Hubbry Logo
Slide It InSlide It InMain
Open search
Slide It In
Community hub
Slide It In
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Slide It In
Slide It In
Slide It In
View on Wikipedia
from Wikipedia

Slide It In
Studio album by
Whitesnake
Released30 January 1984
Recorded
  • 1983
  • 1984 (US Remix)
StudioMusicland (Munich)
Genre
Length40:40
LabelLiberty/EMI
ProducerMartin Birch
Whitesnake chronology
Saints & Sinners
(1982) 		Slide It In
(1984) 		1987
(1987)
Alternative cover
Japanese American remixed cover
Alternative cover
25th anniversary reissue
Alternative cover
35th anniversary reissue
Singles from Slide It In
  1. "Guilty of Love"
    Released: 1 August 1983
  2. "Give Me More Time"
    Released: 3 January 1984
  3. "Standing in the Shadow"
    Released: 16 April 1984
  4. "Love Ain't No Stranger"
    Released: 28 January 1985
John Sykes chronology
Life
(1983) 		Slide It In
(1984) 		1987
(1987)
Jon Lord chronology
Saints & Sinners
(1982) 		Slide It In
(1984) 		Perfect Strangers
(1984)

Slide It In is the sixth studio album by English rock band Whitesnake, released on 30 January 1984 in Europe, and on 6 February in the UK by Liberty and EMI Records. To cater to the American market, the album was remixed and resequenced, and subsequently released on 16 April 1984 in North America through Geffen Records, after the group was signed to the label prior to its release. The album is widely regarded as a pivotal release for Whitesnake, as it marked their initial success in the United States and laid the groundwork for their breakthrough later in the 1980s. Notably, it was the last Whitesnake album to feature the band’s original "snake" logo. Two distinct editions of the album exist, each reflecting a different production approach. The original mix was criticised for its "flat" sound, while the remix adopted a more modern and polished production style, aligning with the growing popularity of the American glam metal scene. The remix proved instrumental in refining Whitesnake's sound, helping the band establish a stronger identity in the competitive U.S. rock market, giving it "the voice" that the group wanted. Critics have described the album as a blend of blues rock and glam metal. The remixed version, in particular, was praised for its energy and accessibility, which resonated with American audiences.

During the promotional tour for Slide It In, the band underwent significant lineup changes. Founding guitarist Micky Moody, left the group after the album's recording and was replaced by John Sykes, formerly of Thin Lizzy and Tygers of Pan Tang, while bassist Colin Hodgkinson was replaced by a returning Neil Murray. Guitarist Mel Galley also left due to a nerve injury, while longtime keyboardist Jon Lord departed the band, to rejoin the reformed Deep Purple and play on their comeback album Perfect Strangers, which was released later the same year. Drummer Cozy Powell would also leave the band, to form Emerson, Lake & Powell in January 1985, after the supporting tour finished. These changes eventually changed the band's evolution in style and sound leading into the late 1980s, while rising in popularity.

Background

[edit]

In 1982, Whitesnake released their fifth studio album, Saints & Sinners, which proved to be difficult as tensions between band members persisted, including a major change to their management and a lack of financial payouts, despite being a top draw in the UK. David Coverdale had temporarily put the band on hold and made permanent changes to their management personnel at that time before the record was released. New members of the band were introduced to the supporting Saints & Sinners tour as a result, with Micky Moody and Jon Lord returning. Geffen Records A&R executive, John Kalodner who had been a longtime fan of the band, convinced the label's founder, David Geffen to sign the group. Kalodner stated, "I thought David Coverdale was a star frontman, a star singer, I felt he had a mediocre band and just average songs. My job was to make them a commercial rock band for the United States."[5]

Being cognizant of the band's future, Coverdale set his sights on the United States by signing to a major record label with Geffen, distributing Whitesnake's upcoming releases in North America.[6] The band has also signed with Sony (known as CBS/Sony at that time) for future distributions in Japan.[7][8]

Writing and production

[edit]

After the supporting tour, the band rehearsed for their next upcoming album at Lord's house in Oxfordshire.[9] Coverdale had written most of the lyrics, alongside Mel Galley, who recently joined the group. Moody only had writing contributions on "Slow an' Easy".[10]

Recordings of Slide It In began in 1983 at Musicland Studios in Munich, Germany with producer Eddie Kramer, who had been suggested to David Coverdale by John Kalodner. In the studio, the album featured drummer Cozy Powell, bassist Colin Hodgkinson, keyboardist Jon Lord, guitarist Mel Galley, and with guitarist Micky Moody returning to the band, all of whom had performed on the previous supporting Saints & Sinners tour. However, while recording, Moody's relationship with the band became strained over time, stating in a 1997 interview:

"(…) I realised that as soon as we started rehearsing and playing that it wasn't the same band, it never felt right. Mel Galley is very talented, a good singer, a great guitar player, but that band just didn't work out. Cozy was a great drummer, I always had a lot of respect for him, but he just didn't have any feel for the old Whitesnake sound. Cozy Powell brought with him a bass player called Colin Hodgkinson. Me and David knew Colin in the North East back in the sixties. He was a great legendary bass player, worked with the jazz/blues styles, but he never struck me as the bass player for Whitesnake. It was more the heavy metal attitude, probably because of Cozy's influence. He was a more heavier drummer than Ian Paice. There were flames and explosions going on, not really my cup of tea. It seems to me now that maybe Cozy wanted the band to be much more heavier and flasher."[11]

Originally, the album was slated to be released in October following to the Monsters of Rock festival show, however, failed to meet the deadline.[12] Internally, the band was not satisfied with Kramer's style and production, particularly the mixing of the record. Kramer was only credited to the "Guilty of Love"/"Gambler" single before he was eventually let go from his duties. As a result, the band had rehired Martin Birch, who had produced all of the band's albums in the past, to finish the record.[9] A new release date was scheduled to be in mid November or the 30th,[13] with the upcoming supporting tour for the album to begin in December.[14] Yet, both of these dates were delayed until early 1984 due to personnel changes and troubled production.[15]

According to Coverdale, John Kalodner had convinced him that in order for the band to achieve their full potential, they needed a "guitar hero" that could match Coverdale as a frontman.[16] Candidates included Michael Schenker and Adrian Vandenberg. Schenker claims he turned down the offer to join Whitesnake, while Coverdale insists he decided to pass on Schenker.[17] Vandenberg reluctantly declined the offer to join as well, due to the success he was having with his own band at the time. According to Coverdale, Vandenberg told him that it was the most difficult decision of his life, but they agreed to maintain contact with each other. Vandenberg was approached "four or five times" later and agreed to join Whitesnake in 1987.[18][19]

John Sykes (pictured in 1983) was approached to join the group.

Coverdale then approached Thin Lizzy guitarist John Sykes, whom he had met when Whitesnake and Thin Lizzy played some of the same festivals in Europe.[20] Sykes was initially reluctant to join, wanting instead to continue working with Thin Lizzy frontman Phil Lynott, but after several more offers and Lynott's blessing, he accepted.[21] Sykes recalled on the moment he had been offered and accepted on that premise:

"I had a phone call, and it was Coverdale or his people or something. They called me up and asked me if I wanted to join, and I said, “No, I don’t. I’m not interested. I’m staying with Phil.” They called up again and said, “Just come over.” I think it was Munich we went to then? They were recording the 1984 "Slide It In" album or something. I thought I’d go over and take a look. I think they called me two or three times. I went over and met David and Mel Galley, who was a really nice guy. I hung out with them for a couple of days and jammed on a couple of songs. When I came back to London, they rang out for me, offered me the job, and I said: “No, I don’t want to do it.” Then they basically said, “How much money would it take for you to do it?”, so I threw a number out there that I thought I would never get, and they said, “Okay”, and gave me the money."[21]

Around that time, Moody had completed the upcoming record with Birch as the band finished up a European tour in late 1983. According to Moody, Coverdale's personality had changed compared to when they got to know each other in 1976, stating that they hadn't spoken for a very long time.[11] Moody finally decided to leave Whitesnake when Coverdale embarrassed him in front of Sykes who was touring with Thin Lizzy alongside Whitesnake.

