When I first saw A Love Bizarre video (combined Sheila E band & Prince and the Revolution) when I realized the Revolution was disbanded and Sheila E (disbanded) I immediately wondered what the protege scene would be like

I always liked images of Prince(the noituloveR) with the Time, or Prince (and the Revolution or indiv members) with Sheila E etc

that was a long term blow to the bisbanding

This has gotta be one of my favorite threads of all time on Prince.org! Thanks Databank!

Sign O' The Times is what changed my life, specifically 'Adore' when I heard it. Because of that, at the time it didn't mean anything to me nor do I think I even knew about its occurence. Hindsight 20/20:

Wendy and Lisa and the Revolution had the GIFT OF INSPIRATION to Prince that no other members of any of his bands have ever had on him before or after their arrival.

3rdEyeGirl is awakening the magic inside him...I AM SO EXCITED ABOUT THEIR FUTURE!!

I found Prince around the time When Doves Cry came out and from there I started buying new albums as he released them and buying the older albums as I could afford them.

I was upset when I heard. To me they all had a special magic together. Details were sketchy as pre internet you had to reply on music magazines and not a lot of detail was forthcoming apart from the Revolution was no more and rumours about why.

However life went on and no amount of wishing them back was going to help. SOTT was amazing and I also had the Wendy and Lisa solo album (which I love and still play a lot to this day.)

theblueangel said:

I don't think I found out until after Sign O' the Times came out, and I was so in love with that album that I wasn't too grief stricken...although having said that, I was very sad to see Wendy & Lisa go, because I loved (and still love) everything about them: their voices, their musicianship, their attitude, their style, their energy. However, the Sign O' the Times band to me seemed to have some personality, although I was a bit confused as to who was who at first, but I figured I would have to give it some time. I mean, any band with Eric Leeds in it is a-okay in my book!

The main thing I missed on Sign O' the Times was W&L's backing vocals...the songs he wrote for that album (probably because the majority of them were originally to be released by the Revolution) still sounded like songs I could have imagine the Revolution evolving into playing. And then of course Lovesexy just hit me like a ton of bricks and blew my ass away. And I still sensed a band vibe which was nice.

Batman was the first album that absolutely seemed like a solo record to me, but I thought it was just because of the unique nature of it being a soundtrack, and even though it gets slagged on a lot, I adored that record, and still do.

It wasn't until Graffiti Bridge came out, and the New Power Generation was first introduced, that I really missed the Revolution dearly, partially out of the comparison. The NPG was faceless and there was no personality. Plus for the first time I found myself not liking a few songs on the album. In my mind, the NPG did become more or less of a real band by the time came out; as much as Tony M. sucks, Sonny became recognizable as well as Michael B. Shit, I even started liking Tommy Barbarella, who I despised at first. He just cracked me up - and also made me yearn for Dr. Fink.

To me, even though there were some significant lineup changes, that incarnation of the NPG, from 1992 through 1995, was the only *real* NPG. Ever since, it's just a generic name that he uses and it means nothing. I mean, the fact that NPS was originally going to be an NPG record and at the last minute was changed to be a record (without any changes to the songs, as far as I am aware) shows how completely pointless the NPG moniker had become...and it has become even more watered down since. I mean, now Shelby and Liv are the NPG? How did that happen? Not trying to get into a discussion of how much people like them, but they couldn't possibly be any more different from Sonny and Michael B. and Tommy Barbarella. Because, you know, Tommy Barbarella likes it in the dark, but we like a blue light.

Huh... Newpower Soul is a New Power Generation record, not a record. What u need to understand, though, is that Gold Nigga and Exodus are solo Prince albums just as much as Newpower Soul. The full band certainly played on Gold Nigga but it's no less a Prince album than or Diamonds And Pearls which also contained heavy contributions by the band, they played on Gold Nigga but they had no say in what the album would be, what songs would be on it, and despite being given royalties for every song we can guess they didn't write much (it's even possible that Tony didn't write a single one of his raps there, for all we know). As for Exodus it's even more a solo act in the sense that the band doesn't even play that much on it, and once again they had no say in what songs would be on it and how they'd be arranged and edited, and once again they received royalties for that but it seems to be more of a "gift" by Prince than any real songwriting from their part. People are under the illusion that because someone else than Prince is singing, an album is less a Prince album than when he does sing. But do we claim that N.E.W.S. is an Eric Leeds album because his sax is the lead instruments or that Xpectation is a Candy Dulfer album? No, because we know they've just been intrumental in Prince's artistic vision. It's the same with Tony, Sonny, and just as much with Bria Valente, Carmen Electra or Vanity 6 and even Morris at the beginning: they're just session musicians Prince is using. Newpower Soul is no more or less a Prince or a NPG album than its 2 predecessors, Prince was just more obvious about him being behind it.

