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"Say Hello, Wave Goodbye" is a song from the album Non-Stop Erotic Cabaret by English synth-pop duo Soft Cell that was released as a single in January 1982 [3] and reached number three on the UK Singles Chart.
David Gray pays tribute to the song on the final track of his album White Ladder, with his cover version of the Soft Cell song, "Say Hello, Wave Goodbye", which ends similarly and even borrows lyrics "Through the rain, hail, sleet and snow, say goodbye. Get on the train, the train and say goodbye".
Live was reissued by the Music Club budget label on 27 June 2005 and retitled as Say Hello, Wave Goodbye: Live. Live is a live album by Soft Cell . The album was released on 7 October 2003 and was recorded throughout Spring 2003 in Birmingham , Manchester , Leeds , London and Brussels during the group's tour in support of the album Cruelty ...
Tainted Love '91" was a follow-up to "Say Hello, Wave Goodbye '91", which was another re-recorded/remixed version of an earlier single from the Soft Cell/Marc Almond compilation.
Say Hello to Soft Cell is a compilation album by Soft Cell.The album was released in 1996 by Spectrum and collects singles, album tracks and b-sides. It is also notable for the inclusion of A Man Can Get Lost (incorrectly titled as A Man Could Get Lost in the artwork), formerly previously available only on 7" vinyl single and (at the time) unavailable on CD, until subsequent releases corrected ...
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This is an A–Z list of jazz tunes which have been covered by multiple jazz artists. It includes the more popular jazz standards, lesser-known or minor standards, and many other songs and compositions which may have entered a jazz musician's or jazz singer's repertoire or be featured in the Real Books, but may not be performed as regularly or as widely as many of the popular standards.
A prominent example is "Black Hole Sun", which not only involves many kinds of open chords and several key changes in short sequences, but also unique melody phrases with large-interval jumps. [204] A recurrent characteristic is his use of major-only chord sequences ("Pretty Noose" [205]), which also leads to more subtle key changes.