Escrita por Bill Berry, Peter Buck,
Mike Mills e Michael Stipe, foi gravada entre outubro de 1981 e junho de 1982,
em Winston-Salem, Carolina do Norte e lançada em 24 de agosto de 1982, no EP
Chronic town, o primeiro EP da banda. Foi produzida por Mitch Easter e R.E.M. Bill
Berry tocou bateria, fez backing vocals e tocou timbal. Peter Buck tocou
guitarra. Mike
Mills tocou baixo e fez backing vocals. Michael Stipe cantou.
A letra:
We'll
stumble through the yard
We'll stumble through the yard
We'll stumble through the APT
We'll stumble through the yard
Force fields explorer racing home the ancient star
Yellow mixed with golden hue
Scan the graveyard dead there be
Ball and chain, ball and chain
Ball and chain, ball and chain
It was round about midnight. Hipster town. Imagine going for a walk.
Things get around to taking place. It's not a waste of time.
The rich got a little poorer.
Things get around to taking place if they're gonna happen at all.
Don't need that jazz. Don't need that stuff.
It was round about midnight. Hipster town.
It was round about midnight. Hipster town.
Escrita por Peter Ceter e David Foster, foi gravada entre janeiro e
abril de 1982 e lançada em 17 de maio de 1982, no compacto que tinha Sonny
think twice como Lado B. Saiu também em 7 de junho de 1982, no disco Chicago
16, o décimo terceiro disco de estúdio da banda e décimo sexto no total. Foi
produzida por David Foster. Chegou
ao número 1 do Billboard Hot100, número 1 no Canadá, Irlanda, Itália e Suíça.
Número 4 no Reino Unido e Austrália. Número 5 na Áustria e número 6 na
Alemanha. Número 13 na Nova Zelandia, número 14 na África do Sil e número 15 na
Bélgica. Foi o segundo hit da banda no Billboard hot100 e primeiro hit no top50
desde 1978, com No tell lover. A banda não tocou na gravação, em vez disso,
contratou músicos de estudio. David Foster, o produtor, tocou piano. Membros da
banda Toto foi que tocaram. Steve Lukather tocou guitarra e David Paich e Steve
Porcaro tocaram sintetizadores. Peter Cetera cantou e tocou violão. O único
membro do Chicago a tocar na gravação além de Cetera foi Danny Seraphine, que
tocou bateria.
A letra:
Everybody needs a little time away
I heard her say from each other
Even lovers need a holiday
Far away from each other
Hold me now
It's hard for me to say I'm sorry
I just want you to stay
After all that we've been through
I will make it up to you, I promise to
And after all that's been said and done
You're just the part of me I can't let go, ooh
Couldn't stand to be kept away
Just for the day from your body
Wouldn't wanna be swept away
Far away from the one that I love
Hold me now
It's hard for me to say I'm sorry
I just want you to know
Hold me now
I really wanna tell you I'm sorry
I could never let you go
After all that we've been through
I will make it up to you, I promise to
And after all that's been said and done
You're just a part of me, I can't let go
After all that we've been through
I will make it up to you, I promise to
Escrita por Bill Berry, Peter Buck, Mike Mills e Michael Stipe, foi
gravada em Winston-Salem, na Carolina do Norte, entre outubro de 1981 e junho
de 1982 e lançada no EP de estréia da banda, chamado Chronic town, em 24 de
agosto de 1982. Foi produzida por Mitch Easter e R.E.M. Bill Berry tocou
bateria e fez backing vocals. Peter Buck tocou guitarra. Mike Mills tocou
baixo, fez backing vocals e tocou um sintetizador. Michael Stipes
cantou.