One thing for Bobby's defense (by comparison to Sheila), though. It's true that when listening to Bobby's live performance with prince I always thought he was a terrible drummer: he had that "heavy", robotic rock sound, like he was smashing the damn drums every time he'd touch them, it seemed so clumsy sometimes and even though it was perfect for the robotic sound of the 1999 and Purple Rain tour it seemed a bit out of phase with the Parade Tour's more jazzy feel (even though his game was already much more "fluid" there than earlier).

Then I heard that jazz improvisation session by Prince, André and Bobby from 1977 and I was like: "Shit!!! The man can play "light", the man can play jazz, the man can play complex shit", and I realized that he couldn't have become a worse player at 27 than when he was at 21, and that the only possible reason why he sounded so "loud" and "robotic" was because Prince wanted him to sound like that. Is Bobby as good a drummer as Sheila? I don't know, but he would most certainly have been able to keep-up with P's sound, had he stayed for the SOTT tour.

databank said:

databank said:

Huh... Newpower Soul is a New Power Generation record, not a O( > record. What u need to understand, though, is that Gold Nigga and Exodus are solo Prince albums just as much as Newpower Soul. The full band certainly played on Gold Nigga but it's no less a Prince album than O( > or Diamonds And Pearls which also contained heavy contributions by the band, they played on Gold Nigga but they had no say in what the album would be, what songs would be on it, and despite being given royalties for every song we can guess they didn't write much (it's even possible that Tony didn't write a single one of his raps there, for all we know). As for Exodus it's even more a solo act in the sense that the band doesn't even play that much on it, and once again they had no say in what songs would be on it and how they'd be arranged and edited, and once again they received royalties for that but it seems to be more of a "gift" by Prince than any real songwriting from their part. People are under the illusion that because someone else than Prince is singing, an album is less a Prince album than when he does sing. But do we claim that N.E.W.S. is an Eric Leeds album because his sax is the lead instruments or that Xpectation is a Candy Dulfer album? No, because we know they've just been intrumental in Prince's artistic vision. It's the same with Tony, Sonny, and just as much with Bria Valente, Carmen Electra or Vanity 6 and even Morris at the beginning: they're just session musicians Prince is using. Newpower Soul is no more or less a Prince or a NPG album than its 2 predecessors, Prince was just more obvious about him being behind it.

Yup!!

databank said:

One thing for Bobby's defense (by comparison to Sheila), though. It's true that when listening to Bobby's live performance with prince I always thought he was a terrible drummer: he had that "heavy", robotic rock sound, like he was smashing the damn drums every time he'd touch them, it seemed so clumsy sometimes and even though it was perfect for the robotic sound of the 1999 and Purple Rain tour it seemed a bit out of phase with the Parade Tour's more jazzy feel (even though his game was already much more "fluid" there than earlier).

Then I heard that jazz improvisation session by Prince, André and Bobby from 1977 and I was like: "Shit!!! The man can play "light", the man can play jazz, the man can play complex shit", and I realized that he couldn't have become a worse player at 27 than when he was at 21, and that the only possible reason why he sounded so "loud" and "robotic" was because Prince wanted him to sound like that. Is Bobby as good a drummer as Sheila? I don't know, but he would most certainly have been able to keep-up with P's sound, had he stayed for the SOTT tour.

I agree with U, I could easily see a Dream Factory era that had an even larger Revolution band that included Sheila E, Eddie M. Cat, having Sheila on percussion and up front (where she belonged) would have been a wonderful thing, letting her lead songs, sometimes playing drums

No way Prince would have kept Bobby Z that long if he could handle the skins

And Prince's music was very diverse from 94 East(which is when Bobby 1st started playing 4 Prince) - Parade/Dream Factory sessions

.

He easily duplicated if it wasn't him as well the Life Can Be So Nice crazy drumming, live

He played every LP cut live very well

.