"Then one night we were in Germany and we did kind of a mini festival with Thin Lizzy and John Sykes was on guitar. Back at the hotel we were all sitting around and David was really talking a lot to John Sykes. I was sitting there quietly and David just turned around to me, pointing his fingers and said, 'Don't you ever turn your back on the audience again'. I went, 'Pardon?' He said, 'That's really unprofessional', in front of John Sykes to make me look small and I thought to myself, 'That's it'. I nearly said to him, 'Get him in the band', cause even I knew by then he wanted somebody like John Sykes, cause he looked good and he was a good guitar player. I decided to leave after finishing the end of the tour. The last gig was in Brussels in Belgium in October 83."[11]

Apparently, this did not seem to be a major problem to Coverdale, as, according to Moody, "After the gig, I said to the tour manager, 'I want to have a meeting in my room with all the band: I have something to say'. The other band members arrived and I said, 'Where is David?'. The tour manager came and told me, 'David is entertaining people in his suite, and he won't come down.'"[11]

Soon after Moody's departure, John Sykes was announced to the press as the new Whitesnake guitarist.[22] At the same time it was in the news that Hodgkinson had been fired, as Coverdale felt that his style did not suit Whitesnake's new sound. As a result of Hodgkinson's departure, Neil Murray was asked to rejoin Whitesnake, simply explaining the decision by simply stating: "I'd missed his playing".[9] Lord also informed Coverdale of his intentions to leave the group, but Coverdale convinced him to stay until the next supporting album tour was over.[23]

After the album's initial release in the UK, it was heavily criticised for the "double-entendre drenched lyrics and titles for which Whitesnake were already infamous" and for the album mix, which was deemed "resoundingly flat".[24] As a result, Geffen Records refused to release the album in the United States unless a new remix was commenced, due to the bad reviews about the production in the UK press. Coverdale then flew to Los Angeles to meet up about the change. He was first against the idea, but reluctantly agreed with the record label on the condition that Sykes and Murray would re-record the guitar and bass parts, respectively. The two then flew to Los Angeles to replace the tracks on 19 January, with the help of famous producer Keith Olsen remixed the album at Goodnight Los Angeles studios, further delaying its American debut. As a result, the album had its sound revamped, having a bigger and at the time a more modern sound approach.[25] Geffen had sent cassettes for the remixed version to the band that contained some tracks. However, Coverdale's initial reaction to the remix was negative, as he was strongly unimpressed, as far as after hearing one track, Galley "threw the cassette against the wall". Coverdale recalled, "It sucks as far as I'm concerned and if that goes out, I'm not gonna be with Geffen any more. It's dynamically dull, it's lost its British bollocks." However, over time, his opinion shifted, and he came to prefer the remix to the original European version, eventually choosing not to play the latter at all. He would often listen to the remix at full volume, much to the disappointment of his bandmates. "We couldn't stand to hear them over and over like that," Murray remarked.[26]

While Cozy Powell's drum tracks are virtually not re-recorded but instead increased its clarity into the mix, Sykes' guitar tracks were served as a top layer recorded by Galley and Moody, and would also created some different guitar solos compared to the European version. Bassist Neil Murray, who returned to the band, replaced all of the bass tracks recorded by Hodgkinson. Bill Cuomo also added additional keyboard parts to the album.[25] Sykes didn't replace all the guitar tracks, so some of Moody's tracks were still present in the American version.[26]

In Olsen's mixing, the American remix noticeably added and removed redundancy in instrumental and vocal parts, predominantly the echo on Coverdale's vocal and backing parts, of the record compared to the European version. Coverdale stated that the only subtle difference in the remix was that it gives "the voice" in that record "a lot better."[27] Both the European and American mixes were recorded and mixed on analogue tapes.[25]

Release and promotion

[edit]

Slide It In was released on 30 January 1984 by Liberty/EMI in Europe,[28] and 23 March 1984 by CBS/Sony in Japan. It was remixed and later released on 16 April 1984 in North America by Geffen.

Commercial performance

[edit]

The album debuted at number nine on the UK charts and number twenty-four on the Japanese Oricon albums chart.[29] The American remix of the album debuted at number 193 at US Billboard 200 on 16 May 1984,[30] but eventually peaked at number forty on 25 August 1984.[31] The album ran for a consecutive 42 weeks between 1984 and 1985. By the end of the Slide It In tour, it had managed to sell 300,000 copies in the United States. Geffen acknowledged that they have not pushed the album far enough as they hoped, and wished if they have done so, the chances for the band's commercial breakthrough would've been too great for that year.[26] Slide It In would eventually re-chart on 23 May 1987,[32] likely resurging in sales due to the success of the 1987 album. That later added up to 85 weeks in the end, the most weeks any Whitesnake album spent on the chart, with their follow-up "most-successful" album only to be charting for 76 weeks. In total, Slide It In charted in only ten countries, with one in Hungary in the 2019 reissue. Amongst the reissue, the album recharted in the UK at number sixty-four, alongside being placed on the top of the 'Rock & Metal Albums' chart in their native.[29]

The album was a commercial outbreak in sales, selling over 6 million copies worldwide as of present.[33] In the United States, it was certified gold on 15 April 1986, then platinum on 10 November 1987. It was eventually certified double-platinum on 24 July 1992 as its last updated certification by the RIAA, selling over 2,000,000 copies.[34] For digital sales, the album has sold 3,000 digital albums and 167,000 digital tracks as of 2011 according to the Nielsen SoundScan figures.[35] According to Coverdale, the album sold over four million copies in the United States alone to this date,[36] only half the certified units sold (8 million) on their follow-up album.[37] The album was certified platinum in Canada, selling over 100,000 copies by March 1988.[38] It also earned gold certifications in Japan[39] and Sweden.

"Guilty of Love" was the first single from the album released on 1 August 1983,[40] charting at number thirty-one in the UK. Following that came "Give Me More Time", released on 3 January 1984,[41] peaked at number twenty-nine, also managing to chart at number twenty-seven at Ireland. The promotional single, "Slow an' Easy" provided a commercial breakthrough in the American market, charting at number seventeen in the US Mainstream Rock charts, becoming the band's first top 40 mainstream rock song in the US. "Love Ain't No Stranger" debuted at number forty-four in the UK, but notably debuted at number thirty-three on US Mainstream Rock Airplay, the second US top 40 rock hit there.

Touring

[edit]

Originally, the supporting tour for the album, was slated for December, but was moved to February. Rehearsals for the album tour started on 2 February and were finished on the 15th. The European tour began in Dublin on 17 February, with the Coverdale / Sykes / Galley / Murray / Lord / Powell line-up (with Sykes' first appearance and Murray's first since re-joining the group). The band however, ran into trouble during a tour stop in Germany, where Mel Galley broke his arm after leaping on top of a parked car. He sustained nerve damage, leaving him unable to play guitar. He continued as a Whitesnake member for a time, but was forced to leave not long after, making the line-up a five-piece. Galley's last performance, with the band was in Manchester on 5 April 1984. Deep Purple's reunion was imminent, and Jon Lord played his last Whitesnake concert on 16 April 1984, at the Grand Hotel in Stockholm, Sweden which was filmed for the "Måndagsbörsen" Swedish TV show. The show itself appeared on a 2014 video album "Live in '84: Back to the Bone" (later re-released in the 35th anniversary reissue). Lord's departure, now left Whitesnake as a four-piece, not counting the off-stage keyboard player Richard Bailey, who was brought into the band.

