2098 – Elton John – Little Jeannie (1980)

 

Escrita por Elton John e Gary Osborne, foi gravada em agosto de 1979 e lançada em abril de 1980, em um compacto que tinha Conquer the sun como Lado B. Saiu também no disco 21 at 33, o décimo quarto disco de Elton. Foi produzida por Elton John e Clive Franks. Chegou ao número 3 do Billboard Hot100, se tornando o maior hit do cantor desde 1967, com Don't go breaking my heart. Chego ao número 33 no Reino Unido. Chegou ao número 1 no Canadá. Chegou ao número 4 na Suíça, número 5 na Nova Zelandia, número 8 na Africa do Sul, número 9 na Australia, número 20 na Bélgica e número 23 na Alemanha. Elton John cantou, fez backing vocals. James Newton Howard tocou pianos elétricos. Richie Zito tocou violão. Reggie McBride tocou baixo. Nigel Olssom tocou bateria. Jim Horn tocou flauta e sax alto. Chuck Findley tocou trombome e trompete. Jerry Hey tocou flugelhorn. Bill Champlin, Max Gronenthal e Dee Murray fizeram backing vocals.

A letra:

Oh, little Jeannie
You got so much love, little Jeannie
And you take it where it strikes
And give it to the likes of me
Oh, little Jeannie
You got so much love, little Jeannie
So I see you when I can
You make me all a man can be

And I want you to be my acrobat
I want you to be my lover
Oh, there were others who would treat you cruel
And oh, Jeannie, you were always someone's fool

Little Jeannie
You got so much time, little Jeannie
Though you've grown beyond your years
You still retain the fears of youth
Oh, little Jeannie
You got so much time, little Jeannie
But you're burnin' it up so fast
Searchin' for some lasting truth

And I want you to be my acrobat
I want you to be my lover
Oh, there were others who would treat you cruel
But oh, Jeannie, I will always be your fool

And I want you to be my acrobat
I want you to be my lover
Oh, there were others, and I've known quite a few
But oh, Jeannie, I'm still in love with you

You stepped into my life from a bad dream
Makin' the life that I had seem suddenly shiny and new
Oh, Jeannie, (Oh, Jeannie) I'm so in love with you
You stepped into my life from a bad dream
Makin' the life that I had seem suddenly shiny and new
Oh, Jeannie, (Oh, Jeannie) I'm so in love with you
You stepped into my life from a bad dream
Makin' the life that I had seem suddenly shiny and new
Oh, Jeannie, (Oh, Jeannie) I'm so in love with you
You stepped into my life from a bad dream
Makin' the life that I had seem suddenly shiny and new
Oh, Jeannie, (Oh, Jeannie) I'm so in love, I'm so in love
You stepped into my life from a bad dream
Makin' the life that I had seem suddenly shiny and new
Oh, Jeannie, (Oh, Jeannie) I'm so in love, I'm so in love

A versão de Elton John:

 

 

A versão de Rocket Max:

2097 – The Spinners – Working my way back to you (1979)

 

Escrita por Denny Randell e Sandy inzer, foi gravada inicialmente pelos Four Seasons, em 1966. A letra fala de um caa que traiu sua namorada. Mas quando ela vai embora, ele entende que a ama e está com um remorso incrível. Ele promete ganhá-la de volta. No entanto, a escolha da versão pra nossa coleção foi a versão dos Spinners, de 1979. Ela foi gravada em 1979, no Blue Rock Studio, em New York City e lançada em outubro de 1979, no disco Dancin' and lovin'. Saiu também no compacto que tinha Disco ride no lado B. Foi produzida por Michael Zager. O próprio Zager compôs uma nova bridge. Chegou ao número 1 no Reino Unido e Irlanda, número 2 no Billboard Hot100 e na Holanda, número 3 na Nova Zelandia, número 5 no Canadá, número 8 na Suíça, número 12 na Áustralia e Alemanha. Os vocais principais foram feitos por Jonathan Edwards e Pervis Jackson. O backing vocal foi feito por Bobby Smith, Pervis Jackson, Henry Fambrough e Billy Henderson. A instrumentacão foi feita por músicos locais da Philadelphia.