And Yes Prince did want that more harsher/cold/electric sound for 1999-Purple Rain,

Dr Fink & Bobby Z talked about having to adjust their playing to reflect the sound Prince was going for. And Bobby Z was the one to do all the linn beats for the shows. Loved the drumming on Jack U Off lp

.

the concerts were always more 'programed' than any off shows. Anyone who listens to the 1982 1st Avenue show that the Time performed at as well will see how the set was very diverse and not the more controlled concert shows. Shows that Bobby Z was able to mix it up very well from very fast music to the ballads, rock stuff to bluesy stuff, as well as 1st Avenue 1983 were the PR songs were previewed, I heard the rehearsal of Tempation in Paris and he killed the drums

1.Bambi
2.All The Critics Love U In New York
3.When You Were Mine
4.Sexy Dancer
5.Still Waiting
6.Head
7.Sexuality

.

Bobby Z could have easily played the SOTT shows, hell, he would have most likely played them anyway if the Dream Factory era 1987 progressed. He played on many of the Dream Factory cuts anyway...

.

And I agree with Prince 2012 when he described how Bobby Z played drums on Purple Rain, and outside of Sheila E he's the only one I loved to hear play that song.

Aaron6 said:

databank said:

One thing for Bobby's defense (by comparison to Sheila), though. It's true that when listening to Bobby's live performance with prince I always thought he was a terrible drummer: he had that "heavy", robotic rock sound, like he was smashing the damn drums every time he'd touch them, it seemed so clumsy sometimes and even though it was perfect for the robotic sound of the 1999 and Purple Rain tour it seemed a bit out of phase with the Parade Tour's more jazzy feel (even though his game was already much more "fluid" there than earlier).

Then I heard that jazz improvisation session by Prince, André and Bobby from 1977 and I was like: "Shit!!! The man can play "light", the man can play jazz, the man can play complex shit", and I realized that he couldn't have become a worse player at 27 than when he was at 21, and that the only possible reason why he sounded so "loud" and "robotic" was because Prince wanted him to sound like that. Is Bobby as good a drummer as Sheila? I don't know, but he would most certainly have been able to keep-up with P's sound, had he stayed for the SOTT tour.

@Databank,if you look @ the Controversy tour and Dirty Mind tour live footage u see that Bobby has some skills, especially on "I wanna be your lover". The Controversy tour, his style is very similar to the drum style on "Irresistible Bitch" (83" version)..both those tours Bobby was still playing "live", it wasn't until the 1999 tour thru 86" that he became pretty much a "symbol player" IMO.

Not the Parade tour and the 'ATWIAD' shows, Prince went back to a more organic sound with some electric drumming

.

And being a 'symbol player' was mostly on certain Linn heavy driven songs (which Bobby Z had to put together as well) He still had to keep the basic beats though. Irresistable Bitch and other non Linn driven songs he still did most of the playing: Purple Rain, I Would Die 4 You, Darling Nikki, Let's Go Crazy, Take Me With You, Erotic City, Possessed International Lover etc

.

the (video)live version of A Love Bizarre, the Revolution moved in on the main instruments and killed the song, funky & sexy, I think a lot of us forget at times, that a lot of the songs even protege songs, Prince worked out with the Revolution in studio sessions, like Nothing Compares 2 U, Screams of Passion, Desire, Noon Rendezvous, Erotic City, Feline and many others (not saying they 'created the direct song' just that they were the band he spent countless ours in the studios jamming and fleshing out songs.

databank said:

theblueangel said:

I don't think I found out until after Sign O' the Times came out, and I was so in love with that album that I wasn't too grief stricken...although having said that, I was very sad to see Wendy & Lisa go, because I loved (and still love) everything about them: their voices, their musicianship, their attitude, their style, their energy. However, the Sign O' the Times band to me seemed to have some personality, although I was a bit confused as to who was who at first, but I figured I would have to give it some time. I mean, any band with Eric Leeds in it is a-okay in my book!

The main thing I missed on Sign O' the Times was W&L's backing vocals...the songs he wrote for that album (probably because the majority of them were originally to be released by the Revolution) still sounded like songs I could have imagine the Revolution evolving into playing. And then of course Lovesexy just hit me like a ton of bricks and blew my ass away. And I still sensed a band vibe which was nice.

Batman was the first album that absolutely seemed like a solo record to me, but I thought it was just because of the unique nature of it being a soundtrack, and even though it gets slagged on a lot, I adored that record, and still do.