The band toured extensively in the continuous United States all cross the country, along with the US version of the album rapidly gained airplay there. As a result, it helped the American market to open itself for Whitesnake, which the band further supported opening for Quiet Riot and Dio.[42][43] The band had toured in Japan for a spot at the Super Rock '84 festival, that included Bon Jovi and Scorpions.[44][45] The supporting tour would extend throughout to mid-January 1985, where they played the first musical festival installment of Rock in Rio at Rio de Janeiro, Brazil to replace Def Leppard.[46] It was the very last appearance for this four-piece lineup, as drummer Cozy Powell left after the end of the tour, due to a relationship strained with Coverdale, caused by a lack of financial payout disputes, [47][48] while Sykes would be dismissed during the Whitesnake 1987, recording sessions a year later and Murray was also let go in early 1987.[49][50]

Reissues

[edit]

On 8 June 2009, the album was re-issued as a two-disc digipack to commemorate its 25th anniversary. On the first disc, the CD contains the entire US mix of the album and 8 of the original UK mixes digitally remastered.[51] The UK mixes of "Hungry for Love" and "Love Ain't No Stranger" are not included, but an acoustic version of "Love Ain't No Stranger" is featured (taken from Starkers in Tokyo). A DVD containing promo videos and live performances is also included. Another version of the 25th reissue was released by Rhino in 2017.[52]

A deluxe remaster version was released on 8 March 2019 in a number of configurations: CD, 2CD, 2LP, and a super deluxe 6 CD+DVD box. The 6CD/DVD collection features remastered versions of the UK and US versions of Whitesnake's sixth studio album, a 35th-anniversary remix, along with previously unreleased live and studio recordings, music videos, live footage, and an interview with vocalist David Coverdale, previously released on the Japanese American mix on the album. The reissue also came separately as a double CD edition and 2LP formats featuring the remastered versions of the UK and US mixes along with bonus tracks, while a new CD/2LP contained the 35th-anniversary remix by Christopher Collier, featuring yet a different track listing.[53]

Title and artwork

[edit]

The title of the album (or song) was a "tongue-in-cheek" comment that was involved in a play with people's relationships whereas a woman continues to be in an argument repeatedly while David Coverdale is responding to de-escalate the situation by being "anatomically conversant." He also stated that the title is actually "not about bananas" (a vulgar pseudonym for the word "penis," which was actually taken from the inspiration of the band's name).[25] In a 2009 Metro interview, Coverdale remarked that people "popped their cherry" (a slang for losing their virginity or a misconception to have sex) to the album as it was intended for "pole dancing."[54]

The album's front cover is a photo of a model with the snake wrapping around her shoulder eventually descending to her cleavage shot by Jurgen Barron Reisch, who also shot for the front cover of well-known pop/R&B artist Prince's 1979 eponymous album.[55] When asked about the story of the album's cover art, Coverdale stated that there were two models sent in to be photographed for the upcoming album, with a seventeen-year-old female model named Franzeska on the front cover who passed out caused by a movement from the "python that draped around her shoulders [...] between her substantial glow."[36][56] The original photo was cropped between the model's nose because "her eyes were rolling up" as a result of her fainting. For the back cover of the album, another unnamed model was brought in with the same situation that involved a snake's head around her neck with a similar dress that covered from her shoulder to the opposite hip.[57]

Reception and legacy

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarStarStarStarHalf star[58]
Collector's Guide to Heavy Metal8/10[59]
MusicHound RockStarStarStarStar[60]
Rolling StoneStarStarStarHalf star[61]

Commercially, the album achieved considerable success. The album peaked at number nine on the UK Albums Chart, marking Whitesnake's fourth top-ten appearance in their native country. In the United States, the album peaked at number 40 on the Billboard 200 and eventually re-entered the charts in 1988 due to the success of their self-titled album. It was later certified double platinum by the Recording Industry Association of America (RIAA) and remains one of the band’s best-selling albums, with over six million copies sold worldwide. The singles—"Guilty of Love", "Give Me More Time", "Standing in the Shadow" and "Love Ain't No Stranger"—were released to promote the album. In the United States, "Love Ain’t No Stranger" and "Slow an' Easy" received heavy airplay on rock radio and significant exposure through their accompanying music videos on MTV. These tracks became signature songs for the band, bolstering their growing presence in the American rock scene. Slide It In was positively critiqued in music magazines and critics, particularly in North America, where it earned accolades for its fusion of blues-influenced rock and glam metal. In 2010, Martin Popoff ranked the album at #241 in his book The Top 500 Heavy Metal Albums of All Time.[3] Its legacy is cemented as a defining release in Whitesnake’s career, bridging their early blues-rock roots with the polished, arena-ready sound that would dominate their later work.[62][4][63]

Track listings

[edit]

UK release

[edit]
Side one
No.TitleWriter(s)Length
1."Gambler"David Coverdale, Mel Galley3:57
2."Slide It In"Coverdale3:20
3."Standing in the Shadow"Coverdale3:32
4."Give Me More Time"Coverdale, Galley3:41
5."Love Ain't No Stranger"Coverdale, Galley4:13
Side two
No.TitleWriter(s)Length
6."Slow an' Easy"Coverdale, Micky Moody6:09
7."Spit It Out"Coverdale, Galley4:11
8."All or Nothing"Coverdale, Galley3:34
9."Hungry for Love"Coverdale3:57
10."Guilty of Love"Coverdale3:18
Japanese bonus track
No.TitleWriter(s)Length
11."Need Your Love So Bad"Little Willie John, Mertis John Jr.3:14

US and Canadian release

[edit]
Side one
No.TitleWriter(s)Length
1."Slide It In"Coverdale3:20
2."Slow an' Easy"Coverdale, Moody6:08
3."Love Ain't No Stranger"Coverdale, Galley4:18
4."All or Nothing"Coverdale, Galley3:40
5."Gambler"Coverdale, Galley3:58
Side two
No.TitleWriter(s)Length
6."Guilty of Love"Coverdale3:24
7."Hungry for Love"Coverdale3:28
8."Give Me More Time"Coverdale, Galley3:42
9."Spit It Out"Coverdale, Galley4:26
10."Standing in the Shadow"Coverdale3:42
25th Anniversary Edition DVD
No.TitleLength
1."Guilty of Love" (music video)3:17
2."Slow an' Easy" (music video)4:16
3."Love Ain't No Stranger" (music video)4:33
4."Guilty of Love" (live at Donington 1983)4:18
5."Love Ain't No Stranger" (live from Starkers in Tokyo)3:17
6."Give Me More Time" (BBC TV's Top of the Pops 19/1/84)3:37
7."Love Ain't No Stranger" (live from Live... In the Still of the Night)4:28
2019 release
No.TitleWriter(s)Length
1."Gambler"Coverdale, Galley3:57
2."Slide It In"Coverdale3:19
3."Slow an' Easy"Coverdale, Moody6:01
4."Love Ain't No Stranger"Coverdale, Galley4:14
5."Give Me More Time"Coverdale, Galley3:42
6."Standing in the Shadow"Coverdale3:39
7."Hungry for Love"Coverdale3:29
8."All or Nothing"Coverdale, Galley3:41
9."Spit It Out"Coverdale, Galley4:28
10."Guilty of Love"Coverdale3:25

Personnel

[edit]

Credits are adapted from the album's liner notes.[27][64][36][65]