A letra:
There's a secret, stigma, reaping wheel
Diminish, a carnival of sorts
Chronic town, poster torn, reaping wheel
Stranger, stranger to these parts
Gentlemen don't get caught, cages under cage
Gentlemen don't get caught
Box cars are pulling out of town
Box cars are pulling out of town
Box cars are pulling out of town
There's a secret, stigma, reaping wheel
Diminish, a carnival of sorts
Chronic town, poster torn, reaping wheel
Stranger, stranger
Gentlemen don't get caught, cages under cage
Gentlemen don't get caught
Box cars are pulling out of town
Box cars are pulling out of town
Box cars are pulling out of town
Cages under, cages under, cages under cage
Cages under, cages under, cages under cage
Gentlemen don't get caught, cages under cage
Gentlemen don't get caught
Box cars are pulling out of town
Box cars are pulling out of town
Box cars are pulling out of town
There's a secret, stigma, reaping wheel
Stranger, stranger to these parts
Chronic town, poster torn, reaping wheel
Diminish, stranger
Gentlemen don't get caught, cages under cage
Gentlemen don't get caught
Box cars are pulling out of town
Box cars are pulling out of town
Box cars are pulling out of town
Boxcars are pulling, carnival of sorts
Out of town, out of town
Escrita por Peter Townshend, foi gravada em 1982 no Turn Up-Down
Studios, na casa de Glyn Johns, em Surrey, Inglaterra e lançada em 4 de setembro
de 1982, no disco It’s hard, o décimo disco da banda. Foi produzida por
Glyn Johns. Fala sobre a Guerra
fria e do fim da segunda guerra mundial. Pete disse que essa era uma das melhores
canções que ele fez.
A letra:
I've known no war
I've known no war
And if I ever do I won't know for sure
And if I ever do I won't know for sure
Who'll be fighting whom
Who'll be fighting whom
For the soldiers lonely tomb
For the soldiers lonely tomb
Now opens as soon as the referee's gun starts to roar
Now opens as soon as the referee's gun starts to roar
I'll know no war
I'll know no war
Galbraith took his pen
Galbraith took his pen
To break down the men
To break down the men
Of the German army defeated
Of the German army defeated
On the nineteenth day
On the nineteenth day
Of a spring day in May
Of a spring day in may
Albert Speer was deleted
Albert Speer was deleted
And as soon as the battle was over
And as soon as the battle was over
I was born in victorious clover
I was born in victorious clover
And I've never been shot at or gassed
And I've never been shot at or gassed
Never tortured or stabbed
Never tortured or stabbed
And I'm sure, I'll never know war
And I'm sure, I'll never know war
I know I'll never know war
I know I'll never know war
And if I ever do
And if I ever do
The glimpse will be short
The glimpse will be short
Fireball in the sky
Fireball in the sky
No front line battle cries
No front line battle cries
Can be heard and the button is pushed
Can be heard and the button is pushed
By a soul that's been bought
By a soul that's been bought
I'll know no war
I'll know no war
In and out of reach loft
In and out of reach loft
The medals are lost
The medals are lost
They belong to a lone broken sailor
They belong to a lone broken sailor
His provinces now
His provinces now
Are the bars of the town
Are the bars of the town
His songs and his poems of failure
His songs and his poems of failure
For his grandchildren can't see the glory
For his grandchildren can't see the glory
And his own kids are bored with the story
And his own kids are bored with the story
But for him they'd have burned behind netting
But for him they'd have burned behind netting
From the brink they were grabbed
From the brink they were grabbed
And I'm sure
And I'm sure
I'll never know war
I'll never know war
I've known no war
I've known no war
And if I ever do I won't know for sure
And if I ever do I won't know for sure
Who'll be fighting whom
Who'll be fighting whom
For the soldiers lonely tomb
For the soldiers lonely tomb
Now opens as soon as the referee's gun starts to roar
Now opens as soon as the referee's gun starts to roar
I'll know no war
I'll know no war
War, I've known no war
War, I've known no war
I'll never know war
I'll never know war
And if I ever know it
And if I ever know it
The glimpse will be short
The glimpse will be short
Fireball in the sky
Fireball in the sky
No front line battle cries
No front line battle cries
Can be heard as the button is pushed by a soul that's been bought
Can be heard as the button is pushed by a soul that's been bought
And the armies remaining will judge without people or courts
And the armies remaining will judge without people or courts
And there's no point pretending that knowing will help us abort
And there's no point pretending that knowing will help us abort
I'll know no war
I'll know no war
Escrita por Van Morrison, foi gravada no verão de 1981, em Sausalito,
California e lançada em janeiro de 1982 no disco Beautiful vision, o décimo terceiro
disco de Van Morrison. Foi produzida por Van Morrison. Fala sobre a namorada dele da Dinamarca, Ulla
Munch, do distrito de Vanlose, em Copenhagen, que vivia no quarto andar de um
apartamento sem elevador. A frase Send me your pillow se refere aos bluesman
John Lee Hooker. Van Morrison
cantou, John Allair tocou orgão, Tom Donlinger tocou bateria. Pee Wee Ellis
tocou sax tenor. Chris Hayes tocou guitarra. David Hayes tocou baixo. Mark
Isham tocou trompete. Chris
Michie tocou guitarra. Pauline Lozano, Annie Stocking e Bianca Thornton
fizeram backing vocals.