A letra:

Ooh, ooh-ooh

I'll keep working my way back to you, babe
With a burning love inside
Yeah, I'm working my way back to you, babe
And the happiness that died

I let it get away (Do-do, do-do-do)
Been payin' every day (Do-do, do-do-do)

When you were so in love with me
I played around like I was free
Thought I could have my cake and eat it, too
But how I cried over losing you

See, I'm down and out
But I ain't about to go living my life without you
Hey, every day I made you cry
I'm paying, girl, till the day I die

I'll keep working my way back to you, babe
With a burning love inside
Yeah, I'm working my way back to you, babe
And the happiness that died

I let it get away (Do-do, do-do-do)
Been payin' every day (Do-do, do-do-do)

Oh, I used to love to make you cry
It made me feel like a man inside
If I had been a man in reality
You would be here, baby, loving me

Now my nights are long and lonely
And I ain't too proud, babe, I just miss you so
Girl, but you're too proud, and you won't give in
But when I think about all I could win

I'll keep working my way back to you, babe
With a burning love inside
Yeah, I'm working my way back to you, babe
And the happiness that died

I let it get away (Do-do, do-do-do)
Been payin' every day (Do-do, do-do-do)

My road is kinda long
(You, you, babe) I just gotta get back home

Whoa, I'm really sorry for actin' that way
I'm really sorry, ooh, little girl
I'm really sorry for telling you lies for so long

Oh, please, forgive me, girl, come on (Give me a chance)
Won't you forgive me, girl, hey (Let's have romance)
Ooh, forgive me, girl (Let's start again)
Come on, forgive me, girl
I want you over and over and over and over again

I keep working my way back to you, babe
With a burning love inside
Hey, I'm working my way back to you, babe
And the happiness that died

I let it get away (Do-do, do-do-do)
Payin' every day (Do-do, do-do-do)

I keep (Working my way back to you, babe)
Yeah (Burning love inside)
(Working my way back to you, babe)

A versão dos Spinners:

A versão dos Four Seasons:

A versão do Boyzone:

2096 – The Undertones – My perfect cousin (1980)

 

Escrita por Damian O'Neill e Michael Bradley, foi gravada em dezembro de 1979, no Wisseloord Studios, em Hilversum e lançada em 28 de março de 1980, no disco Hypnotised, o segundo da banda. Foi produzida por Roger Bechirian. Foi inspirada em um primo de verdade de um dos membros da banda. Foi escrita no verão de 1979. Chegou ao número 9 no Reino Unido e Irlanda. É o único Top 10 single da banda.

A letra:

I've got a cousin called Kevin
He's sure to go to heaven
Always spotless, clean and neat
As smooth as you'll get 'em
He's got a fur lined sheepskin jacket
My ma said they cost a packet
But she won't even let me explain
That me and Kevin we're just not the same

Oh, my perfect cousin
What I like to do he doesn't
He's his family's pride and joy
His mother's little golden boy

He's got a degree in economics
Maths, physics and bionics
He thinks that I'm a cabbage
'Cause I hate University Challenge
Even at the age of ten Smart boy
Kevin was a smart boy then
He always beat me at Subbuteo
'Cause he 'flicked to kick'
And I didn't know

Oh, my perfect cousin
What I like to do he doesn't
He's his family's pride and joy
His mother's little golden boy

His mother bought him a synthesiser
Got the Human League into advise her
Now he's making lots of noise
Playing along with the art school boys
Girls try to attract his attention
But what a shame, it's in vain, total rejection
He will never be left on the shelf
'Cause Kevin, he's in love with himself

Oh, my perfect cousin
What I like to do he doesn't
He's his family's pride and joy
His mother's little golden boy

A versão dos Undertones:

2095 – The Jam – Going underground (1980)

 

Escrita por Paul Weller, foi gravada em 16 de janeiro de 1980, no Townhouse Studios, em Londres e lançada em 10 de março de 1980, no compacto que tinha Dreams of Child como Lado A. Foi produzida por Vic Coppersmith-Heaven. Chegou ao número 1 no Reino Unido. A banda teve outros três números 1 na carreira, mas Going underground foi o primeiro. A letra tem um sentimenti shakesperiano, uma vez que ela avisa às massas que ele devem reconhecer suas coletividades contra o poder da hierarquia. A crítica parte aguda à Margaret Thatcher e o partido conservador, que haviam ganho no Reino Unido, a apatia dos eleitores que acham que a levou ao poder. Fala também do completo industrial-militar. A guitarra lembra And your bird can sing, dos Beatles. Nunca saiu em nenhum dis 6 discos de estúdios da banda.