Whitesnake
Additional musicians
  • Bill Cuomo – additional keyboards (US Mix)
  • The Fabulosa Brothers — backing vocals (All tracks with the exception of "Slow an' Easy")
  • The Big 'Eads (Jimmy, Ben, Erik, Baru-Baru, Jools, Jane, Galley, Powell, Coverdale) — backing vocals (Slow an' Easy)
Technical
Management
Design
  • Manfred Brey — artwork, art direction
  • Juren Barron Reisch – photography
Reissue (2009, 2012)
  • David Coverdale — executive producer, project co-ordination
  • Michael McIntyre — producer, project co-ordination
  • Libby Jones — project and A&R co-ordination (in retrospect for EMI)
  • Nigel Reeve — project and A&R co-ordination (in retrospect for EMI)
  • Hugh Gilmour — A&R, project release co-ordination, reissue design
  • Helen Owens — project manager
  • Robert Ellis — live photography
  • Simon Fowler — additional photography
  • Chris Crayer — additional photography
  • Hugh Gilmour — collector edition artwork
  • Dave Donnelly — remastering (at DNA Mastering, Los Angeles)
Reissue (2019)
  • David Coverdale — executive producer
  • Michael McIntyre — producer
  • Hugh Gilmour — A&R, reissue design, package design
  • Tom Gordon — project audio coordination, restoration
  • Scott Hull — remastering (at Masterdisk; Peekskill, NY
  • Christopher Collier — remixing (2019 Remix)
  • Mike Engstrom — product manager
  • Kris Perera — product manager
  • Ellys Airey — production and packaging manager

Charts

[edit]

Certifications

[edit]
Region Certification Certified units/sales
Canada (Music Canada)[38] Platinum 100,000^
Japan (RIAJ)[39] Gold 100,000^
Sweden (GLF)[87] Gold 50,000^
United States (RIAA)[88] 2× Platinum 4,000,000[37]
Summaries
Worldwide — 6,000,000[33]

^ Shipments figures based on certification alone.

Release history

[edit]
Region Date Label(s) Format(s) Edition(s) Mix(es) Ref.
Europe 30 January 1984
Standard European [28]
United Kingdom 6 February 1984 [89]
Japan 23 March 1984
  • CD
  • LP
  • cassette
 [90]
North America 16 April 1984 Geffen
  • LP
  • cassette
 American [91]
Japan 21 December 1984
  • Geffen
  • CBS/Sony
 LP [92]
United Kingdom 11 March 1985
  • EMI
  • Liberty
 Picture disc Limited [93]
North America 1987 Geffen
Standard [citation needed]
United Kingdom 11 April 1988 EMI
  • CD
  • LP
 European [94]
Japan 30 September 1988 CBS/Sony CD Both [95]
Various 18 December 2006 Parlophone
European [96]
Europe 8 June 2009 EMI
25th Both [51]
North America 30 June 2009
[97]
Various 8 March 2019
  • CD
  • DVD
  • LP
  • digital download
  • streaming
 35th
  • Both
  • 2019 Remix
 [53]
Japan 27 March 2019
  • CD
  • DVD
  • LP
  • SHM-CD
 [98]
Various 10 April 2020 LP Limited 2019 Remix [99]
6 January 2026
  • Streaming
  • digital download
 Reissue
  • Both
  • 2019 Remix
 [100]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Slide It In

View on Grokipedia
from Grokipedia
Slide It In is the sixth studio album by the English band , released on 30 January 1984 in by /. Recorded primarily in 1983 at in , , the album features contributions from key members including vocalist , guitarists and , bassist , and keyboardist , with additional input from on guitar and Neil Murray on bass for the U.S. version. The album underwent significant revisions for its North American release on 16 April 1984 via , including remixing by and new recordings to align with American tastes, reflecting lineup shifts after Lord's departure to rejoin . It peaked at number 9 on the and number 40 on the US Billboard 200, eventually achieving double platinum certification in the United States by the RIAA in 1992 for sales exceeding two million copies, and over six million worldwide overall. Notable singles included "Guilty of Love" (UK #31), "Love Ain't No Stranger" (UK #44, a staple in 's live sets), and "Standing in the Shadow" (UK #62), with the latter two gaining traction on US rock radio. The record's blend of bluesy and anthemic ballads helped propel toward international stardom, setting the stage for their explosive success with the 1987 self-titled album.

Background

Band context in 1982–1983

In 1982, faced significant internal tensions during and after the recording of their album Saints & Sinners. Guitarist abruptly departed during the mixing sessions at , leaving the band reeling. Keyboardist and drummer further exacerbated frustrations by skipping studio obligations to attend horse-racing events, prompting disappointment from vocalist and guitarist . These issues culminated in a band meeting where manager John Coletta, acting on Coverdale's legal advice to dissolve the group and escape restrictive management contracts, informed Marsden, Paice, and bassist Neil Murray that their involvement with was over. Marsden later reflected that his own suggestion to end the band amid these strains had unwittingly sealed his exit, marking the departure of several founding members. Coverdale sought to steer toward a more commercial sound, moving beyond the blues-rock roots of earlier albums like Trouble (1978) and (1980), to achieve broader appeal particularly in the United States. This vision was driven by financial pressures and ongoing management disputes that limited the band's earning potential despite consistent success. Saints & Sinners peaked at number 9 on the and sold approximately 60,000 copies domestically, representing modest achievements but underscoring the need for an American breakthrough after years of underwhelming international sales. Coverdale's strategy involved restructuring the band to inject fresh energy and align with emerging trends, prioritizing a "more electric modern take" on their established style. By early 1983, Coverdale had stabilized a temporary lineup to support ongoing tours and prepare for new material, retaining while recruiting drummer , bassist , and guitarist to replace the departed members. Guitarist briefly rejoined for continuity, allowing the group to complete a UK tour promoting Saints & Sinners that extended into the spring. Rehearsals in this configuration focused on refining their live set and laying groundwork for the next album, providing a fragile but functional platform amid the recent upheavals before further adjustments during recording.

Signing with Geffen Records

In the wake of their 1982 album Saints & Sinners, Whitesnake departed from their longstanding association with EMI, Liberty, and United Artists, driven by the labels' inadequate distribution networks and resulting negligible sales in the United States despite solid performance in the UK and Europe. The band's earlier releases had yielded few financial returns, exacerbating internal strains and nearly leading to the group's dissolution. This pivotal shift culminated in a late 1982 signing with exclusively for North American distribution, orchestrated by influential A&R executive , a longtime admirer of David Coverdale's work. Kalodner, credited with revitalizing acts like , advocated for a polished, arena-rock sound to better suit American tastes, marking a departure from the band's bluesier British roots. Geffen's involvement promised robust support for US market penetration, contrasting sharply with prior limitations. During initial meetings, Coverdale negotiated terms that preserved substantial artistic control for while accommodating demands to tailor material for broader appeal, including enhanced production values. Geffen committed significant resources to promotion across , allocating increased budgets for recording enhancements and marketing campaigns to position as a viable act. This laid the groundwork for the band's , building on the unresolved tensions within the group from earlier that year.

Writing and Recording

Songwriting process

The songwriting for Slide It In was primarily led by , who wrote the majority of the tracks, often collaborating with band members during informal sessions at his home in , , in the UK during 1983 pre-production. contributed to select songs, including "Slow an' Easy," while co-wrote several others such as "Slide It In," "Love Ain't No Stranger," "All or Nothing," "Spit It Out," and "Standing in the Shadow," reflecting the band's dynamic. provided input on keyboard-oriented compositions. These collaborative jams helped outline the album's core tracks, blending raw ideas before formal recording. Tracks like "Slide It In" and "Guilty of Love" emerged from these 1983 UK pre-production sessions, where Coverdale and developed riff-driven structures emphasizing energetic hooks over the band's earlier foundation. "Guilty of Love," solely penned by Coverdale, captured themes of romantic turmoil through its dynamic build from quiet verses to explosive choruses, a technique Coverdale favored for creating emotional contrast. Similarly, "Slide It In" was crafted as an upbeat opener, co-written by Coverdale and to inject a playful, innuendo-laden edge into the material. The songwriting marked a deliberate shift from Whitesnake's bluesy roots toward pop-metal hooks, with Coverdale drawing inspiration from American acts like to broaden appeal for U.S. audiences and add a more electrified, radio-friendly polish. This evolution was evident in the lighter, more anthemic arrangements compared to prior releases. "Love Ain't No Stranger," co-written by Coverdale and , exemplified this change through its power format, starting subdued before rising to a soaring climax, and was directly inspired by Coverdale's personal experiences with relationships, heartbreak, and the demands of the rock lifestyle.