A letra:
Send me your picture
Send me your pillow
Send it through Krishna
On the Vanlose Stairway
Send me your bible
Send me your Gita
I want to reach you
On the Vanlose Stairway
And your stairway
Reaches up to the moon
And it comes right back
It comes right back to you
Send me some loving
Send me some kissing
You know what I'm missing
On the Vanlose Stairway
On the Vanlose Stairway
Right there, hold it
And your stairway
Reaches up to the moon
And it comes right back
And it comes right back to you
Escrita por John Mellencamp, foi gravada em 1981 e lançada em 12 de abril
de 1982, no disco American Fool, o quinto de Mellencamp. Saiu também em
compacto, em 24 de julho de 1982, com Can you take it como Lado B. Foi
produzida por Don Gehman e John Mellencamp. Foi escolhida pela RIAA (Recording
Industry Association of America) como uma das canções do século. Ficou quatro
semanas no número 1 do Billboard Hot 100. É o maior sucesso de Mellencamp. Foi
número 1 no Canadá, número 7 na Irlanda e na Austrália, número 12 na África do
Sul, número 25 no Reino Unido e número 31 na Holanda. De acordo com seu
compositor, a canção foi inspirada no filme de Tennessee Williams chamado Sweet
Bird of Youth. Mellencamp disse que foi muito difícil de gravar, porque quando
ele tocava no violão sozinho ficava uma beleza, mas quando a banda se juntava,
ninguém conseguia tocar junto porque o arranjo é muito estranho, pois começa e
para o tempo todo, sem ser muito musical. Inclusive as palmas foram adicionadas
pra manter o tempo e iam ser removidas no mix final mas ele resolveu deixar as
palmas pois ele acreditou que sem as palmas a canção não iria ter sucesso.
Mellencamp disse que a letra inicial seria sobre um casal inter-racial. Jack
seria um negro ao invés de um jogador de futebol. A gravadora mandou que
ele mudasse. Foi gravada no Criteria
Studios, em Miami. Mick Ronson, Mike Wanchic e Larry Crane tocaram guitarra e fizeram backing vocals. Kenny Aronoff tocou bateria. Robert
Frank tocou baixo e fez backing vocals. Eric Rosser tocou teclado. A parte que todo mundo se lembra da
música, que diz em coro: “Let ir rock, let it roll”, foi sugestão de Mick
Ronson.