It wasn't until Graffiti Bridge came out, and the New Power Generation was first introduced, that I really missed the Revolution dearly, partially out of the comparison. The NPG was faceless and there was no personality. Plus for the first time I found myself not liking a few songs on the album. In my mind, the NPG did become more or less of a real band by the time came out; as much as Tony M. sucks, Sonny became recognizable as well as Michael B. Shit, I even started liking Tommy Barbarella, who I despised at first. He just cracked me up - and also made me yearn for Dr. Fink.

To me, even though there were some significant lineup changes, that incarnation of the NPG, from 1992 through 1995, was the only *real* NPG. Ever since, it's just a generic name that he uses and it means nothing. I mean, the fact that NPS was originally going to be an NPG record and at the last minute was changed to be a record (without any changes to the songs, as far as I am aware) shows how completely pointless the NPG moniker had become...and it has become even more watered down since. I mean, now Shelby and Liv are the NPG? How did that happen? Not trying to get into a discussion of how much people like them, but they couldn't possibly be any more different from Sonny and Michael B. and Tommy Barbarella. Because, you know, Tommy Barbarella likes it in the dark, but we like a blue light.

Huh... Newpower Soul is a New Power Generation record, not a record. What u need to understand, though, is that Gold Nigga and Exodus are solo Prince albums just as much as Newpower Soul. The full band certainly played on Gold Nigga but it's no less a Prince album than or Diamonds And Pearls which also contained heavy contributions by the band, they played on Gold Nigga but they had no say in what the album would be, what songs would be on it, and despite being given royalties for every song we can guess they didn't write much (it's even possible that Tony didn't write a single one of his raps there, for all we know). As for Exodus it's even more a solo act in the sense that the band doesn't even play that much on it, and once again they had no say in what songs would be on it and how they'd be arranged and edited, and once again they received royalties for that but it seems to be more of a "gift" by Prince than any real songwriting from their part. People are under the illusion that because someone else than Prince is singing, an album is less a Prince album than when he does sing. But do we claim that N.E.W.S. is an Eric Leeds album because his sax is the lead instruments or that Xpectation is a Candy Dulfer album? No, because we know they've just been intrumental in Prince's artistic vision. It's the same with Tony, Sonny, and just as much with Bria Valente, Carmen Electra or Vanity 6 and even Morris at the beginning: they're just session musicians Prince is using. Newpower Soul is no more or less a Prince or a NPG album than its 2 predecessors, Prince was just more obvious about him being behind it.

You're absolutely correct; I misspoke. NPS is certainly an NPG record..however, it was originally going to be a record. So although I mixed that up, my point remains the same. He and the NPG have become somewhat interchangeable at this point.

[Edited 10/23/13 12:45pm]

OldFriends4Sale said:

Aaron6 said:

.

the (video)live version of A Love Bizarre, the Revolution moved in on the main instruments and killed the song, funky & sexy, I think a lot of us forget at times, that a lot of the songs even protege songs, Prince worked out with the Revolution in studio sessions, like Nothing Compares 2 U, Screams of Passion, Desire, Noon Rendezvous, Erotic City, Feline and many others (not saying they 'created the direct song' just that they were the band he spent countless ours in the studios jamming and fleshing out songs.

Do you really KNOW that was the case with those particular songs? Source?

I was only 17 but I was not happy when I heard the news. I felt the best was yet to come with the Revolution. From 85-86 they were more than just a backup band. Seemed like they were more of an extension of Prince at the time. No doubt he knew that and had to make a fresh start without them. To me SOTT was reflected that.

paulludvig said:

OldFriends4Sale said:

.

the (video)live version of A Love Bizarre, the Revolution moved in on the main instruments and killed the song, funky & sexy, I think a lot of us forget at times, that a lot of the songs even protege songs, Prince worked out with the Revolution in studio sessions, like Nothing Compares 2 U, Screams of Passion, Desire, Noon Rendezvous, Erotic City, Feline and many others (not saying they 'created the direct song' just that they were the band he spent countless ours in the studios jamming and fleshing out songs.

Do you really KNOW that was the case with those particular songs? Source?

Ur so predictable you're not even thinking...

Dude, I'm talking about rehearsals. We all (should) have the rehearsals of these, that's what I'm talking about. Cuzz I know I have them

Bodyheat

Let's Go Crazy

Erotic City

Feline

Screams of Passion

^ you don't have that?