A letra:

Some people might say my life is in a rut
I'm quite happy with what I got
People might say that I should strive for more, but
I'm so happy I can't see the point
Something's happening here today
A show of strength with your boy's brigade
And I'm so happy and you're so kind
You want more money, of course I don't mind
To buy nuclear textbooks for atomic crimes
And the public gets what the public wants
But I want nothing this society's got

I'm going underground (going underground)
Well, if the brass bands play and feet start to pound
Going underground (going underground)
Well, let the boys all sing and let the boys all shout for tomorrow

Some people might get some pleasure out of hate
Me, I've enough already on my plate
People might need some tension to relax
Me? I'm too busy dodging between the flak
What you see is what you get
You've made your bed, you better lie in it
You choose your leaders and place your trust
As their lies wash you down and their promises rust
You'll see kidney machines replaced by rockets and guns
And the public wants what the public gets
But I don't get what this society wants

I'm going underground (going underground)
Well, if the brass bands play and feet start to pound
Going underground (going underground)
So let the boys all sing and let the boys all shout for tomorrow

la-la-la-la
(Oh) la-la-la-la

We talk and we talk until my head explodes
I turn on the news and my body froze
This braying sheep on my TV screen
Make this boy shout, make this boy scream
Going underground
I'm going underground
I'm going underground
I'm going underground

la-la-la-la
(Oh) la-la-la-la
(Oh) la-la-la-la
(Oh) la-la-la-la

Braying sheep on my TV screen
Make this boy shout, make this boy scream

Going underground (going underground)
Well, if the brass bands play and feet start to pound
Going underground (going underground)
Well, let the boys all sing and let the boys all shout

Going underground (going underground)
Well, if the brass bands play and feet go pound-pound-pound
Going underground (going underground)
So let the boys all sing and let the boys all shout for tomorrow

A versão do Jam:

2094 – Air Supply – Lost in love (1979)

Escrita por Graham Russell, foi gravada em 1978 e lançada em 1979 na Austrália, em um compacto que tinha I don't want to lose you como Lado B. Sairia também no disco de mesmo nome, o quinto da banda, em 3 de março de 1980. Foi produzida por Robie Porter, Rick Chertoff e Charles Fisher. Chegou ao número 3 do Billboard Hot 100 nos Estados Unidos. Chegou ao número 1 no Canadá, número 3 na Nova Zelandia, número 10 na França e número 13 na Austrália. Foi feita logo após retornar de uma turnê na Austrália, onde eles acompanharam Rod Stewart. Russell Hithcock cantou. Graham Russell cantou e tocou guitarra. Frank Esler-Smith tocou teclado.

A letra:

I realize the best part of love is the thinnest slice
And it don't count for much
But I'm not letting go
I believe there's still much to believe in

So lift your eyes if you feel you can
Reach for a star and I'll show you a plan
I figured it out
What I needed was someone to show me

You know you can't fool me
I've been loving you too long
It started so easy
You want to carry on (carry on)

Lost in love and I don't know much
Was I thinking aloud and fell out of touch?
But I'm back on my feet and eager to be what you wanted

So lift your eyes if you feel you can (feel you can)
Reach for a star and I'll show you a plan (show you a plan)
I figured it out
What I needed was someone to show me (oh, oh-oh)

You know you can't fool me
I've been loving you too long (I've been loving you too long)
It started so easy
You want to carry on (carry on)

Lost in love and I don't know much
Was I thinking aloud and fell out of touch?
But I'm back on my feet and eager to be what you wanted

You know you can't fool me
I've been loving you too long
It started so easy
You want to carry on (on, carry on)