A letra:
Little ditty about Jack and Diane
Two American kids growin' up in the heartland
Jackie gonna be a football star
Diane's debutante backseat of Jackie's car
Suckin' on a chili dog
Outside the Tastee Freez
Diane's sittin' on Jackie's lap
He's got his hand between her knees
Jackie say, hey, Diane
Let's run off behind a shady trees
Dribble off those Bobby Brooks
Let me do what I please
Say a
Oh yeah, life goes on
Long after the thrill of livin' is gone
Say a
Oh yeah, life goes on
Long after the thrill of livin' is gone
They walk on
Jackie sits back
Collects his thoughts for a moment
Scratches his head
And does his best James Dean
Well you know, Diane
We oughta run off to the city
Diane says, baby
You ain't missin' nuth-in
Jackie, say-a
Oh yeah, life goes on
Long after the thrill of livin' is gone
Oh yeah, I say, life goes on
Long after the thrill of livin' is gone
Gonna let it rock
Let it roll
Let the Bible Belt come
And save my soul
Holdin' on to sixteen as long as you can
Changes come around real soon
Make us women and men
Oh yeah, life goes on
Long after the thrill of livin' is gone
Oh yeah, I say, life goes on
Long after the thrill of livin' is gone
Little ditty about Jack and Diane
Two American kids doin' the best they can
Escrita por Paul Weller, foi lançada em 22 de novembro de 1982 em um
compacto que tinha Shopping como Lado B. Nunca saiu em disco da banda, a não
ser em compilações. Foi produzida por Peter Wilson. Na verdade foi o último compacto da banda. Após
esse lançamento, Paul Weller disse que não queria mais continuar na banda. Foi
o último e quarto número 1 da banda no Reino Unido. O título é uma brincadeira
com a canção de Anita Ward, de 1979, Sweet surrender, juntando com o termo
militar britânico Beating retreat, quando o exército bate em retirada. Paul escreveu
a canção pra marcar o fim do grupo. Ele disse que queria que fosse uma
declaração, tipo, ok, nós paramos, vocês continuam daqui. Paul Weller tocou
guitarra e cantou. Bruce Foxton tocou baixo e fez backing vocals. Rick
Bucker tocou bateria. Tracie Young fez backing vocals. Peter Wilson tocou piano. Martin Drover tocou
trompete. Paul Cosh tocou trompete.
A letra:
Beat surrender -
Come on boy, come on girl
Succumb to the beat surrender
All the things that I care about (are packed into one punch)
All the things that I'm not sure about (are sorted out at once)
And as it was in the beginning, so shall it be in the end
That bullshit is bullshit, it just goes by different names
All the things that I shout about (but never act upon)
All the courage and the dreams that I have
(but seem to wait so long)
My doubt is cast aside, watch phonies run to hide
The dignified don't even enter in the game
And if you feel there's no passion
No quality sensation
Seize the young determination
Show the fakers you ain't foolin
You'll see me come runnin
To the sound of your strummin
Fill my heart with joy and gladness
I've lived too long in shadows of sadness
Escrita por Robert Ponger e Falco, foi gravada em 1981 e lançada em dezembro
de 1981, no compacto que tinha Helden von heute como Lado B. Saiu também no
disco Einzelhaft, o disco de estréia da banda, em 1982. Foi produzida por
Robert Ponger. Não entrou nos charts nos Estados Unidos e Inglaterra, mas
chegou ao número 1 na Áustria, Itália, Alemanha Ocidental e Espanha. Número 2
na Suíça. Número 3 na Noruega. Número 4 na Suécia e Nova Zelandia. Número 5 na
Finlandia e na França. Número 7 na Austrália e número 11 no Canadá. Número 17
na Holanda, número 24 na Irlanda e número 26 na Bélgica.
A letra:
Two, three, four
Eins, zwei, drei
Na, es is nix dabei
Na, wenn ich euch erzähl' die G'schicht'
Nichts desto trotz,
Ich bin es schon gewohnt
Im TV-Funk da läuft es nicht.
Ja, sie war jung,
Das Herz so rein und weiß
Und jede Nacht hat ihren Preis,
Sie sagt: "Sugar Sweet,
Ya got me rappin' to the heat!"
Ich verstehe, sie ist heiß,
Sie sagt: "Baby, you know,
I miss my funky friends, "
Sie meint Jack und Joe und Jill.
Mein Funkverständnis,
Ja, das reicht zur Not,
Ich überreiss', was sie jetzt will.
Ich überleg' bei mir,
Ihr' Nas'n spricht dafür,
Währenddessen ich noch rauch',
Die Special Places sind ihr wohlbekannt,
Ich mein', sie fährt ja U-Bahn auch.
Dort singen's:
"Dreh' dich nicht um, schau, schau,
der Kommissar geht um!
Er wird dich anschau'n
und du weißt warum.
Die Lebenslust bringt dich um."
Alles klar, Herr Kommissar?
Hey man, wanna buy some stuff, man?
Did you ever rap that thing Jack?
So rap it to the beat!
