In their "infinite wisdom" (ha, ha,) Slade's record label in America left both those songs off the album, which was less imaginatively retitled "Keep Your Hands Off My Power Supply," after a British B-Side which wasn't on the original album.
I’m really sorry to hear this. My thoughts are with his family and friends.
Talk Talk offered something distinctive, yet accessible through their singles. While being a sign of where bands of the time could develop, I think they also looked back to the albums released in the 1970s. At least in terms of not producing something geared solely for a few chart releases. I got the feeling that friction played a part in his departure from the industry.
"...not having to believe in a thing to be interested in it and not having to explain a thing to appreciate the wonder of it."
Posters promoting Morrissey's latest album have been removed from railway stations after a commuter complained.
Adverts for the new album by the former Smiths singer have been taken down on the Merseyrail network.
Morrissey has previously expressed support for the far-right For Britain party and earlier this month wore a badge with its logo on during a TV show, but he denies he is a racist.
Merseyrail apologised and said the posters did not reflect its "values".
The adverts, which contain no political message, were removed after a traveller on a Southport service to Moorfields contacted the company to ask if it agreed with Morrissey's opinions.
The man, who asked not to be named, told the BBC he was not "offended" by the posters and did not demand they were taken down.
He said he just questioned the company on whether they were appropriate.
In a statement, Merseyrail said: "Any content used within advertising on the Merseyrail network does not reflect the organisation's values and we apologise for any offence the publication of these posters may have caused."
The company said advertising was managed by an external third party.
Morrisey has not responded to the rail company's decision. But in a message on his website on Friday, he said: "With voice extended to breaking point, I call for the prosperity of free speech; the eradication of totalitarian control; I call for diversity of opinion; I call for the total abolition of the abattoir; I call for peace, above all; I call for civil society."
"...not having to believe in a thing to be interested in it and not having to explain a thing to appreciate the wonder of it."
Basically anything in the hard rock category right now. Simplistic notes and chords, and distortion helps because it hides how bad I am at copying them.
Damn you, you kids! Get off my lawn or I'm callin' tha cops!
In general, ELP have probably held up the worst for me of the more popular 70s prog groups. Even when I'm in the mood for a keys/bass/drums trio, there's about dozen bands I'd go to ahead of them, including both Emerson and Palmer's prior groups.
On a related (but more positive) note, I recently listened to Yes's biggest-selling album 90215 for the 2,000,000th time. Still a highly enjoyable listen, although I found myself getting impatient with "Leave It" and "City of Love" (neither of them have ever been my favorite tracks on the album.) At the same time, I can appreciate the closing track, "Hearts," better than before -- it's definitely epic, and often quite beautiful.
LOL Yeah, "City of Love" is only one of many examples of why prog bands should never try to get "funky."
EDIT: Couple more thoughts about Yes's 90125:
Trevor Rabin is an amazingly versatile guitarist and songwriter who seems to have rarely had the right material or the right set of collaborators or the right working atmosphere. No wonder he went into scoring movies.
My very favorite moment on the entire album is Jon Anderson's defiant cry of "I believe in eternity," in "Hold On."
Previous Thread