OldFriends4Sale said:

paulludvig said:

Do you really KNOW that was the case with those particular songs? Source?

Ur so predictable you're not even thinking...

Dude, I'm talking about rehearsals. We all (should) have the rehearsals of these, that's what I'm talking about. Cuzz I know I have them

Bodyheat

Let's Go Crazy

Erotic City

Feline

Screams of Passion

^ you don't have that?

We all have them. Were those rehearsals recorded before or after the studio recordings?

databank said:

One thing for Bobby's defense (by comparison to Sheila), though. It's true that when listening to Bobby's live performance with prince I always thought he was a terrible drummer: he had that "heavy", robotic rock sound, like he was smashing the damn drums every time he'd touch them, it seemed so clumsy sometimes and even though it was perfect for the robotic sound of the 1999 and Purple Rain tour it seemed a bit out of phase with the Parade Tour's more jazzy feel (even though his game was already much more "fluid" there than earlier).

Then I heard that jazz improvisation session by Prince, André and Bobby from 1977 and I was like: "Shit!!! The man can play "light", the man can play jazz, the man can play complex shit", and I realized that he couldn't have become a worse player at 27 than when he was at 21, and that the only possible reason why he sounded so "loud" and "robotic" was because Prince wanted him to sound like that. Is Bobby as good a drummer as Sheila? I don't know, but he would most certainly have been able to keep-up with P's sound, had he stayed for the SOTT tour.

I recall Prince recording all the parts for the tour on cassette tapes and giving them to each band member. So it could be the Revolution played exactly the way Prince wanted them to play.

paulludvig said:

OldFriends4Sale said:

Ur so predictable you're not even thinking...

Dude, I'm talking about rehearsals. We all (should) have the rehearsals of these, that's what I'm talking about. Cuzz I know I have them

Bodyheat

Let's Go Crazy

Erotic City

Feline

Screams of Passion

^ you don't have that?

We all have them. Were those rehearsals recorded before or after the studio recordings?

I think you might just be on your 'I don't like the Revolution tip'

Haven't u looked into these too?

We have an obviously PR era sounding Desire, Noon Rendezvous Nothing Compares 2 U & Feline

the recording then comes out with a more Parade era touch , I think U know those rehearsals were done before the studio cut.

Screams of Passion, it's clear this song is being fleshed out and created(to various extents) as we listen.

Again from band member, Susan Rogers and others comments, what I said below is not some made up line

(not saying they 'created the direct song' just that they were the band he spent countless ours in the studios jamming and fleshing out songs.

OldFriends4Sale said:

paulludvig said:

We all have them. Were those rehearsals recorded before or after the studio recordings?

I think you might just be on your 'I don't like the Revolution tip'

Haven't u looked into these too?

We have an obviously PR era sounding Desire, Noon Rendezvous Nothing Compares 2 U & Feline

the recording then comes out with a more Parade era touch , I think U know those rehearsals were done before the studio cut.

Screams of Passion, it's clear this song is being fleshed out and created(to various extents) as we listen.

Again from band member, Susan Rogers and others comments, what I said below is not some made up line

(not saying they 'created the direct song' just that they were the band he spent countless ours in the studios jamming and fleshing out songs.

Seems you're right about Screams of Passion (Feline rehearsal July, studio recording August). Don't know about the rest. But it's an interesting question, don't you think? If we are going to say anything worthwhile about influence we have to be specific about dates and such.

Jestyr said:

I see that a lot of folks responding to this thread discovered The Revolution in hindsight. While the musicians in the post-Revolution band may have been more technically proficient, that wasn't the point with The Revolution. It was a chemistry thing between the band members and audience. To those of us who discovered them during the Purple Years, they were our generation's version of The Beatles or Led Zepplin. Ringo was a suck-ass drummer, but imagine Paul McCartney replacing the three other guys with 'better' players...When it was announced that The Revolution had disbanded it was devastating. Many of us, especially in the US, didn't get a chance to say our goodbyes to the band because the Parade shows were so few and came and went too quickly in the States, as opposed to the European tour which was slightly more organized. So, our last communique from The Revolution came in the form of an interview with Wendy and Lisa in the August 1986 Rolling Stone in which they confessed they 'didn't want to do our own thing' and made it clear they believed that the band was going to be around a long time - two months later they were all gone. So, on a personal level, I was incredibly dissappointed to lose the opportunity to watch that band grow and change with the years.

