Don Powell - drums
- Paul Prestotino - dobro guitar
- Chas Chandler - producer
- Ian A. Walker - art direction
- Tasha Thomas - backing vocals
- Corky Stasiak - engineer
- Denis Ferranti - engineer
- Gabby Gabriel - engineer
- Gess Young - engineer
- Gered Mankowitz - photography
- Slade Fan Club Newsletter of April, May and June 1976.
- Slade Fan Club Newsletter of April, May and June 1976.
- Slade Fan Club Newsletter April - May - June 1976
- http://sladefanclub.weebly.com/uploads/7/6/6/0/7660950/1983505_orig.jpg[permanent dead link]
- Slade International Fan Club newsletter March - April - May 1986
- Slade Fan Club Newsletter of April, May and June 1976
- Ginsberg, Geoff. "Nobody's Fools - Slade". AllMusic. Retrieved 2011-08-10.
- Slade's remastered album Nobody's Fools booklet
- Record Mirror magazine 21 February 1976
- Slade Fan Club Newsletter February - March 1976
- Steffen Hung. "Slade - Nobody's Fools". swedishcharts.com. Retrieved 2011-08-10.