Wir treffen Jill and Joe
Und dessen Bruder hip
Und auch den Rest der coolen Gang
Sie rappen hin, sie rappen her
Dazwischen kratzen's ab die Wänd'
Dieser Fall ist klar,
Lieber Herr Kommissar,
Auch wenn sie and'rer Meinung sind:
Den Schnee auf dem wir alle
Talwärts fahr'n,
Kennt heute jedes Kind.
Jetzt das Kinderlied:
"Dreh dich nicht um, schau, schau,
der Kommissar geht um!
Er hat die Kraft und wir sind klein und dumm,
dieser Frust macht uns Stumm."
"Dreh dich nicht um, schau, schau,
der Kommissar geht um!
Wenn er dich anspricht
und du weißt warum,
Sag ihm: 'Dein Leb'n bringt dich um.'"
Escrita por Bill Berry, Peter Buck, Mike Meals and Michael Stipe, foi
gravada em 1982, e, North-Salem, North Carolina e lançada em 24 de agosto de
1982, no EP Chronic town, o EP de lançamento da banda. Foi produzida pelo
R.E.M. e Mitch Easter. Dizem que a canção foi escrita em cima de um colchão
velho, no jardim de uma igreja, na Oconee Street, em Athens, Georgia. Peter
Buck disse que naquela época, o modo deles de fazer música era 3 acordes e uma
caixa de 6 cervejas. Eles vinham de um show tarde da noite e um dos integrantes
pediu pra parar o carro pra urinar. Mas em vez de dizer isso explicitamente,
ele disse “pare que preciso aguar a grama”. Isso foi o que deu o nome à
canção. Deu nome também a
empresa de publishing da banda, Night Garden Music. Michael Stipe diz que
algumas pessoas pensam que a canção fala sobre o pai dele, algumas pensam que é
sobre drogas e algumas pensanem que é sobre cuidar do jardim à noite. E a
canção é sobre as três coisas, diz ele. Bill Berry tocou bateria e maracas.
Peter Buck tocou guitarra, violão e cítara elétrica. Mike Mills tocou baixo. E
Michael Stipe cantou.
A letra:
I see your money on the floor I felt the pocket change
Though all the feelings that broke through that door
Just didn't seem to be too real
The yard is nothing but a fence the sun just hurts my eyes
Somewhere it must be time for penitence
Gardening at night, it's never worth
Gardening at night
Gardening at night
Gardening at night
The neighbors go to bed at ten
Call the prayer line for a change
The charge is changing every month
They said it couldn't be arranged
We ankled up the garbage sound, but they were busy in the
rows
We fell up, not to see the sun, gardening at night just didn't grow
I see your money on the floor, I felt the pocket change
Though all the feelings that broke through that door
Just didn't seem to be too real
Gardening at night
Gardening at night
Gardening at night
Your sister said that you're too young
They should know they've been there twice
The call was two and fifty one
They said it couldn't be arranged
I see your money on the floor, I felt the pocket change
Though all the feelings that broke through that door
Just didn't seem to be too real
We echoed up the garbage sound, but they were busy in the rows
We fell up not to see the sun, gardening at night just didn't grow
Gardening at night
Gardening at night
Gardening at night
Escrita por Pete Townshend, foi gravada em junho de 1982 e lançada em
agosto de 1982, no compacto que tinha A man is a man como Lado B. Saiu também
no disco It’s hard, o décimo disco da banda, em setembro de 1982. Foi produzida
por Glyn Johns. Na verdade,
ela abre o disco. Foi escrita pra atriz Theresa Russell. Chegou ao número 28 no
Billboard Hot 100. Foi na verdade o último top40 da banda nos Estados Unidos.
Chegou ao número 40 no Reino Unido. Chegou também ao número 5 no Canadá. Pete
Townshend tentou dar em cima da atriz mas levou um fora. Roger Daltrey e Pete
Townshend dividem os vocais principais. John Entwistle adicionou sopros. Kenney
Jones tocou bateria.