Lost in love and I don't know much
Was I thinking aloud and fell out of touch?
But I'm back on my feet and eager to be what you wanted

Now I'm lost (lost in love and I don't know much)
Lost in love (was thinking aloud and fell out of touch)
Lost in love (but I'm back on my feet and eager to be what you wanted)
Lost in love
Now I'm lost (lost in love and I don't know much)
I'm lost in love (was thinking aloud and fell out of touch)
I'm lost in love (but I'm back on my feet and eager to be what you wanted)
Lost in love

A versão do Air Supply:

A versão do Sweet Notes:

A versão de Jude Pastor:

2093 – U2 – Touch (1980)

 

Escrita por Bono Vox, The Edge, Adam Clayton e Larry Mullen Jr., foi gravada em abril de 1980 e lançada em compacto, com 11 O'clock tick tock como Lado A. Foi produzida por Martin Hannett. O nome inicial da canção era Trevor.Uma música quase rara. O lado B de um compacto que nunca saiu em disco. 

A letra:

Thank you
Don’t mention it
I’m pleased to meet you
Don’t think I’m very good at this, I wish
Oh, I don’t wanna know
I just wanna go
Home.

F-f-f-falling
The world is by your side
C-calling
To find a place to hide
I just wanna know
I just wanna go

Home, home, home
Home, home, home / T-t-touching you
Home, home, home / T-t-touching you
Home, home, home / T-t-touching you

She said, the twenty second floor
But I said, I can’t think what it’s for oh
I just wanna know
I don’t wanna go

Home, home, home
Home. home, home / T-t-touching you
Home, home, home / I’m t-t-touching you
Home, home, home / T-t-touching you

(Bird sounds)

Home, home, home
Home, home, home / I’m t-t-touching you
Home, home, home / T-t-touching you
Home, home, home / T-t-touching you

Home, home, home (continues to end)
(La-la-la etc.)

T-t-touching you

A versão do U2:

2092 – Barbra Streisend – Woman in love (1980)

 

Escrita por Barry Gibb e Robin Gibb, foi gravada fevereiro de 1980 e lançada por Barbra Streisend em 16 de agosto de 1980, no compacto que tinha Run Wild como Lado B. Sairia também no disco Guilty, o vigésimo segundo dela, em 23 de setembro de 1980. Foi produzida por Barry Gibb, Albhy Galuten e Karl Richardson. Os compositores ganharam um premio Ivor Novello de Best song musically and lirically. Se tornou o quarto disco de platina e é o considerado o maior hit internacional da carreira dela. E a música de maior sucesso da carreira dela. Barbra pediu pra Barry Gibb fazer um disco pra ela e dentre essas músicas saiu Woman in love. Barry Gibb também gravaria a versão dele. A versãl de Barbra chegou ao número 1 do Billboard Hot100, o quinto e último hit dela nesse chart. Foi número 1 no Reino Unido, Austrália, Austria, Bélgica, Canadá, Finlandia, França, Alemanha, Islandia, Irlanda, Itália, Holanda, Noruega, África do Sul, Espanha, Suécia, Suiça e Zimbabwe. Número 2 na Argentina e Nova Zelandia, e número 42 no Japão. Barbra Streisend cantou, Barry Gibb tocou violão, Peter Carr tocou guitarra solo, Richard Tee tocou teclado e piano elétrico, Harold Cowart tocou baixo, Steve Gadd tocou bateria, Joe lala tocou chocalho. Denise Maynelli, Myrna Matthews e Marti McCal fizeram backing vocals. Jerry Peel tocou french horn.

A letra:

Life is a moment in space
When the dream is gone
It's a lonelier place
I kiss the morning good-bye
But down inside you know
We never know why

The road is narrow and long
When eyes meet eyes
And the feeling is strong
I turn away from the wall
I stumble and fall
But I give you it all

I am a woman in love
And I'd do anything
To get you into my world
And hold you within
It's a right I defend
Over and over again
What do I do?

