Escrita por
Vangelis, foi gravada em 1980 e lançada em março de 1981, no disco
da trilha sonora do filme Chariots of fire. Sairia também em
compacto, em abril de 1981, com Eric's theme como Lado B. Foi
produzida por Vangelis. Foi a única música de um artista grego a
chegar ao topo do Billboard Hot 100. Além de chegar ao número 1 no
Billboard Hot 100, chegou também ao número 12 no Reino Unido,
número 3 na África do Sul, número 4 no Canadá, número 8 na Nova
Zelandia, número 12 na Holanda, número 13 na Bélgica, número 15
na Irlanda e número 21 na Austrália. Foi regravada pelos Shadows e
por Richard Clayderman, entre outros artistas. Foi tocada quando
Steve Jobs apresentou o primeiro computador Macintosh ao mundo, em 24
de janeiro de 1984. Foi usada pela BBC pra cobrir as Olimpiadas de
1984 em Los Angeles, as Olimpíadas de Seoul em 1988 e a de Atlanta
em 1996. O mesmo aconteceu na Olimpiadas de Londres em 2012.
Escrita por
Alex Call e Jim Keller, foi gravada em 1981 e lançada em 23 de
setembro de 1981, no disco Tommy Tutone 2, o segundo disco da banda.
Sairia também em compacto em 16 de novembro de 1981, no compacto que
tinha Not say goodbye como Lado B. Foi produzida por Jim Keller,
Chuck Plotkin, Geoff Workman e Tommy Tutone. Chegou ao número 4 do
Billboard Hot 100. Chegou ao número 2 no Canadá, número 22 na
Austrália e número 32 na Nova Zelandia. Jim Keller disse que Jenny
era uma menina normal e não uma prostituta. Alguém escreveu o nome
dela na parede de um bar, com o número ao lado. Ele ligou e eles
ficaram namorando um tempo e ele escreveu a canção. Ela achou ele
um babaca por ter feito isso. Quem tinha esse número em estados
diferentes, recebia mil ligações por dia, alguém perguntando por
Jenny. Depois empresas queriam comprar esse número pois ficou
gravado na cabeça das pessoas. Foi até pra leilão em alguns casos.
A música Radio Nowhere de Bruce Springsteen tinha m riff bem
parecido com 867-5309 Jenny, mas o pessoal da banda achou isso uma
honra e descartaram a possibilidade de processo por plágio.
A letra:
Hey!
Jenny, Jenny, who can I turn to? You
give me somethin' I can hold on to I know you think I'm like the
others before Who saw your name and number on the wall
Jenny, I got your number I need to
make you mine Jenny, don't change your number 867-5309
(867-5309) 867-5309 (867-5309)
Jenny, Jenny, you're the girl for
me You don't know me, but you make me so happy I tried to call
you before, but I lost my name I tried my imagination, but I was
disturbed
Jenny, I've got no number I need to
make you mine Jenny, don't change your number 867-5309
(867-5309) 867-5309 (867-5309)
I got it, I got it I got your number
on the wall I got it (I got it), I got it For a good time, for
a good time call
Yeah, Jenny, don't change your number I
need to make you mine Jenny, I got your number 867-5309
(867-5309) 867-5309 (867-5309)
Jenny, Jenny, who can I turn to?
(867-5309) For the price of my time, I can always turn it in
(867-5309) 867-5309 (867-5309) 867-5309 (867-5309) 5309
(867-5309) 5309 (867-5309) 5309 (867-5309) 5309
Escrita por
Hugh Cornwell, Jean Jacques Burnel, Dave Greenfield e Jet Black, foi
gravada entre agosto e setembro de 1981 e lançada em 9 de novembro
de 1981, no disco La Folie, o sexto da banda. Foi lançada também em
compacto, com Love 30 como Lado B, em 11 de janeiro de 1982. Foi
produzida por Steve Churchyard e The Stranglers. É conhecida pela
sua instrumentação de harpsichord. Chegou ao número 2 no Reino
Unido, sendo a melhor posição alcançada pela banda no Reino Unido.