Exactly--that's what I was saying--as far as we knew, they were gonna keep going. It was a bit of surprise.

Jboogiee said:

I wasn't upset at all when he dropped the Revolution because to me they we're good for their 3 years together but in my opinion they weren't his greatest band. The lineups before them we're tighter to me.

the live band from the DM/Controversy era was like 100000 times better than the W&L version of the Revolution

my ultimate 80s backup band

Prince

+

Dez

Miko

Lisa

Dr.Fink

Boni

André

Sheila E

Eric Leeds/Atlanta Bliss

EddieC said:

No biggie at the time.

They werent really the Revolution (as we knew them) once Jerome and Co were thrown in there as well as Eric and Eddie.

I was shocked and thought now what? I was a teenager. I believe it was breaking news on MTV in Sept 86.

Then in early 1987 Sign O the Times came out and after the first listen thought it was brilliant and so did most music lovers. Apart from the title track and U got the Look the general public ignored this album in the states.

lrn36 said:

databank said:

One thing for Bobby's defense (by comparison to Sheila), though. It's true that when listening to Bobby's live performance with prince I always thought he was a terrible drummer: he had that "heavy", robotic rock sound, like he was smashing the damn drums every time he'd touch them, it seemed so clumsy sometimes and even though it was perfect for the robotic sound of the 1999 and Purple Rain tour it seemed a bit out of phase with the Parade Tour's more jazzy feel (even though his game was already much more "fluid" there than earlier).

Then I heard that jazz improvisation session by Prince, André and Bobby from 1977 and I was like: "Shit!!! The man can play "light", the man can play jazz, the man can play complex shit", and I realized that he couldn't have become a worse player at 27 than when he was at 21, and that the only possible reason why he sounded so "loud" and "robotic" was because Prince wanted him to sound like that. Is Bobby as good a drummer as Sheila? I don't know, but he would most certainly have been able to keep-up with P's sound, had he stayed for the SOTT tour.

I recall Prince recording all the parts for the tour on cassette tapes and giving them to each band member. So it could be the Revolution played exactly the way Prince wanted them to play.

He went THAT far??? Interesting story that I can believe even though I've never read it before. If that's true that says how instrumental the Revolution was, and how little impact they had on P's creative process.

databank said:

lrn36 said:

I recall Prince recording all the parts for the tour on cassette tapes and giving them to each band member. So it could be the Revolution played exactly the way Prince wanted them to play.

He went THAT far??? Interesting story that I can believe even though I've never read it before. If that's true that says how instrumental the Revolution was, and how little impact they had on P's creative process.

I've never heard that one.

.

And even if he did that would just be a flow of how he wanted the songs. What tour from the 1980s or 1990s did Prince not a specific playlist

.

The Purple Rain tour had a few changes here in there, and then the inclusions of ATWIAD preview songs

.

But the Parade tour had a lot more changes, at times Manic Monday, Dance Electric, Alexa de Paris, impromptu guests, extended versions of the songs. And it was this period that we started to see a few aftershows and sound check performances

.

Prince has always been controlled, and even the SOTT Lovesexy shows he most likely gave the flow of songs, because even in those shows it was pretty much the same set list.

.

That has no reflection on the Revolution or the SOTT bands impact on the creative process.

JoeTyler said:

Jboogiee said:

I wasn't upset at all when he dropped the Revolution because to me they we're good for their 3 years together but in my opinion they weren't his greatest band. The lineups before them we're tighter to me.

the live band from the DM/Controversy era was like 100000 times better than the W&L version of the Revolution

You mean the D&L version better than the W&L version?

paulludvig said:

OldFriends4Sale said:

I think you might just be on your 'I don't like the Revolution tip'

Haven't u looked into these too?

We have an obviously PR era sounding Desire, Noon Rendezvous Nothing Compares 2 U & Feline

the recording then comes out with a more Parade era touch , I think U know those rehearsals were done before the studio cut.

Screams of Passion, it's clear this song is being fleshed out and created(to various extents) as we listen.

Again from band member, Susan Rogers and others comments, what I said below is not some made up line

(not saying they 'created the direct song' just that they were the band he spent countless ours in the studios jamming and fleshing out songs.

Seems you're right about Screams of Passion (Feline rehearsal July, studio recording August). Don't know about the rest. But it's an interesting question, don't you think? If we are going to say anything worthwhile about influence we have to be specific about dates and such.

stop paul, trying to hard u r