With you eternally mine
In love there is
No measure of time
We planned it all at the start
That you and I
Live in each others heart

We may be oceans away
You feel my love
I hear what you say
No truth is ever a lie
I stumble and fall
But I give you it all

I am a woman in love
And I'd do anything
To get you into my world
And hold you within
It's a right I defend
Over and over again
What do I do?

I am woman in love
And I'm talking to you
You know I know how you feel
What a woman can do
It's a right I defend
Over and over again

I am a woman in love
And I'd do anything
To get you into my world
And hold you within
It's a right I defend
Over and over again
What do I do?

A versão de Barbra Streisend:

A versão de Barry Gibb:

A versão de HSCC:

2091 – Ramones – Danny Says (1980)

Escrita por Joey Ramone, foi gravada em maio de 1979, e lançada em 4 de fevereiro de 1980, no disco End of the Century, o quinto da banda. Foi produzida por Phil Spector. Foi regravada pelo Foo Fighters e Tom Waits. Foi escrita no Tropicana Motel em Los Angeles. O Danny é o Danny Fields, o manager dos Ramones. Linda Daniele foi a inspiração da canção, a namorada de Joey na época. Ela deixou Joey pra ficar com Johnny Ramone, o guitarrista da banda, que veio a se mudar pra morar com ele naquele outono. Eles dois pararam de se falar e mesmo assim continuaram na banda até o fim dela, em 1996. Joey disse que essa era sua canção favorita dos Ramones.

A letra:

Danny says we gotta go
Gotta go to Idaho
But we can't go surfin'
'Cause it's 20 below

Sound check's at 5:02
Record stores and interviews
Oh, but I can't wait
To be with you tomorrow

Baby

Oho-ho-ho, we got nowhere to go
And it may sound funny, but it's true
Hangin' out in 100 B
Watching Get Smart on TV
Thinkin' about
You and me and you and me

Hangin' out in L.A.
And there's nowhere to go
It ain't Christmas if there ain't no snow
Listening to Sheena on the radio
Oh-ho oh-ho

A versão dos Ramones:

A versão dos Foo Fighters:

A versão de Tom Waits:

2090 – Pete Townshend – Let my love open the door (1980)

 

Escrita por Pete Townshend, foi gravada entre novembro de 1979 e fevereiro de 1980 e lançada em 21 de abril de 1980, no disco Empty glass, o terceiro solo dele. Sairia também em compacto, com Greyhound girl como Lado B, em junho de 1980. Foi produzida por Chris Thomas. Chegou ao número 9 no Billboard Hot100, número 46 no Reino Unido, número 5 no Canadá e número 82 na Austrália. É o único Top 10 de Tonwshend como artista solo nos Estados Unidos. Pete Townshend cantou, tocou guitarra e sintetizadores. John Rabbit Bundrick tocou teclado e fez backing vocals. Tony Butler tocou baixo e fez backing vocals. Simon Phillips tocou bateria.

A letra:

When people keep repeating
That you'll never fall in love
When everybody keeps retreating
But you can't seem to get enough

Let my love open the door
Let my love open the door
Let my love open the door
To your heart (let my love open the door, ooh)
(Let my love open the door)
(Let my love open the door, ooh)
(Let my love open the door)

When everything feels all over
Everybody seems unkind
I'll give you a four-leaf clover
Take all worry out of your mind

Let my love open the door
Let my love open the door
Let my love open the door
To your heart (let my love open the door, ooh)
To your heart (let my love open the door, ooh)
(Let my love open the door, ooh)
(Let my love open the door, ooh)

The only key to your heart
That can stop you falling apart
Try today, you'll find this way
Come on and give me a chance to say

Let my love open the door
It's all I'm livin' for
Release yourself from misery
There's only one thing gonna set you free

That's my love
That's my love
Let my love open the door (ooh)
Let my love open the door (ooh)
Let my love open the door (ooh)
Let my love open the door

When tragedy befalls you (ooh)
Don't let it drag you down
Love can cure your problems (ooh)
You're so lucky I'm around

Let my love open the door
Let my love open the door
Let my love open the door
To your heart

A versão de Pete Townshend:

A versão de Alex Hamel:

A versão de Eddie Vedder:

2089 – Tom Waits – Jersey Girl (1980)

Escrita por Tom Waits, foi gravada entre junho e julho de 1980 e lançada em 9 de setembro de 1980, no disco Heartattack and wine, o sétimo do artista. Foi produzida por Bones Howe. Foi escrita pra sua futura esposa, Kathleen Brennan, que estava morando em New Jersey. Tom Waits disse que nunca pensou em cantar sha la la em uma canção, que foi a primeira vez que usou. O arranjo ficou parecido com um sentimento de orla, como Under the boardwalk e Spanish Harlem. Foi regravada por Bruce Springsteen, entre outros artistas.