Chegou ao número 3 na Irlanda, número 7 na Belgica, número 8 na
Holanda, número 10 na Austrália, número 63 na Alemanha Ocidental e
número 73 na França. Fala ao mesmo tempo de heroína e de uma
garota.
A letra:
Golden brown,
texture like sun Lays me down, with my mind she runs Throughout
the night No need to fight Never a frown with golden brown
Every time just like the last On her
ship tied to the mast To distant lands Takes both my
hands Never a frown with golden brown
Golden brown, finer temptress Through
the ages she's heading west From far away Stays for a day Never
a frown with golden brown
Never a frown (never a frown), never a
frown With golden brown (with golden brown), with golden
brown Never a frown (never a frown), never a frown With golden
brown (with golden brown), with golden brown Never a frown (never
a frown), never a frown With golden brown (with golden brown),
with golden brown Never a frown (never a frown), never a
frown With golden brown (with golden brown), with golden brown
Escrita por
Alan Merrill e Jake Hooker, foi gravada inicialmente pelos Arrows e
lançada em 1975. A nossa versão no entanto é a de Joan Jett and
The Blackhearts, gravada entre julho e setembro de 1981, no Kingdom
Sound, em Long Island e lançada em 23 de novembro de 1981, no disco
de mesmo nome, o segundo disco da banda. Sairia também em compacto,
com Love is pain como Lado B, em 20 de janeiro de 1982. Foi produzida
por Kenny Laguna, Ritche Cordell e Glen Kolotkin. É uma resposta à
música I'ts only rock and roll (but I like it) dos Rolling Stones. A
versão de Joan Jett and The Blackhearts chegou ao número 1 do
Billboard Hot100 e ficou lá no topo por 7 semanas e vendeu duas
milhões de cópias somente nos Estados Unidos na época. Chegou ao
número 4 nos Estados Unidos, número 1 na Austrália, Canadá,
Holanda, Nova Zelandia, Africa do Sul e Suécia. Número 2 na Bélgca
e Irlanda. Número 3 na Suíça. Número 4 na Áustria e na França.
Número 6 na Alemanha Ocidental e número 8 na Finlandia. Foi
regravada por Britney Spears, entre outros artistas. A versão de
Joan Jett entrou pro Grammy Hall of Fame em 2016. Joan Jett cantou e
tocou guitarra base. Ricky Byrd tocou guitarra solo e fez backing
vocals. Gary Ryan tocou baixo e fez backing vocals. Lee Crystal tocou
bateria e fez backing vocals.
A letra:
I saw him
dancin' there by the record machine I knew he must've been about
17 The beat was goin' strong Playin' my favorite song
And I could tell it wouldn't be
long 'Til he was with me, yeah, me And I could tell it wouldn't
be long 'Til he was with me, yeah, me, singin'
"I love rock 'n roll So put
another dime in the jukebox, baby I love rock 'n roll So come
and take your time and dance with me" Ow!
He smiled, so I got up and asked for
his name "That don't matter", he said, "'Cause it's
all the same" Said, "Can I take you home where we can be
alone?"
And next, we were movin' on, he was
with me, yeah, me Next, we were movin' on, he was with me, yeah,
me, singin'
"I love rock 'n roll So put
another dime in the jukebox, baby I love rock 'n roll So come
and take your time and dance with me" Ow!
Said, "Can I take you home where
we can be alone?
Next, we were movin' on, he was with
me, yeah, me And we'll be movin' on and singin' that same old
song Yeah, with me, singin'
"I love rock 'n roll So put
another dime in the jukebox, baby I love rock 'n roll So come
and take your time and dance with me"
I love rock 'n roll So put another
dime in the jukebox, baby I love rock 'n roll So come and take
your time and dance with-
I love rock 'n roll So put another
dime in the jukebox, baby I love rock 'n roll So come and take
your time and dance with-
I love rock 'n roll So put another
dime in the jukebox, baby I love rock 'n roll So come and take
your time and dance with-
I love rock 'n roll So put another
dime in the jukebox, baby I love rock 'n roll So come and take
your time and dance with me
Escrita por Vince Clark, foi gravada em dezembro de 1980 no Blackwing
Studios e lançada em 20 de fevereiro de 1981 no compacto que tinha
Ice machine como Lado B. Saiu também no disco Speak and Spell, em
outubro de 1981, o disco de estréia do Depeche Mode. Foi produzida
por Daniel Miller e Depeche Mode. Chegou ao numero 57 no Reino Unido.