Recording sessions

The recording sessions for Slide It In were held during the summer of 1983 at Musicland Studios in Munich, Germany, selected for its established reputation in rock music production, where notable acts like Deep Purple and Scorpions had previously recorded. The core band members involved included David Coverdale on lead vocals, Micky Moody and Mel Galley on guitars, Jon Lord on keyboards, Colin Hodgkinson on bass guitar, and Cozy Powell on drums; Neil Murray contributed bass on some tracks, particularly for the U.S. version. These sessions were marked by challenges stemming from ongoing lineup instability, including the replacement of Hodgkinson by Murray, as well as the pressure to adhere to a compressed timeline dictated by to align with their U.S. market strategy. A notable highlight was Cozy Powell's dynamic and powerful drumming performance on "Standing in the Shadow," which contributed significantly to the track's intensity; the album was ultimately completed in late 1983.

Production

Producers and engineering

, an acclaimed producer and engineer celebrated for his collaborations with and , took the helm for Whitesnake's Slide It In, focusing on preserving the band's dynamic live-band energy within a framework. His production approach emphasized authenticity, drawing from his history of crafting powerful, unpolished sounds that highlighted instrumental interplay and vocal intensity. Birch handled both engineering and initial mixing duties, employing analog tape recording to deliver a raw aesthetic with forward guitars, commanding vocals from , and blues-inflected edges courtesy of Jon Lord's contributions. The sessions prioritized a thick guitar texture through multi-tracking, aligning with the era's rock production norms to enhance the album's thickness and drive. Completed in late 1983 at , the UK mix catered to European audiences' affinity for blues-rock sensibilities.

Remixing for the US market

Following the completion of the original UK version of Slide It In in late 1983, insisted on a remix for the market in early 1984 to adapt the album's sound for American FM radio and , addressing concerns that the Martin Birch-produced mix sounded too "European" and keyboard-heavy, potentially limiting its commercial appeal in the competitive rock scene. To achieve this, overdubs were recorded from January 19 to 28, 1984, at Goodnight Studios in Los Angeles, where new guitarist John Sykes added lead guitar parts on tracks including the title song "Slide It In," "Slow an' Easy," and "Spit It Out," often replacing or overlaying original lead guitarist Bernie Marsden's contributions, while bassist Neil Murray re-recorded bass lines on several songs, supplanting Colin Hodgkinson's parts for a punchier low end. Keyboardist Bill Cuomo also contributed fresh synth elements to reduce the prominence of Jon Lord's organ work, aligning with Geffen's vision for a brighter, more hook-driven sound. The remixing was handled by producer Keith Olsen, who emphasized vocals and guitars, incorporating additional reverb to create a more spacious and radio-ready polish while toning down the bluesier, denser textures of the UK mix. The track order was resequenced for the US edition to prioritize immediacy, opening with the title track "Slide It In" instead of the UK version's "Gambler", followed by "Slow an' Easy", "Love Ain't No Stranger", and "All or Nothing" to better suit programming demands and showcase the revised production's accessibility. Subtle adjustments included extended fades on "All or Nothing" and "Standing in the Shadow," and an earlier fade-out on "Hungry for Love," further tailoring the album's flow. David Coverdale expressed ambivalence about the alterations, initially granting Geffen "carte blanche" to remix despite his satisfaction with the original's raw energy, noting that the version allowed his voice to cut through more clearly but criticized it as "dynamically dull" and lacking the "British " that defined the band's identity, though he ultimately viewed the changes as essential for achieving a breakthrough.

Release and Promotion

Initial release and formats

Slide It In was initially released in Europe on 30 January 1984 through Liberty/EMI. The UK edition followed on 6 February 1984 via the same labels. In Japan, the album was issued in March 1984, utilizing the UK mix to align with the European version. The United States saw the album's launch on 16 April 1984 by , presenting a remixed version adapted for the North American audience. Initial formats in the US encompassed vinyl LP, cassette, and , reflecting common of the era. Across all regions, the album was distributed primarily in vinyl LP and cassette formats, with no digital options available upon debut.

Singles and music videos

The from Slide It In, "Guilty of Love", was released in the UK on 13 August 1983, ahead of the album's European launch, and peaked at number 31 on the UK Singles Chart. The B-side featured the non-album track "Gambler", produced by . This release helped build anticipation for the album, showcasing David Coverdale's vocal style and the band's evolving sound. Following the album's release, "Standing in the Shadow" was issued as a single on 16 April 1984, serving primarily as a promotional release in several markets, including a promo edition in . It peaked at number 62 on the UK Singles Chart but received radio airplay, highlighting the album's blues-inflected rock elements. The track was later re-recorded for the band's 1987 self-titled album. "Love Ain't No Stranger" was released as a single in the on 28 October 1984, with "Slow an' Easy" as the B-side, peaking at number 44 on the UK Singles Chart. It became a staple in Whitesnake's live sets and gained traction on rock radio. In the , where the album was remixed by for to suit American radio preferences, the title track "Slide It In" was promoted in 1984. The music video featured live footage and performance clips to target rotation. Videos for "Slow an' Easy" and "Standing in the Shadow" also emphasized the band's energetic stage presence and visual appeal, with the remixed versions of the tracks adapted for broader airplay in the market compared to the original mixes.

Touring

The Slide It In tour commenced with a European leg in February 1984, encompassing approximately 35 shows across the , , , , , and Switzerland, including headline performances at prominent venues such as in on March 3, the in Birmingham on March 4, and St David's Hall in on March 7. Following a brief Japanese run in August, the band launched its North American tour in July 1984, featuring over 60 dates through late 1984 and into early 1985, with serving as the opening act for Dio on select West Coast dates like the July 24 show at Spokane Coliseum and for on East Coast and Midwest legs, including the August 5 performance in Long Beach. This outing introduced the revamped lineup with guitarist —who had contributed to the album's recording—alongside bassist Neil Murray, drummer , and keyboardist Richard Bailey, marking a shift toward a harder-edged sound that energized live performances. Setlists emphasized material from Slide It In, typically incorporating 6 to 7 tracks per concert such as "Gambler," "Guilty of Love," "Love Ain't No Stranger," and "Slow an' Easy," blended with established favorites including "," "," and covers like "Ain't No Love in the Heart of the City," which appeared in 36 shows that year.

Reissues

In 1994, Geffen Records issued a digitally remastered CD edition of Slide It In, featuring the U.S. mix with the bonus track "Gambler" added to the tracklist. This reissue aimed to enhance audio quality for compact disc consumers while preserving the album's core lineup of nine tracks from the American version. The 2009 25th Anniversary Edition, released by EMI on June 30, marked a significant expansion, available as a two-disc set comprising a remastered CD and a bonus DVD. The CD included the original U.K. mix with six additional tracks, such as B-sides like "Need Your Love So Bad" and live recordings from the era, while the DVD offered promotional videos and live footage of performances by David Coverdale and the band. Accompanied by a 24-page booklet with rare photos and Coverdale's new liner notes, this edition celebrated the album's enduring appeal. Building on that momentum, a 2011 vinyl revived the in analog format, targeting collectors seeking high-fidelity pressings of the original U.K. mix on 180-gram heavyweight vinyl. This contributed to the format's resurgence among rock enthusiasts. The 2019 Ultimate Special Edition, distributed by Rhino and to commemorate the 35th anniversary, elevated reissues to a lavish level with a six-disc boxed set (five CDs and one DVD, though some configurations list four CDs plus Blu-ray). It featured newly remastered versions of both the U.K. and U.S. mixes, alongside 35th Anniversary remixes produced by Coverdale, unreleased demos, rough monitor mixes, and a complete 1984 from capturing Jon Lord's final performance. The DVD included restored music videos in and additional live clips, with the package enhanced by an extensive booklet of memorabilia, photos, and interviews. More accessible variants included a two-CD deluxe edition, a double LP on 180-gram vinyl, and a single remastered CD. In 2024, Rhino released a remastered (catalog R2 563585) of the U.S. mix, incorporating updated from Coverdale that reflected on the album's production and legacy. This edition maintained the core tracks while improving sonic clarity for contemporary listeners. Extending the album's live dimension into 2025, Rhino issued Access All Areas: Live on April 25, a multi-disc collection remastering select performances from 2004–2015, including live renditions of Slide It In tracks like "Slide It In," "Slow An' Easy," and "Love Ain't No Stranger." The set, featuring 88 tracks across eight with a 60-page and , highlighted the songs' vitality in Whitesnake's ongoing tours. These reissues, spanning CD, vinyl, and deluxe boxes with memorabilia, have sustained the album's popularity, contributing to worldwide sales exceeding six million copies.
YearEditionFormatKey Additions/FeaturesLabel
1994Digital RemasterCDBonus track "Gambler"; enhanced audioGeffen Records
200925th Anniversary2-CD + DVDB-sides, live tracks, videos, photos, liner notesEMI
2011Vinyl ReissueLP (180g)Original U.K. mix for analog playbackEMI
2019Ultimate Special (35th Anniversary)5-CD + DVD/Blu-ray box; variants: 2-CD, 2-LPRemastered mixes, new remixes, demos, full 1984 live show, videos, memorabiliaRhino/Parlophone
2024RemasteredCD (R2 563585)Updated liner notes; U.S. mixRhino
2025Access All Areas: Live (select tracks)8-CD boxRemastered live performances of album songs (2004–2015); book, posterRhino