A letra:
I had no idea how much I need her
In peaceful times I hold her close and I feed her
My heart starts palpitating
When I think my guess was wrong
But I think I'll get alone
She's just a girl
She's a bomb
Athena
All I ever want to do is please her
My life has been so settled
And she's the reason
Just one word from her
And my troubles are long gone
But I think I'll get along
She's just a girl
She's a bomb
She's a bomb
Just a girl, just a girl
Just a girl, just a girl
Just a girl, just a girl
She's just a girl
Athena
My heart felt like a shattered glass in an acid bath
I felt like one of those flattened ants
You find on a crazy path
I'd have stopped myself to give her time
She didn't need to ask
Was I a suicidal psychopath
She's just a girl
She's a bomb
She's just a girl
She's a bomb
Consumed
There was a beautiful white horse
I saw on a dream stage
He had a snake the size of a sewer pipe
Livin' in his rib cage
I felt like a pickled priest
Who was being flambed
You've got me requisitioned blondie
She's just a girl
She's a bomb
I'm happy
She's a bomb
I'm ecstatic
Just a girl, just a girl
Just a girl, just a girl
Just a girl, just a girl
Just a girl
Look into the face of a child
Measure how long you smiled
Before the mem'ry claimed
How long would children remain
How long could children remain
Athena
You picked me up by my lapels
And screamed "leave her"
I felt like waking up in heaven
On an empty meter
And now you're stuck
With a castrated leader
And I hate the creep
I didn't mean that
She's a bomb
I just said it
She's a bomb
Please She's a bomb
Athena
I had no idea how much I need her
My life has been so settled
And she's the reason
Just one word from her
And my troubles are long gone
Ooh but I get along
She's just a girl
She's a bomb
She's just a girl
She's a bomb
Escrita por Van Morrison, foi gravada em 27 de julho de 1981, no Record
Plant Studios, em Sausalito, California e lançada em 16 de fevereiro de 1982,
no disco Beautiful vision, o décimo terceiro disco de Van. Saiu também em
compacto, com It’s all in the game como Lado B, em março de 1982. Foi
produzida por Van Morrison. É
uma canção biográfica, fala de um tempo da vida de Van quando ele ainda era um
músico part-time, tocando saxofone no Clubsound no final de semana, após
terminar suas aulas com o músico e amigo George Cassidy. Ele fala dos seus
artistas favoritos da época, como Muddy Waters, Jommie Rodgers e Lead Belly,
juntamente com o escritor Jack Kerouac e seu livro The Dharma Bums e On the
road. Fala até do juiz budista Christmas Humphreys e seu livro sobre Zen. Deopois
ele fala de quando deixou sua infância pra tras e se juntou aos Monarchs,
tocando na Escócia, Alemanha e Inglaterra. Segundo seu biógrafo, ele fala do
período entre 1961 e 1962. Fala do equilíbrio entre seu trabalho e seu desejo
de aprender música. Ele estava feliz limpando janelas, fumando cigarro
Woodbine, comendo Paris buns e bebendo limonada, pois ele sabia que no final do
dia ele poderia entrar no mundo dos livros e dos discos. Van cantou.
John Allair tocou órgão. Pee
Wee Ellis tocou sax tenor e barítono. Mark Isham tocou trompete. Mark Knopfler
tocou guitarra. Gary Mallaber tocou bateria. Chris Michie tocou guitarra solo.
Michele Segan tocou percussão e Rob Wasserman tocou baixo.
A letra:
Oh, the smell of the bakery from across the street
Got in my nose
As we carried our ladders down the street
With the wrought-iron gate rows
I went home and listened to Jimmie Rodgers in my lunch-break
Bought five Woodbines at the shop on the corner
And went straight back to work.
Oh, Sam was up on top
And I was on the bottom with the v
We went for lemonade and Paris buns
At the shop and broke for tea
I collected from the lady
And I cleaned the fanlight inside-out
I was blowing saxophone on the weekend
In that down joint.
What's my line?
I'm happy cleaning windows
Take my time
I'll see you when my love grows
Baby don't let it slide
I'm a working man in my prime
Cleaning windows (number a hundred and thirty-six)
I heard Leadbelly and Blind Lemon
On the street where I was born
Sonny Terry, Brownie McGhee,
Muddy Waters singin' "I'm A Rolling Stone"
I went home and read my Christmas Humphreys' book on Zen
Curiosity killed the cat
Kerouac's "Dharma Bums" and "On The Road"
What's my line?