Foi o primeiro compacto oficial da banda.
A letra:
Light switch, man switch Film was broken only then All the
night, fused tomorrow Dancing with a distant friend
Filming and screening I picture the
scene Filming and dreaming Dreaming of me, yeah
So we left, understanding Clean cut
so we're sounding fast Talked of sad, I talked of war I laughed
and climbed the rising cast
Filming and screening I picture the
scene Filming and dreaming Dreaming of me, yeah
Quickly I remembered Fused and saw a
face before Timing reason, understanding Like association hall
Filming and screening I picture the
scene Filming and dreaming Dreaming of me, yeah
Dreaming of me Ooh, la, la, la Ooh,
la, la, la Just dreaming of me Ooh, la, la, la Ooh, la, la,
la It's only me Ooh, la, la, la Ooh, la, la, la Just me
Ooh, la, la, la Ooh, la, la, la Ooh, la, la, la Ooh, la,
la, la Ooh, la, la, la Ooh, la, la, la Ooh, la, la, la Ooh,
la, la, la Ooh, la, la, la Ooh, ah
Escrita por
Joey Ramone, foi gravada entre março e abril de 1981 no Mediasound,
em New York City e Strawberry Studios, em Stockport e Dorking, na
Inglaterra e lançada em 20 de julho de 1981, no disco Pleasant
Dreams, o sexto da banda. Foi produzida por Graham Gouldman. Fala
sobre namorar com uma idade nova, onde vão pros encontros nas lojas
de conveniencia e lojas de discos. Na letra, o menino encontra a
namorada numa maquina de fliperama de Space Invaders e depois ela
morre num acidente de carro. Joey Ramone cantou e fez backing vocals.
Johhny Ramone tocou guitarra e fez backing vocals. Dee Dee Ramone
tocou baixo e fez backing vocals. Marky Ramone tocou bateria e fez
backing vocals. Vic Emerson tocou sintetizador. Dave Hassell tocou
percussão. Graham Gouldman tocou guitarra e fez backing vocals.
Russell Mael fez backing vocals. Ian Wilson fez backing vocals.
A letra:
I met her at
the 7-11 Now I'm in 7th heaven Tell me, tell me Can this be
true I never thought I'd ever meet a girl like you
She
was standing by the Space Invaders So I said can I see you
later Yeah we went for a little spin Down to the Holiday
Inn
We was young and in love We was young and in love And
you're the only girl I'm ever thinking of
We went down to
the record swap The kids were dancing to the blitzkrieg
bop Bop-shoo-wop shoo-wop shoo-wop Bop-shoo-wop shoo-wop
shoo-wop
What ever happend to the radio And where did all
the fun songs go Summer fun, with the Beach Boys on But we all
know what went wrong Oh-wo-wo
We was young and in love We
was young and in love And you're the only girl I'm ever
dreaming of
And so we went down to the dance Which turned
into a whole romance And after just one night I never knew that
things could be so right Oh-no-no-no-no-no-no-no
I kissed
her and hugged her And I said good-bye Last thing I knew She
wouldn't make it alive Oncoming car went out of control It
crushed my baby And it crushed my soul Now all I've got is
sorrow and pain Standing out here in the rain The crash,
shattering glass The sirens, and pain Is driving me insane
oh-yeah
We was young and in love We was young and in
love And you're the only girl I'm ever thinking of Yeah,
yeah, yeah, yeah, yeah
Escrita por
Bryan Adams e Jim Vallance, foi gravada em 1981 no Le Studio em Morin
Heigts, em Quebec e no Power Studio, em New York City e lançada em
28 de julho de 1981, no dico You want it, you got it, o segundo disco
de Bryan Adams. Foi produzida por Bryan Adams e Bob Clearmountain. Se
tornou um hit no estado de New York antes de tocar no resto do mundo,
por causa de Djs tocando-a sem parar em Rochester, Albany e Syracuse.