A letra:

got no time for the corner boys, down in the street makin' all that noise,
don't want no whores on eighth avenue, cause tonight i'm gonna be with you.

cause tonight i'm gonna take that ride, across the river to the jersey side,
take my baby to the carnival, and i'll take you on all the rides, sing sha la
la la la la sha la la la.

down the shore everything's alright, you with your baby on a saturday night,
don't you know that all my dreams come true, when i'm walkin' down the street
with you, sing sha la la la la la sha la la la.

you know she thrills me with all her charms, when i'm wrapped up in my
baby's arms, my little angel gives me everything, i know someday that she'll
wear my ring.

so don't bother me cause i got no time, i'm on my way to see that girl of
mine, nothin' else matters in this whole wide world, when you're in love with
a jersey girl, sing sha la la la la la la.

and i call your name, i can't sleep at night, sha la la la la la la.

A versão de Tom Waits:

A versão de Bruce Springsteen com Patt Scialfa, sua esposa:

Tom Waits e Bruce Springsteen, ao vivo, nos anos 80s:

 

2088 – Talking Heads – Once in a lifetime (1980)

Escrita por David Byrne Brian Eno, Chris Frantz, Jerry Harrison e Tina Weymouth, foi gravada entre julho e agosto de 1980 e lançada no disco Remain in light, o quarto da banda, em 8 de outubro de 1980. Sairia também em compacto, com Seen and Not seen como Lado B, em janeiro de 1980. Foi produzida por Brian Eno. O vocal de David Byrne foi inspirado em pastores fazendo sermões, com letras falando de crises existenciais e o subconsciente. É uma das 500 songs that shaped rock and roll, do Rock and Roll Hall of Fame. NPR disse que Once in a lifetime é uma dos 100 most important American musical works of the 20^th century. Chegou ao número 14 no Reino Unido, número 16 na Irlanda, número 23 na Australia, número 24 na Holanda e número 28 no Canadá. David Byrne cantou e tocou guitara. Jerry harrison tocou orgão, sintetizador e fez backing vocals. Tina Weymouth tocou baixo. Chris Frantz tocou bateria. Brian Eno tocou sintetizador, percussão e fezbacking vocals. Nona Hendryx fez backing vocals. Adrian Belew tocou guitarra.

A letra:

And you may find yourself living in a shotgun shack
And you may find yourself in another part of the world
And you may find yourself behind the wheel of a large automobile
And you may find yourself in a beautiful house, with a beautiful wife
And you may ask yourself, "Well, how did I get here?"

Letting the days go by, let the water hold me down
Letting the days go by, water flowing underground
Into the blue again, after the money's gone
Once in a lifetime, water flowing underground

And you may ask yourself, "How do I work this?"
And you may ask yourself, "Where is that large automobile?"
And you may tell yourself, "This is not my beautiful house"
And you may tell yourself, "This is not my beautiful wife"

Letting the days go by, let the water hold me down
Letting the days go by, water flowing underground
Into the blue again, after the money's gone
Once in a lifetime, water flowing underground

Same as it ever was, same as it ever was
Same as it ever was, same as it ever was
Same as it ever was, same as it ever was
Same as it ever was, same as it ever was

Water dissolving and water removing
There is water at the bottom of the ocean
Under the water, carry the water
Remove the water from the bottom of the ocean
Water dissolving and water removing

Letting the days go by, let the water hold me down
Letting the days go by, water flowing underground
Into the blue again, into the silent water
Under the rocks and stones, there is water underground

Letting the days go by, let the water hold me down
Leting the days go by, water flowing underground
Into the blue again, after the money's gone
Once in a lifetime, water flowing underground

You may ask yourself, "What is that beautiful house?"
You may ask yourself, "Where does that highway go to?"
And you may ask yourself, "Am I right, am I wrong?"
And you may say to yourself, "My God, what have I done?"