I'm happy cleaning windows
Take my time
I'll see you when my love grows
Baby don't let it slide
I'm a working man in my prime
Cleaning windows...
Escrita Bruce Springsteen, foi gravada entre dezembro de 1981 e janeiro
de 1982 e lançada no disco Nebraska, o sexto de Bruce, em 30 de setembro de
1982. Foi produzida por Bruce Springsteen. O som do violão lembra o barulho recorrente da
estrada. Foi influenciada musicalmente por Frankie Teardrop, da banda
Suicide. A letra fala do ponto
de vista de um ladrão de carro, que não tem carteira de motorista e nem o
documento do carro e fica paranóico quanto mais longe ele vai numa estrada
deserta. Os versos terminam com o condutor pedindo ao state trooper pra não pará-lo.
Bruce tocou violão apenas.
A letra:
New Jersey Turnpike riding on a wet night
'Neath the refinery's glow out where the great black rivers flow
License, registration, I ain't got none
But I got a clear conscience 'bout the things that I done
Mister state trooper, please don't stop me
Please don't stop me, please don't stop me
Maybe you got a kid, maybe you got a pretty wife
The only thing that I got's been bothering me my whole life
Mister state trooper, please don't stop me
Please don't you stop me, please don't you stop me
In the wee wee hours your mind gets hazy
Radio relay towers gonna lead me to my baby
The radio's jammed up with talk show stations
It's just talk, talk, talk, talk, 'til you lose your patience
Mister state trooper, please don't stop me
Whoa
Whoo-whoo
Hey, somebody out there, listen to my last prayer
Hi ho silver-o, deliver me from nowhere
Whoa
Woo
Escrita por John Denver, foi gravada em 1981 e lançada em fevereiro de
1982, no compacto que tinha What one man can do como Lado B. Saiu também no
disco Seasons of the heart, o décimo sexto disco de John Denver, em 4 de maio
de 1982. Foi produzida por John Denver e Barney Wyckoff. Foi o decimo quinto e último top40
de John Denver no Billboard hot100. Chegou ao número 31. Foi número 1 no
Canadá. John escreveu a canção
quando estava visitando Shanghai, no começo dos anos oitenta.
A letra:
It's funny how you sound as if you're right next door
When you're really half a world away
I just can't seem to find the words I'm looking for
To say the things that I want to say
I can't remember when I felt so close to you
It's almost more than I can bear
Though I seem a half a million miles from you
You are in my heart and living there
And the moon and the stars are the same ones you see
It's the same old sun up in the sky
And your voice in my ear is like heaven to me
Like the breezes here in old Shanghai
There are lovers who walk hand in hand in the park
And lovers who walk all alone
There are lovers who lie unafraid in the dark
And lovers who long for home
I couldn't leave you even if I wanted to
You're in my dreams and always near
And especially when I sing the songs I wrote for you
You are in my heart and living there
And the moon and the stars are the same ones you see
It's the same old sun up in the sky
And your face in my dreams is like heaven to me
Like the breezes here in old Shanghai
Shanghai breezes, cool and clearing
Evening's sweet caress
Shanghai breezes, soft and gentle
Remind me of your tenderness
And the moon and the stars are the same ones you see
It's the same old sun up in the sky
And your love in my life is like heaven to me
Like the breezes here in old Shanghai
And the moon and the stars are the same ones you see
It's the same old sun up in the sky
And your love in my life is like heaven to me
Like the breezes here in old Shanghai
Just like the breezes here in old Shanghai
Escrita por Paul Weller, foi gravada entre outubro de 1981 e janeiro de
1982 e lançada em 29 de janeiro de 1982, no compacto que tinha Precious como
Lado A. Saiu também no disco The gift, o sexto e último disco da banda, em 12
de março de 1982. Foi produzida por Peter Wilson e The Jam. O título foi inspirado
no livro de Nevil Shute de 1950 chamado A town like Alice, mesmo que o Paul
Weller afirme que nunca tinha lido o livro até então. Paul disse que escreveu
sobre sua cidade, Woking, uma cidade de trabalhadores onde ele cresceu e que
queria fugir de lá. Foi o terceiro número 1 da banda no Reino Unido. Além de
número 1 no Reino Unido, chegou ao número 4 na Bélgica, número 7 na Holanda,
número 14 na Nova Zelandia e número 15 na Austrália.