Ela chegou ao número 84 no Billboard Hot100. Bryan Adams cantou e
fez backing vocals, tocou piano acústico e guitarra. Tommy mandel
tocou teclado. Brian Stanly tocou baixo. Mickey Curry tocou bateria e
Jimmy Maelen tocou percussão.
A letra:
Will you risk
your reputation? I don't know You just don't know what you're
sayin' Anymore You know beggers can't be chosers And that's
fair When we win we may be losers I don't care, no no no
Oh, baby, I just can't stand another
lonely night So come over and save me Save me from another
lonely night I hear every word you're sayin' They're all
lies But with every breath you're takin' You're thinkin' of
ways to say good night
Oh, no baby, I just can't stand another
lonely night Come over and save me Save me from another lonely
night, yeah
Oh, yeah
Oh, baby, just can't stand another
lonely night Come over and save me Oh, baby, just can't stand
another lonely night Come over and save me
Oh, baby, just can't stand it Another
lonely, another lonely night, yeah Oh, baby, just can't stand
another lonely night Come over and save me Baby, from another
lonely night, oh
Oh, baby Baby, yeah Another
lonely night Oh, lonely, oh, so lonely Yeah
Escrita por
Jane Wiedlin e Terry Hall, foi gravada em 1981 e lançada em 12 de
junho de 1981, no compacto que tinha Surfing and spying como Lado B.
Saiu também no disco Beauty and The Beat, o disco de estréia das
Go-Go's, em 14 de julho de 1981. Foi produzida por Richard Gottehrer
e Rob Freeman. Chegou ao número 20 no Billboard Hot100, número 47
no Reino Unido, número 2 na Austrália, número 3 no Canadá,
número 14 na Suécia e número 23 na Nova Zelandia.
A letra:
Can you hear
them? They talk about us Telling lies Well, that's no
surprise
Can you see them? See right through
them They have no shield No secrets to reveal
Doesn't matter what they say In the
jealous games people play Hey, hey, hey Our lips are sealed
There's a weapon That we must use In
our defense Silence
When you look at them Look right
through them That's when they'll disappear That's when we'll be
feared
It doesn't matter what they say In
the jealous games people play Hey, hey, hey Our lips are sealed
Pay no mind to what they say It
doesn't matter anyway Hey, hey, hey Our lips are sealed
Hush, my darling Don't you cry Quiet
angel Forget their lies
Can you hear them? They talk about
us Telling lies Well, that's no surprise
Can you see them? See right through
them They have no shield No secrets to reveal
Doesn't matter what they say In the
jealous games people play Hey, hey, hey Our lips are sealed
Pay no mind to what they say It
doesn't matter anyway Hey, hey, hey Our lips are sealed Our
lips are sealed Oh, our lips are sealed
Escrita por
Will Sergeant, Ian McCulloch. Les Pattinson e Pete de Freitas, foi
gravada em março de 1981, no Rockfield Studios, no País de Gales.
Foi lançada em 29 de maio de 1981, no disco Heaven up here, o
segundo da banda. Saiu também em compacto, com Broke my neck como
Lado B. Foi produzida por Hugh Jones e The Bunnymen. Ian McCulloch
cantou e tocou guitarra. Will Sergeant tocou guitarra solo. Les
Pattinson tocou baixo e Pete de Freitas tocou bateria.
A letra:
You said
something will change We were all dressed up Somewhere to go No
sign of rain But something will change You promised
You said nothing will change We were
almost near Almost far Down came the rain But nothing will
change You promised
A promise a promise a promise
It's exactly the same You said It's
always the same But I'll make it change Into something the
same I promise
A promise a promise a promise
Light on the waves Light on the
waves Light on the waves Light on the waves A promise a
promise a promise a promise (Light on the water) (We could sail
on forever) a promise A promise (There's light on the
water) (We could sail on forever) a promise (There's light on
the water) a promise (There's light on the water) a promise (We
could sail on forever) a promise (There's Light on the water) a
promise (There's Light on the water) a promise (We could sail
on forever)
Escrita por
Peter Frampton e Keith Reid, foi gravada em novembro de 1979 e junho
de 1980, no Charlie Chaplin Sound Stage no A&M Studios, em Los
Angeles e foi lançada em 14 de maio de 1981, no disco de mesmo nome,
o sétimo da carreira de Peter. Foi produzida por Peter Frampton,
David Kershenbaum, Chris Kimsey e Harvey Goldberg. Peter Frampton
tocou guitarra, teclado e cantou. Steve Lukather tocou guitarra. John
Regan tocou baixo. Arthu Stead tocou piano, sintetizador, piano
elétrico, órgão e Fender Rhodes. Jeff Porcaro tocou bateria e
percussão.