Title and Artwork

Album title origin

The album title Slide It In was coined by frontman as a double , playfully referencing both the act of sliding a vinyl record into its sleeve and sexual . This phrase emerged spontaneously during the 1983 recording sessions at in , produced by . Geffen Records, handling the U.S. release, embraced the edgy title as a strategic fit for the glam metal scene, enhancing its appeal for rotation amid the era's emphasis on bold, image-driven rock acts. In later reflections, such as the 25th anniversary reissue and a Japanese edition commentary, Coverdale reiterated the title's lighthearted intent, clarifying it as a commentary on relational dynamics—where resolves arguments—while distancing it from vulgar interpretations, like misconceptions involving . He emphasized its fun, non-explicit nature, stating, "'Slide It In' is more of a ... the only way I’ve ever found to remedy that situation is to get ‘anatomically conversant’."

Cover art and packaging

The for Whitesnake's Slide It In features a provocative of a model with a large python coiled around her neck and shoulders, wearing a low-cut black top that emphasizes the album's themes of and rock excess. The imagery directly ties into the record's title, evoking and the band's aesthetic. The was taken by Barron Reisch. According to band leader , the photo shoot was challenging; the first model fainted when the python suddenly tightened around her neck during her debut modeling assignment, prompting the use of a second model to complete the session. The snake's positioning even unintentionally formed a shape resembling the early logo. The 's packaging varied by region and format, with the original European LP released in a sleeve containing full and interior photographs of the band members posed in leather outfits, reinforcing their image as blues-infused hard rockers. The edition, released by , used the same core artwork but incorporated minor adjustments for a more vibrant presentation to align with the remixed tracks aimed at American audiences. Later reissues, such as the 2009 25th anniversary edition, included expanded booklets with additional rare photos and memorabilia while retaining the iconic front cover.

Musical Style and Themes

Genres and influences

Slide It In represents a transitional album for , blending the band's established foundations with harder-edged and emerging elements, particularly evident in the polished US remix designed for broader American crossover appeal. The sound draws heavily from riff-driven influences like Led Zeppelin and , reflecting frontman David Coverdale's roots in the latter band, while incorporating the glossy production sheen characteristic of hair metal. Keyboardist Jon Lord's contributions, including and textures, add subtle touches amid the dominant guitar-bass-drums focus. Specific tracks highlight this genre fusion: "Slow an' Easy" embodies a bluesy ballad style with soulful vocals and languid pacing, true to Whitesnake's early influences, while "Spit It Out" serves as an uptempo hard rocker propelled by aggressive riffs and driving rhythm. Compared to the rawer of the prior album Saints & Sinners, Slide It In adopts a tougher, leaner approach with heavier tones and more streamlined arrangements, signaling the band's evolution toward arena-ready rock. The album's structure supports its anthemic quality, with songs averaging about 4:30 in length across its nine tracks—totaling roughly 40 minutes—and featuring prominent guitar solos that underscore the ethos, such as those in the title track and "Guilty of Love." This emphasis on extended instrumental passages and hook-laden choruses bridges the group's heritage with the commercial demands of the mid-1980s.

Lyrical content and themes

The lyrics of Slide It In predominantly revolve around themes of , , and heartbreak, often infused with playful that underscores the album's sensual undertones. The title track, "Slide It In," exemplifies this through its overt sexual double entendres, portraying desire as a bold, physical pursuit without explicit , as Coverdale crafted it to evoke a lascivious yet teasing energy. Similarly, "Give Me More Time" explores the plea for amid emotional turmoil, with the narrator acknowledging past heartache while craving deeper intimacy, highlighting the push-pull of romantic dependency. "Slow An' Easy" further amplifies lustful motifs, depicting a seductive encounter as a leisurely, indulgent act, blending raw passion with a sense of unhurried . These elements collectively paint relationships as intense, bodily experiences marked by yearning and . David Coverdale's lyrical persona emerges as a seductive anti-hero, a charismatic figure navigating the highs and lows of romance with a mix of vulnerability and defiance, influenced by his personal marital struggles during the early . Tracks like "Standing in the Shadow" convey heartbreak through imagery of emotional hiding and regret, reflecting a man grappling with relational fallout. Yet, empowerment surfaces in songs such as "All or Nothing at All," where the narrator demands total commitment—"all or nothing"—rejecting half-measures in love and asserting self-worth amid potential loss. This , drawn from Coverdale's own experiences of marital tension, during the early . Tracks like "Standing in the Shadow" convey heartbreak through imagery of emotional hiding and regret, reflecting a man grappling with relational fallout. Yet, empowerment surfaces in songs such as "All or Nothing at All," where the narrator demands total commitment—"all or nothing"—rejecting half-measures in love and asserting self-worth amid potential loss. This , drawn from Coverdale's own experiences of marital tension, during the early . Coverdale's writing style on the album employs a poetic blend of blues-inflected metaphors and straightforward rock bravado, creating vivid yet accessible narratives without venturing into political or social commentary. In "Gambler," for instance, gambling serves as a bluesy metaphor for the high-stakes risks of love, with the narrator portraying himself as a perennial outsider betting on affection despite repeated losses. This contrasts with the direct, confrontational tone of "Spit It Out," where frustration boils over in blunt declarations of relational impatience. "Guilty of Love" merges the two approaches, using courtroom imagery to confess unapologetic passion as a "crime," balancing introspective guilt with defiant sensuality. Overall, the lyrics prioritize personal, romantic drama over broader societal critique. Compared to Whitesnake's earlier, more introspective blues-rock outings, the lyrical content of Slide It In shifts toward a celebratory, escapist vibe tailored for broader appeal, particularly in the North American market. Where prior albums delved deeply into melancholic reflection, here Coverdale sought a more dynamic and uplifting tone, emphasizing joy in desire and resilience in recovery to provide feel-good anthems amid the era's rock escapism. Songs like "Love Ain't No Stranger" capture this evolution, framing love as an approachable, invigorating force rather than a burdensome weight.

Reception

Contemporary reviews

Upon its release in early 1984, Slide It In garnered positive reception in the UK music press for its energetic sound and catchy hooks. In the , where a remixed version was issued later that year, reception was mixed, with some criticism of the production changes. Reviewers frequently highlighted its accessibility, noting how the refined sound and strong melodies made it a gateway for new fans while retaining the group's signature swagger. Critics viewed Slide It In as Whitesnake's most polished effort to date, broadening its appeal to listeners outside the core heavy metal fanbase.

