Slide It In is the sixth studio album by English rock band Whitesnake, released on 30 January 1984 in Europe by Liberty and EMI Records.

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.

The original mix was criticized 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.

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.

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.

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.

[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.

Guitarist Mel Galley 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.

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.

"[7] 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.

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.

Mel Galley is very talented, a good singer, a great guitar player, but that band just didn't work out.

"[13]Originally, the album was slated to be released in October following to the Monsters of Rock festival show, however, failed to meet the deadline.

"[21] Around that time, Moody had completed the upcoming record with Birch as the band finished up a European tour in late 1983.

"[13]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'.

[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.

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 band however ran into trouble during a tour stop in Germany, where Mel Galley broke his arm leaping on top of a parked car.

The Deep Purple reunion was imminent, and Jon Lord played his last Whitesnake concert on 16 April at Grand Hotel in Stockholm, Sweden which was filmed for the "Måndagsbörsen" Swedish TV show.

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.

[41][42] The band had toured in Japan for a spot at the Super Rock '84 festival that included Bon Jovi and Scorpions.

[45] It was the very last appearance for the four-piece lineup as drummer Cozy Powell left after the tour due to a relationship strained with Coverdale caused by a lack of financial payout disputes,[46][47] while Sykes and Murray would be later dismissed during Whitesnake 1987 recording sessions a year later.

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, preciously released on the Japanese American mix on the album.

[51] 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."

[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.

[53] 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.