Letting the days go by, let the water hold me down
Letting the days go by, water flowing underground
Into the blue again, into the silent water
Under the rocks and stones, there is water underground

Letting the days go by, let the water hold me down
Letting the days go by, water flowing underground
Into the blue again, after the money's gone
Once in a lifetime, water flowing underground

Same as it ever was, same as it ever was
Same as it ever was, look where my hand was
Time isn't holding up, time isn't after us
Same as it ever was, same as it ever was
Same as it ever was, same as it ever was
Same as it ever was, same as it ever was (I couldn't get no rest)
Same as it ever was, hey let's all twist our thumbs
Here comes the twister

Letting the days go by (same as it ever was, same as it ever was)
Letting the days go by (same as it ever was, same as it ever was)
Once in a lifetime, let the water hold me down
Letting the days go by, water flowing underground

A versão do Talking Heads:

A versão de Josh Turner:

A versão de David Byrne:

2087 – UB40 – Food for thought (1980)

Escrita pelo UB40, foi gravada entre 12 e 24 de dezembro de 1979, no Bob Lamb's Home of the Hits Studio, em Moseley, Birmingham. Foi lançada em primeiro de fevereiro de 1980, no compacto que tinha King no Lado A. Saiu também no disco Signing off, o disco de estréia da banda. Foi produzida pelo UB40 e Bob Lamb. Chegou ao número 4 nos charts do Reino Unido. Número 1 na Nova Zelandia, número 10 na Irlanda, número 36 na Austrália e número 46 na Holanda. A inspiração veio do genocídio no Camboja, feito pelo Partido Comunista, conhecido com Khmer Rouge. Eles mataram entre 1.5 a 3 milhões de pessoas entre 1975 e 1979. Fala da hipocrisia do Natal, do fato de ter pessoas passando fome na África enquanto o mundo sentava tendo ceia natalina e agradecendo a Deus. O estúdio na verdade foi uma casa, eles não tinham grana pra estúdio.

A letra:

Ivory Madonna dying in the dust
Waiting for the manna coming from the West
Barren is her bosom, empty as her eyes
Death a certain harvest scattered from the skies

Skin and bones is creeping, doesn't know he's dead
Ancient eyes are peeping, from his infant head
Politician's argue sharpening their knives
Drawing up their bargains, trading baby lives

Ivory Madonna dying in the dust
Waiting for the manna coming from the West

Hear the bells are ringing, Christmas on it's way
Hear the angels singing, what is that they say?
Eat and drink rejoicing, joy is here to stay
Jesus son of Mary is born again today

Ivory Madonna dying in the dust
Waiting for the manna coming from the West
Ivory Madonna dying in the dust
Waiting for the manna coming from the West

A versão do UB40:

A versão de Joolsy:

A versão de De Palmas:

2086 – Blondie – Call me (1980)

Escrita por Debbie Harry e Giorgio Moroder, foi gravada em agosto de 1979, em New York City, e lançada em 29 de janeiro de 1980, no compacto que tinha a versão instrumental da mesma canção. Sairia também em 1980, na trilha sonora do filme American gigolo, com Richard Gere no papel principal. Foi produzida por Giorgio Moroder. Foi número 1 seis semanas consecutivas no Billboard Hot100. Tornando-se o maior hit da banda e segundo número 1 nesse chart. Chegou também ao número 1 no Canada e Reino Unido. Número 2 na Irlanda, Noruega e África do Sul. Número 3 na Finlandia, Suécia e Suiça. Número 4 na Austrália, número 5 na Áustria e número 6 na Nova Zelandia. Número 9 na Bélgica e Holanda. Número 11 na Itália, número 12 no Japão e número 14 na Alemanha Ocidental. Foi o maior hit do ano da Billboard, pro ano de 1980. Moroder ofececeu primeiro pra Stevie Nicks mas por questões contratuais ela não pôde. Debbie Harry então fez a letra em poucas horas, como se estivesse interpretando um prostituto homem, por causa do personagem de Richard Gere no filme American Gigolo. Ela pediu pra ver o filme e baseada nas imagens, compôs a letra. Também é dito na canção Call me em francês e em italiano. A parte instrumental foi gravada em Los Angeles e a oarte final, com Blondie, que foi em New York City. Ùma vez em New York, a banda Blondie disse que iriam gravar suas próprias partes pra gravar. Moroder voltou pra Los Angeles e colocou as partes que já havia gravado. Blondie ficou com raiva, mas ficaram calados depois do sucesso e o tecladista do Blondie foi obrigado a tocar o solo feito pelo tecladista de Moroder, Keith Forsey, nos shows.