A letra:
We are the
people one and all From deliverance to the fall From the
battle and the heat To our triumph and defeat We are the young
ones crying out Full of anger full of doubt And we're breaking
all of the rules Never choosing to be fools We are tired of
being used We are constantly excused In the battle and the
heat In the shadow of retreat We are the young ones crying
out Full of anger full of doubt And we're breaking all of the
rules Never choosing to be fools We are the people one and all
From deliverance to the fall From the bitter to the brave
From the cradle to the grave We are the young ones crying out
Full of anger full of doubt And we're breaking all of the
rules Never choosing to be fools
Escrita por
James Taylor, foi gravada entre setembro de 1980 e janeiro de 1981 e
lançada em março de 1981, no disco Dad love his work, o décimo da
carreira de James. Foi produzida por Peter Asher. James Taylor cantou
e tocou violão. Don Grolnick tocou piano acústico e Fender Rhodes.
Dan Dugmore tocou guitarra. Waddy Wachtel também tocou guitarra.
Leland Sklar tocou baixo. Rick Marotta tocou bateria. Grege Taylor
tocou gaita. David Lasley e Arnold McCuller fizeram backing vocals.
A letra:
I do believe, I
must believe, I think I can begin again. Become again the man I
was back when. So I'm walking on your streets again, feeling now
as I did then, I've since become a different man. London Town,
turn be around, London Town, carry me back, oh, London Town, lost
and found, and I feel like going back
I can remember lots of
time and space, if I lose the name, still I know the faces. Time
as come and left its traces. London Town, turn be around, London
Town, carry me back, oh, London Town, lost and found, and I feel
like going back.
When I grew too old and dull to rock 'n roll,
like to hold on tight to you, darling. And when my fires have all
burned out, I'd like to think I can still think about the things I
used to sing about When I was spending all my time alone. By
myself and on my own, seldom seen and quite unknown. London Town,
turn be around, London Town, carry me back, oh, London Town, lost
and found, and I feel like going back. Yes, I feel like going back.
Escrita por
Paul Siebel, foi gravada entre 1978 e 1980, e lançada em 4 de
fevereiro de 1981 no disco Evangeline, o oitavo disco de Emmylou
Harris. Foi produzida por Brian Ahern. Foi gravada em dueto com
Waylon Jennings.
A letra:
Those other
years, the dusty years We drove the big hers through I tried
to forget the miles we rode And Spanish Johnny too He'd sit
beside a water ditch when all this herd was in And he'd never
harm a child but sing to his mandolin
The old talk, the old ways, and the
dealin' of our game But Spanish Johnny never spoke, but sing a
song of Spain And his talk with men was vicious talk When he
was drunk on gin Ah, but those were golden things he said to his
mandolin
We had to stand, we tried to judge, we
had to stop him then For the hand so gentle to a child had killed
so many men He died a hard death long ago before the road come in
And the night before he swung he sung to his mandolin
Well, we carried him out in the mornin'
sun A man that done no good And we lowered him down in the
cold clay Stuck in a cross of wood And a letter we wrote to
his kinfolk To tell them where he'd been And we shipped it
out to Mexico, along with his mandolin
Escrita por
Robbie Robertson, fo gravada entre 1978 e 1980 e foi lançada em 4 de
fevereiro de 1981, no disco de mesmo nome, o oitavo disco de Emmylou
Harris. Foi produzida por Brian Ahern. Na gravação, Dolly Parton e
Linda Ronstadt fizeram harmonias vocais. Brian Ahern tocou violão,
guitarra, baixo de seis cordas e pandeiro. Hal Blaine tocou bateria.
James Burton tocou guitarra. Emmylou Harris cantou, tocou violãoe
fez backing vocals. Albert Lee tocou guitarra.
