Sail Away: Whitesnake's Fantastic Voyage by Martin Popoff

Author:Martin Popoff [Popoff, Martin]
Language: eng
Format: epub
Publisher: Soundcheck Books
Published: 2015-01-25T22:00:00+00:00

As for the songs on Slide It In, great stuff all ‘round. American sounding? Maybe subtly so. For when one makes an utterance like that, it’s usually in the presence of something more poppy, melodic, AOR. Slide It In isn’t exactly that. If anything, the main difference is that it’s more metal and hard rock, mostly more hard rock, and a lot less blues. And a lot less variety stylistically. Of note, one other difference between the UK and US versions of Slide It In is track sequence, so, having to pick, we’re going to run through this crunchy, solid, happening record using the US version, given its wider distribution and impact.

The album opens with the joyous yet squarely hard rocking title track. A sullen acceptance seemed to have set in that David’s sexual double entendres knew no bounds, and resigned to that fact, folks just snickered along with Dave and his dic... tionary. Whatever he’s talking about here, the musical backtrack was a canny mix of stacked US metal power chords with a slightly Stonesy twist. “‘Slide It In’ literally was just a bit of tongue-in-cheek,” explains Coverdale. “One of the things that I had developed with Whitesnake, Okay, long story short. I’d worked with Deep Purple which were a deadly serious rock band, you know, and that’s how they were perceived. And you know, I like a good laugh. And I would write songs, once I got Whitesnake up and running, I would write songs like ‘Wine, Women An’ Song,’ ‘Would I Lie To You’ (just to get in your pants), ‘Slide It In.’ These were all tongue firmly in cheek, end of Saturday night, knees-up, sing-along songs. And it was only the narrow-minded female, militant female feminists [laughs], who couldn’t see the joke. But you know, when I was in concert, the loudest voices I would hear singing the Slide It In songs were women. It’s basically a bit of fun. I’ve got my deadly serious tunes as you can testify, but a lot of them are just definite rock ‘n’ roll a-wop-bop-a-lula Little Richard knees-up songs.”

Next up was “Slow An’ Easy,” precursor to and blueprint for “Still Of The Night,” the band’s most overt stab at something Zeppelin-esque in the catalogue. Again, what we have here is top notch radio grade metal, with the added bonus of a history lesson concerning slide guitar, nod of the hat to Micky Moody. Notes David, “‘Slow an’ Easy,’ I had written basically to replace ‘Lovehunter’ because I was bored sick singing it. And it was going to be a vehicle for my then slide player Micky Moody.” David has also said that it was recorded virtually in drunken jam mode in the middle of the night in Munich, with most of the lyrics being ad-libbed on the spot, and then cleaned up later for the final version.

Strength to strength, “Love Ain’t No Stranger” would offer a third variant of style and flair within the album’s first three tracks. It

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