Retrospective assessments

Retrospective assessments have positioned Slide It In as a pivotal transitional work in 's catalog, marking the shift from their blues-rock foundations toward the arena-ready that defined their mid-1980s breakthrough. critic rated the album 4.5 out of five stars, praising it as "the turning point for " where the band abandoned their bluesier image for a more direct approach, effectively laying the groundwork for the massive success of their 1987 self-titled release. The album earned recognition in Martin Popoff's 2005 book The Top 500 Heavy Metal Albums of All Time, where it ranked at number 241 based on global fan polls, affirming its enduring status among heavy metal classics despite not achieving the chart dominance of later efforts. The 2019 35th anniversary reissue, featuring remastered UK and US mixes alongside previously unreleased material, drew acclaim for revitalizing the album's raw energy. Get Ready to Rock! awarded it 4.5 out of five stars, lauding the UK version's "solid and with feel" musicianship, Coverdale's "bluesy heavy solid and clean" vocals, and tracks like "Love Ain't No Stranger" as timeless highlights that capture Whitesnake at a creative peak. Over time, Slide It In has been reevaluated as an underrated bridge album, often overshadowed by flashier successors but valued for its blend of gritty riffs and accessible hooks amid the era's polished production. A 2024 Louder retrospective described it as Whitesnake's "last album before superstardom," emphasizing its role in capturing the band's internal turmoil and lineup flux while foreshadowing their American ascent. , reflecting on the 2019 reissue in an Ultimate Classic Rock interview, called it a fresh take that "brought a young, contemporary focus" to the material, evoking the "presence" of departed collaborators like during the remixing process and underscoring its personal importance as a career lifeline.

Commercial Performance

Chart performance

Slide It In entered the in early 1984, peaking at number 9 on 11 February and spending a total of 26 weeks in the top 100. In the United States, the album debuted on the in May 1984 following its North American release, reaching a peak of number 40 on 25 August and maintaining a presence on the chart for 85 weeks, reflecting greater longevity compared to its UK performance. Although Slide It In did not reach number 1 in any major market, its steady mid-chart positioning underscored Whitesnake's growing appeal, particularly in the where extensive touring contributed to prolonged chart endurance. Reissues, including the 2019 edition, generated minor chart bumps, such as a brief re-entry on the Official Albums Chart at number 60 in 2019.

Sales and certifications

Slide It In has sold over 6 million copies worldwide as of 2024. In the United States, the album was certified by the RIAA in April 1986 for 500,000 units and double platinum in 1992 for shipments of 2 million units. In , it was certified platinum by for 100,000 units. In , it received a certification for 50,000 units on 28 May 1997. In , it was certified . While there were no formal certifications in most other European countries and , the album saw strong import sales across the region. The 2019 remastered reissue contributed to renewed interest, and certifications remain current as of 2025 with no further updates.

Track Listings

UK and European version

The and European version of Slide It In, released in January 1984 by , presents the album's original mixes produced by , which highlight the blues-rock style through prominent keyboards from , bass lines by , and guitar work by and . This edition totals 9 tracks with a runtime of approximately 36:00 and includes no bonus material on the initial LP pressing.
TrackTitleDuration
1Slide It In3:18
2Slow an' Easy6:09
34:11
4Give Me More Time3:42
5Standing in the Shadow3:35
64:32
7All or Nothing3:40
8Spit It Out4:20
93:24
The emphasize themes of romantic pursuit and passion, underscoring the album's blues-infused vibe in this unremixed form. European variants largely adhered to this track order and mix, though some featured minor production adjustments like alternative mastering.

North American version

The North American version of Slide It In, released on April 16, 1984, by , underwent significant alterations to appeal to the U.S. market, including a complete by producer that emphasized a brighter, more radio-friendly sound with prominent guitars and reduced keyboard presence. This edition featured overdubs by new band members on guitar and Neil Murray on bass, replacing parts originally played by and ; Sykes added fresh work to at least three tracks—"Slow an' Easy," "Spit It Out," and the title track—extending solos for a harder edge, while Murray re-recorded all bass lines to align with the updated lineup. The remix process transformed the album's overall tone, bridging Whitesnake's blues-rock roots with the arena-hard rock style that would define their later success. Unlike the original UK and European release, which contained nine tracks, the North American edition expanded to ten by incorporating the previously unreleased "Gambler" (a B-side from the "Guilty of Love" single) and resequencing the songs for greater immediacy and flow. "All or Nothing," co-written by and , was included, having appeared on the UK edition. The total runtime is approximately 40:38, reflecting the added track and minor extensions in the remixed arrangements. The track listing for the North American version is as follows:
TrackTitleDuration
1Gambler3:58
23:20
3Slow an' Easy6:12
4Love Ain't No Stranger4:09
5Give Me More Time3:44
6Standing in the Shadow3:35
7Hungry for Love4:19
8All or Nothing3:07
9Spit It Out4:21
10Guilty of Love3:25
This sequencing prioritized dynamic pacing, starting with high-energy openers and building to ballads. The Canadian release mirrored the U.S. edition exactly in track order, mixes, and artwork, distributed through Geffen with bilingual (English/French) warning labels on packaging to comply with local regulations. The cassette variant (Geffen M5G 4018) included HX Pro but no unique remixes beyond the standard Olsen production.

Credits

Musicians

The lineup for Slide It In was fluid, reflecting lineup changes that occurred during the recording process, with remaining the constant as lead vocalist on all tracks across both the UK/European and North American versions. On the original UK and European version, guitars were handled by and , who contributed rhythm, lead, and slide parts across multiple tracks. Keyboards were performed by throughout, while bass was performed by . provided drums on the album. Backing vocals were provided by The Fabulosa Brothers on most tracks and The Big 'Eads on select tracks. For the North American version, significant overdubs were added by new guitarist , who joined after the initial sessions but before the remixing; he contributed guitar parts across the album, including co-lead guitar on the title track "Slide It In." Murray's bass was featured prominently on all tracks in this version, solidifying his role in the evolving band lineup. remained on drums.

Technical personnel

The production of Slide It In was handled by , who served as producer, engineer, and mixing engineer for the original UK and European versions recorded at in . For the North American release, contributed additional production and remixing to adapt the album for the US market. The album was mastered by Greg Fulginiti at Artisan Sound Recorders. The artwork and art direction were created by Manfred Brey. Photography for the sleeve was provided by Juren Barron Reisch. Liner notes for the original release were written by . Later reissues, including the 2019 35th Anniversary Edition, featured remastering by at Sterling Sound. The US version explicitly credits guitarist and bassist Neil Murray in the liner notes, reflecting their contributions to the remixed tracks.

Legacy

Impact on Whitesnake's career

Slide It In marked Whitesnake's breakthrough into the market, achieving double platinum certification by the RIAA for sales exceeding two million copies and peaking at number 40 on the . This success established the band as a viable commercial force in America, paving the way for their 1987 self-titled album, which reached number 2 on the and was certified eight times platinum by the RIAA. The album's U.S. re-release, featuring additional guitar overdubs by , aligned the sound more closely with American tastes and garnered significant airplay on and radio, boosting the band's international profile. Following the album's release, significant lineup changes reshaped , with drummer departing in 1985 due to financial disputes over royalty splits, and keyboardist leaving to rejoin for their reunion. Guitarist had already exited before the U.S. version's completion, replaced by , who contributed to the remixed tracks and remained with the band through 1987, enabling large-scale stadium tours that capitalized on the growing popularity. These shifts transitioned from its blues-rock roots toward a glossier identity, with Sykes' involvement proving instrumental in the high-energy performances that supported the 1987 album's promotion. As 's first platinum-certified album, Slide It In represented a critical career milestone, solidifying frontman David Coverdale's stature and demonstrating his potential for solo endeavors, as evidenced by later projects like the 1993 collaboration . Coverdale himself regarded the album as a "make-or-break" pivot, essential for revitalizing the band's momentum after earlier modest successes. The royalties from its sales provided a substantial financial boost, funding lineup expansions and ambitious productions between 1985 and 1987 that propelled to arena-filling status.