A letra:
She stands on
the banks of the mighty Mississippi Alone in the pale
moonlight Waitin' for a man, a riverboat gambler Said that he'd
return tonight
They used to waltz on the banks of the mighty
Mississippi Lovin' the whole night through He was a riverboat
gambler off to make a killin' And bring it on back to
you
Evangeline Evangeline Curses the soul of the
Mississippi Queen That pulled her man away
Bayou Sam from
South Louisian' Had gamblin' in his veins Evangeline from the
maritime Was slowly goin' insane
High on the top of a
Hickory Hill She stands in the lightning and thunder Down on
the river the boat was a sinkin' She watched that Queen go
under
Evangeline Evangeline Curses the soul of the
Mississippi Queen That pulled her man away
Evangeline
Evangeline Curses the soul of the Mississippi Queen That pulled
her man away
Escrita por
Christopher Cross, Burt Bacharach, Carole Bayer Sager e Peter Allen,
foi gravada em 1981 e lançada em 14 de agosto de 1981 no compacto
que tinha Minstrel gigolo como Lado B. Saiu também na trilha sonora
do filme Arthur. Foi produzida por Michael Omartian. Ganhou o Oscar
de Best original song no 54th Academy Awars e ganhou
também um globo de ouro na mesma categoia, no 39th Golden
Globe Awards. Foi um grande sucesso comercial nos Estados Unidos,
chegando ao número 1 Billboard Hot100, ficando no topo por 3 semanas
consecutivas. Além disso, foi número 1 no Canadá e na Noruega.
Número 5 na Itália, número 6 na Suíça e número 7 na Irlanda,
África do Sul e Reino Unido. Número 10 na Nova Zelandia, número 13
na Austrália e número 14 na Espanha. Christopher Cross tocou
guitarra, cantou e fez backing vocals. Michael Omartian tocou teclado
e sintetizadores. Michael Boddicker tocou sintetizador. Steve
Lukather tocou guitarra. Marty Walsh tocou guitarra. David Hungate
tocou baixo. Jeff Porcaro tocou bateria. Paulinho da Costa tocou
percussão e Ernie Watts tocou sax.
A letra:
Once in your
life you find her Someone that turns your heart around And next
thing you know you're closing down the town Wake up and it's
still with you Even though you left her way 'cross town Wondering
to yourself, "Hey! What've I found?"
When you get
caught between the moon and New York City I know it's crazy, but
it's true If you get caught between the moon and New York City The
best that you can do The best that you can do Is fall in
love
Arthur, he does as he pleases All of his life, his
master's toys Deep in his heart, he's just, he's just a boy Living
his life one day at a time And showing himself a pretty good
time Laughing about the way they want him to be
When you
get caught between the moon and New York City I know it's crazy,
but it's true If you get caught between the moon and New York
City The best that you can do (The best that you can do) The
best that you can do Is fall in love
When you get caught
between the moon and New York City I know it's crazy, but it's
true If you get caught between the moon and New York City The
best that you can do (The best that you can do) The best that you
can do Is fall in love
When you get caught between the moon
and New York City I know it's crazy, but it's true If you get
caught between the moon and New York City The best that you can do
(The best that you can do) The best that you can do Is fall in
love
When you get caught between the moon and New York City I
know it's crazy, but it's true
Escrita por
Ian Curtis, Peter Hook, Stephen Morris e Bernard Summer, foi gravada
em 1980 e lançada em março de 1981, em um compacto que tinha In a
lonely place como Lado B. Foi produzida por Martin Hannett. Foi uma
das últimas canções escritas ainda na época do Joy Division. A
letra é de Ian Curtis. Bernard Summers, o guitarrista, foi quem fez
os vocais que seriam feitos por Ian Curtis. Chegou ao número 34 no
Reino Unido e número 7 na Nova Zelandia.
