Though not their biggest seller, Whitesnake’s sixth album, Slide It In, is arguably their most pivotal work. Peaking inside the UK Top 10 following it’s release at the start of 1984, the record consolidated the success of band’s previous hit UK albums Come An’ Get It and Saints & Sinners, but it also played a key role in their quest to break the US.
However, Slide It In’s acceptance stateside was by no means a given. Indeed, both band and album went through a series of drastic changes along the way and, while the record ultimately triumphed, Whitesnake themselves emerged from the experience as a very different group.
Listen to ‘Slide It In’ here.
“I realised that it wasn’t the same band”
Most of the Slide It In sessions took place at Musicland Studios in Munich, Germany, during 1983. Producer (and former Jimi Hendrix engineer) Eddie Kramer initially manned the console, but the personnel shake-up Whitesnake underwent while making Saints & Sinners had changed the group dynamic.
“I realised that as soon as we started rehearsing and playing that it wasn’t the same band,” guitarist Micky Moody told Hard Roxx magazine in a 1997 interview, adding of some of the newest recruits, “Mel Galley is very talented, a good singer, a great guitar player… Cozy [Powell] 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.”
Along with long-standing keyboardist Jon Lord, Moody left the group after the original album sessions were completed. However, he left a notable parting gift in co-writing the smouldering, bluesy Slow An’ Easy, one of a slew of great hard-rock tunes featured on Slide It In. Kramer, though, expressed doubt that the group’s new material included any big hits.