Cultural influence and reappraisals

Slide It In played a pivotal role in shaping the glam metal aesthetic, as its remixed U.S. version refined Whitesnake's sound with a polished, radio-friendly edge that resonated with the emerging scene, influencing subsequent bands in the genre. The album's transition from blues-based roots to a more commercial style helped bridge traditional heavy metal with the visual and sonic excesses of , setting a template for bands blending theatricality and guitar-driven anthems. The album's music videos contributed to MTV's rotation, exemplifying hair metal's emphasis on glamorous visuals and high-energy performances that boosted the genre's cultural visibility. In the 2020s, Slide It In has undergone reappraisal as an underrated turning point in Whitesnake's evolution, with podcasts like the Deep Purple Podcast dedicating episodes to dissecting its and versions, praising its raw energy and commercial savvy as foundational to the band's legacy. A 2019 "Ultimate " reissue included unreleased mixes, demos, and live tracks, further highlighting the album's production details and lineup contributions. As a symbol of 1980s rock excess, Slide It In encapsulates the decade's hedonistic glamour through its suggestive artwork, provocative lyrics, and opulent video productions that mirrored the era's cultural indulgence. The album's 40th anniversary in prompted official commemorations, including new merchandise releases and retrospective content highlighting its impact, though no major festival-specific events like were tied directly to the milestone.

References

  1. https://genius.com/albums/Whitesnake/Slide-it-in
  2. https://whitesnake.com/slide-it-in-ultimate-special-edition/
  3. https://www.officialcharts.com/charts/albums-chart/19840311/7502/
  4. https://musicchartsarchive.com/artists/whitesnake
  5. https://jaxsta.com/profile/0ad3aa6f-ce04-4c80-a023-ae79f8abf9c5/awards
  6. https://www.officialcharts.com/artist/18114/whitesnake/
  7. https://www.loudersound.com/features/bernie-marsden-what-happened-the-day-i-left-whitesnake
  8. https://ultimateclassicrock.com/whitesnake-bernie-marsden/
  9. https://www.thehighwaystar.com/news/2009/11/21/a-story-of-the-great-band-that-wasnt-making-any-money/
  10. https://www.officialcharts.com/albums/whitesnake-saints-n-sinners/
  11. https://www.metaledgemag.com/interviews/david-coverdale-talks-slide-it-in-slip-of-the-tongue-and-the-best-song-that-didnt-make-the-1987-record
  12. http://www.gilmourdesign.co.uk/services/liner-notes/whitesnake-slide-it-in-25th-anniversary-emi-2009/
  13. https://www.loudersound.com/features/whitesnake-slide-it-in
  14. https://ultimateclassicrock.com/whitesnake-slide-it-in/
  15. http://www.gilmourdesign.co.uk/services/liner-notes/whitesnake-box-o-snakes-the-sunburst-years-1978-1982-emi-2011/
  16. https://www.loudersound.com/features/john-kalodner
  17. https://ultimateclassicrock.com/david-coverdale-interview-2017/
  18. https://www.loudersound.com/features/whitesnake-early-years-david-coverdale-blues-rock
  19. http://www.melodic-rock.com/interviews/davidcoverdale.html
  20. https://houstonseagle.com/1645110/rock-moment-whitesnake-love-aint-no-stranger/
  21. https://www.discogs.com/release/10242262-Whitesnake-Slide-It-In-Working-Tracks-
  22. https://deeppurplepodcast.com/2022/11/21/episode-188-whitesnake-slide-it-in-uk-release/
  23. https://www.classicrockreview.com/2014/10/1984-whitesnake-slide-it-in/
  24. https://whitesnake.com/early-years-part-4/
  25. https://getreadytorock.me.uk/blog/2019/03/album-review-whitesnake-slide-it-in/
  26. https://deeppurplepodcast.com/2022/11/28/episode-189-whitesnake-slide-it-in-us-release/
  27. https://www.kerrang.com/how-martin-birch-captured-the-magic-of-heavy-metal
  28. https://ultimateclassicrock.com/david-coverdale-2019-interview/
  29. https://www.discogs.com/master/11275-Whitesnake-Slide-It-In
  30. https://www.discogs.com/release/1700114-Whitesnake-Guilty-Of-Love
  31. https://www.discogs.com/release/5696878-Whitesnake-Standing-In-The-Shadow
  32. https://www.whitesnake-blog.com/giras/
  33. https://www.setlist.fm/setlist/whitesnake/1984/wembley-arena-london-england-63d642d3.html
  34. https://www.setlist.fm/setlist/whitesnake/1984/nec-arena-birmingham-england-53d453f5.html
  35. https://www.concertarchives.org/bands/whitesnake?page=1&year=1984
  36. http://www.dio.net/tour/the_last_in_line.html
  37. https://www.setlist.fm/stats/whitesnake-7bd69e30.html?year=1984
  38. https://www.discogs.com/release/5001348-Whitesnake-Slide-It-In
  39. https://whitesnake.com/album/slide-it-in-25th-anniversary-edition/
  40. https://www.rhino.com/product/slide-it-in-35th-anniversary-edition
  41. https://www.discogs.com/release/11222842-Whitesnake-Slide-It-In
  42. https://www.rhino.com/article/out-now-whitesnake-access-all-areas-live
  43. https://whitesnake.com/album/access-all-areas-live/
  44. https://www.songfacts.com/facts/whitesnake/slide-it-in
  45. https://bravewords.com/news/whitesnake-mainman-talks-about-origin-of-name-slide-it-in-tales-and-other-rock-n-roll-moments/
  46. https://www.discogs.com/release/1591357-Whitesnake-Slide-It-In
  47. https://www.sputnikmusic.com/review/65435/Whitesnake-Slide-It-In/
  48. https://www.simplystick.com.au/blog/whitesnake-a-journey-through-hard-rock-glory/
  49. https://nostalgiacentral.com/music/artists-l-to-z/artists-w/whitesnake/
  50. https://www.seaoftranquility.org/sections.php?op=viewarticle&artid=266
  51. https://hardrockheavymetal.wordpress.com/2008/04/29/whitesnake-slide-it-in-1984/
  52. https://www.allmusic.com/album/slide-it-in-mw0000192426
  53. https://www.musixmatch.com/lyrics/Whitesnake/Gambler
  54. https://musicbrainz.org/release-group/e58c6c0a-7602-3251-8111-8820a8764162
  55. https://www.officialcharts.com/albums/whitesnake-slide-it-in/
  56. https://www.billboard.com/charts/billboard-200/1984-08-25/
  57. https://recordsandcharts.com/album.php?alid=15057
  58. https://bestsellingalbums.org/album/55504
  59. https://genius.com/albums/Whitesnake/Slide-it-in-us-mix
  60. https://www.ukmix.org/forum/chart-discussion/artist-chart-analysis/51941-whitesnake-charts-sales-history
  61. https://rateyourmusic.com/release/album/whitesnake/slide-it-in-us-remix-2/
  62. https://www.discogs.com/release/15672434-Whitesnake-Slide-It-In
  63. https://www.discogs.com/release/575438-Whitesnake-Slide-It-In
  64. https://www.discogs.com/release/894863-Whitesnake-Slide-It-In
  65. https://www.amazon.com/Slide-35th-Anniversary-WHITESNAKE/dp/B07N8M7GRS
  66. https://www.discogs.com/release/11782370-Whitesnake-Slide-It-In
  67. https://www.udiscovermusic.com/artist/whitesnake/
  68. https://www.billboard.com/charts/billboard-200/1987-10-17/
  69. https://www.instagram.com/p/C2vPblsyx6F/
  70. https://www.youtube.com/watch?v=_hRe6l-qoK4
Add your contribution
Related Hubs
User Avatar
No comments yet.