A letra:
This is why
events unnerve me They find it all, a different story Notice
whom for wheels are turning Turn again and turn towards this
time All she asks the strength to hold me Then again the same
old story Word will travel, oh so quickly Travel first and lean
towards this time
Oh, I'll break them all, no mercy
shown Heaven knows, it's got to be this time Watching her,
these things she said The times she cried Too frail to wake
this time
Oh, I'll break them down, no mercy shown Heaven
knows, it's got to be this time Avenues all lined with
trees Picture me and then you start watching Watching
forever
Forever, watching love grow Forever, letting me
know Forever
Escrita por
Allan Gill e Julian Cope, foi gravada entre o verão de 1979 e o
verão de 1980 no Rockfield Studios, no País de Gales e lançada em
23 de janeiro de 1981 no compacto que tinha Strange house in the snow
como Lado B. Ela sairia também no disco Kilimanjaro, o disco de
estréia da banda. Mas isso foi um caso curioso. O disco foi lançado
em 10 de outubro de 1980 sem Reward. Como Reward virou um hit, eles
relançaram o disco em 1981 incluindo Reward no disco, tornando a
primeira impressão do disco rara. Foi produzida por Clive Langer e
Alan Winstanley. Reward foi o maior hit da banda, chegando ao numero
6 no Reino Unido e número 11 na Irlanda. Fala sobre a alegria de
fazer sucesso. A frase inicial diz: “Bless my cotton socks, I'm in
the news”.
A letra:
Bless my cotton
socks, I'm in the news The king sits on his face, but it's all
assumed
All wrapped up the same All wrapped
up the same They can't have it, you can't have it, I can't have it
too Until I learn to accept my reward
Prisoners stand in queues and stand in
queues Live in solitude like Howard Hughes
All wrapped up the same All wrapped
up the same Silence has it, arrogance has it, I can't have it
too Until I learn to accept my reward
Suddenly it struck me very clear Oh,
suddenly it struck me very clean
All wrapped up the same (same) All
wrapped up the same (same) They can't have it, you can't have it,
I can't have it too Until I learn to accept my reward
Until I learn to accept my reward Until
I learn to accept my reward Until I learn to accept my I learn
to accept my I learn to accept my reward
Escrita por
John Ashton, Tim Butler, Richard Butler, Vince Ely, Duncan Kilburn e
Roger Morris, foi gravada entre 1980 e 1981 e lançada em 15 de maio
de 1981 no disco Talk talk talk, o segundo da banda. Sairia também
em um compacto com Mack the Knife como Lado B ainda em 1981. Foi
produzida por Steve Lillywhite. Foi feito um filme em 1986 com o
mesmo nome da música, de muito sucesso entre os jovens de todo o
mundo. Chegou ao número 43 no Reino Unido. É sobre duas mulheres
que Richard Butler conhecia em Muswell Hill, no norte de Londres. Uma
era amiga de uma ex-namorad e a outra frequentava o pub que ele
frequentava. Mas nenhuma se chamava Caroline e nenhuma estava na
idade de high school. Ele disse que a canção era sobre uma garota
que gostava muito de trepar e achava que era popular por causa disso.
Quando na verdade os caras que estão trepando com ela estão rindo
dela pelas costas.
A letra:
Caroline laughs
and it's raining all day She loves to be one of the girls She
lives in the place in the side of our lives Where nothing is ever
put straight
She turns her self round and she smiles
and she says "This is it, that's the end of the joke" And
loses herself in her dreaming and sleep And her lovers walk
through in their coaches
Pretty in pink, isn't she? Pretty in
pink, isn't she?
All of her lovers, all talk of her
notes And the flowers that they never sent And wasn't she
easy? Isn't she pretty in pink?
The one who insists he was first in the
line Is the last to remember her name He's walking around in
this dress that she wore She is gone, but the joke's the same
Pretty in pink, isn't she? Pretty in
pink, isn't she?
Caroline talks to you softly,
sometimes She says, "I love you" and "Too much" She
doesn't have anything you want to steal Well, nothing you can
touch
She waves, she buttons your shirt The
traffic is waiting outside She hands you this coat She gives
you her clothes These cars collide
Pretty in pink, isn't she? Pretty in
pink, isn't she?
All their favorite rags are worn And
other kinds of uniform Kitty, you're really free like
individuality You are what you want to be Until tomorrow, the
driveway's broken His doorbell sings its chimes In time with
what and for who God knows why I tried this Vicious drug and I
shake