A letra:
Better stop dreaming of the quiet life
'Cause it's the one we'll never know
And quit running for the runaway bus
'Cause those rosy days are few
And stop apologising
For the things you've never done
'Cause time is short
And life is cruel
But it's up to us to change
This town called Malice
Rows and rows of disused milk floats
Stand dying in the dairy yard
And a hundred lonely housewives
Clutch empty milk bottles to their hearts
Hanging out their old love letters
On the line to dry
It's enough to make you stop believing
When tears come fast and furious
In a town called Malice
Yeah, eh, eh, eah
Ba, ba, ba, ba, ba, la, ba
Ba, ba, ba, la, ba
Oh
Ba, ba, ba, ba, ba, la, ba
Ba, ba, ba, la, ba
Struggle after struggle
Year after year
The atmosphere's a fine blend of ice
I'm almost stone cold dead
In a town called Malice
Ooh, yeah
A whole street's belief
In Sunday's roast beef
Gets dashed
Against the Co-op
To either cut down on beer
Or the kids' new gear
It's a big decision
In a town called Malice
Oooh, yeah
Ooooh, ooh
The ghost of a steam train
Echoes down my track
It's at the moment bound for nowhere
Just going round and round
Oh, playground kids
And creaking swings
Lost laughter in the breeze
I could go on for hours
And I probably will
But I'd sooner put some joy back in
This town called Malice
Escrita por Phil Collins, foi gravada entre maio e junho de 1982 e
lançada em 5 de novembro de 1982, no disco Hello, I must be going, o segundo
disco solo de Phil. Saiu também em compacto, com The west side como Lado B, em
fevereiro de 1983. Foi produzida por Phil Collins e Hugh Padgham. Chegou ao número 39 no Billboard
Hot100. É considerada uma canção mais sombria, com uma bateria contundente e riffs
de guitarra e sintetizadores mais simplistas, com uma letra de raiva de Phil
relacionada ao seu primeiro casamento. Phil
usa a técnica de bateria de “gated reverb”, que definiu o som dele nos anos oitenta.
Phil Collins cantou, tocou teclado, pedal de baixo, bateria e pandeiro. Daryl
Stuermer tocou guitarra.
A letra:
Well you can tell everyone I'm a down disgrace
Drag my name all over the place
I don't care anymore
You can tell everybody 'bout the state I'm in
You won't catch me crying 'cause I just can't win
I don't care anymore
I don't care anymore, d'you hear?
I don't care what you say
I don't play the same games you play
'Cause I've been talking to the people
that you call your friends
And it seems to me there's a means to an end
They don't care anymore
And as for me I can sit here and bide my time
I got nothing to lose if I speak my mind
I don't care anymore
I don't care no more
I don't care what you say
We never played by the same rules anyway
I won't be there anymore
Get out of my way
Let me by
I got better things to do with my time
I don't care anymore
I don't care anymore
I don't care anymore
I don't care anymore
Well, I don't care now what you say
'Cause every day I'm feeling fine with myself
And I don't care now what you say
Hey, I'll do alright by myself
'Cause I don't
'Cause I remember all the times I tried so hard
And you laughed in my face 'cause you held the cards
I don't care anymore
And I really ain't bothered what you think of me
'Cause all I want of you is just to let me be
I don't care anymore
Do you hear, I don't care no more
I don't care what you say
I never did believe you much anyway
I won't be there no more
So get out of my way
Let me by
I got better things to do with my time
I don't care anymore
Do you hear, I don't care anymore
I don't care no more
You listening? I don't care no more
No more
Oh yeah, yeah
Oh yeah, yeah
Oh yeah, yeah
You know I don't care no more
Don't care no more
No more, no more, no more
Don't care no more
No more, no more
No more, no more
No more, no more
No more, no more
No more, no more
No more, no more