A letra:

Color me your color, baby
Color me your car
Color me your color, darling
I know who you are
Come up off your color chart
I know where you're coming from

Call me (call me) on the line
Call me, call me any, anytime
Call me (call me) I'll arrive
You can call me any day or night
Call me

Cover me with kisses, baby
Cover me with love
Roll me in designer sheets
I'll never get enough
Emotions come, I don't know why
Cover up love's alibi

Call me (call me) on the line
Call me, call me any, anytime
Call me (call me) I'll arrive
When you're ready, we can share the wine
Call me

Ooh-ooh-ooh-ooh-ooh
He speaks the languages of love
Ooh-ooh-ooh-ooh-ooh
Amore, chiamami, chiamami
Ooh-ooh-ooh-ooh-ooh
Appelle-moi mon cheri, appelle-moi
Anytime, anyplace, anywhere, any way
Anytime, anyplace, anywhere, any day

Call me (call me) my love
Call me, call me any, anytime
Call me (call me) for a ride
Call me, call me for some overtime
Call me (call me) in my life
Call me, call me in a sweet design
Call me (call me), call me for your lover's, lover's alibi
Call me (call me) on the line
Call me, call me any, anytime
Call me (call me)

Ah, call me, mm-mm-ah
Call me (call me), my love
Call me, call me any

A versão do Blondie:

A versão de The Last Dinner Party:

A versão de IMY2:

2085 – Willie Nelson – On the road again (1980)

 

Escrita por Willie Nelson, foi gravada no outono de 1979 e lançada em 18 de julho de 1980, na trilha sonora do filme Honeysucke Rose. Sairia também em compacto, com Jumpin' Cotton Eyed Joe como Lado B, em agosto de 1980. Foi produzida pelo próprio Willie Nelson. Fala sobre a vida em turnê. Se tornou o nono número 1 de Willie no country americano e se tornou uma das suas canções mais conhecidas. Além disso, chegou ao número 20 no Billboard Hot100. Número 2 no Canadá e número 64 na Austrália. Naquele momento, era seu maior hit pop e ele ganhou um Grammy por Best Country Song. O filme Honeysuckle Rose tem Willie Nelson como ator principal, representando um velho músico que não consegue sucesso e falha também no relacionamento com sua família, que faz parte da sua banda e viajam juntos através dos Estados Unidos. A musica tem a batida de um trem. Em 2001, a canção was inducted to the Grammy Hall of Fame.

A letra:

On the road again
I just can't wait to get on the road again
The life I love is making music with my friends
And I can't wait to get on the road again

On the road again
Goin' places that I've never been
Seein' things that I may never see again
And I can't wait to get on the road again
On the road again
Like a band o' gypsies, we go down the highway
We're the best of friends
Insisting that the world keep turning our way
And our way

Is on the road again
I just can't wait to get on the road again
The life I love is makin' music with my friends
And I can't wait to get on the road again

On the road again
Like a band o' gypsies, we go down the highway
We're the best of friends
Insisting that the world keep turning our way
And our way

Is on the road again
Just can't wait to get on the road again
The life I love is makin' music with my friends
And I can't wait to get on the road again
I can't wait to get on the road again

A versão de Willie Nelson:

A versão de Seasick Steve:

A versão de Billy Strings: