2271 – Chicago – Love me tomorrow (1982)

 

Escrita por Peter Cetera e David Foster, foi gravada entre janeiro e abril de 1982 e lançada 7 de junho de 1982, no disco Chicago 16, o décimo terceiro disco de estúdio da banda. Saiu também em compacto, com Bad advice como Lado B, em 13 de setembro de 1982. Foi produzida por David Foster. Peter Cetera é quem faz os vocais principais. Chegou ao número 22 do Billboard Hot100. Chegou ao número 2 no Canadá. Número 50 na Nova Zelandia e número 82 na Austrália. Cetera ganhou o Ascap Pop Music Award na categoria Most performed songs.

 

A letra:

 

She said, "it's lonely here tonight"
She's always sad when she's alone
She said, "I need you here tonight"
She couldn't wait until I get home

She love me and that's all I need to know
She's part of my life
Just a part I won't let go
Then she said

Love me tomorrow won't you please promise me?
Love me tomorrow like today
Love me tomorrow, hurry back
Can't you see I need you much more than yesterday?

You know it's always cold at night
It's always lonely until the dawn
And though it's not what we both want
Knowing she's there, I'll carry on

She loves me and that's all I need to know
She's part of my life
Just a part I won't let go
Then she said

Love me tomorrow won't you please promise me?
Love me tomorrow like today
Love me tomorrow, hurry back
Can't you see I need you more than any words can say

She love me and that's all I need to know
She's part of my life
Just a part I won't let go
Then she said

Love me tomorrow won't you please promise me?
Love me tomorrow like today
Love me tomorrow, hurry back
Can't you see I need you much more than yesterday

Love me tomorrow

 

A versão do Chicago:

 

2270 – Santana – Hold on (1982)

 

Escrita por Ian Thomas, foi gravada em 1982, em San Francisco, California e lançada em agosto de 1982, no disco Shangó, o décimo terceiro disco de Santana. Saiu também no compacto que tinha Oxun como Lado B. Foi produzida por Bill Szymczyk, John Ryan, Carlos Santana e Gregg Rolie. Foi lançada inicialmente por Ian Thomas, o compositor, no ano de 1981. Santana fez seu cover um ano depois. Quem cantou a versão de Santana foi Alex Ligertwood. Chegou ao número 15 do Billboard Hot100. Chegou ao número 14 na Holanda, número 19 no Canadá e bélgica, número 31 na Nova Zelandia e número 64 na Austrália.  

 

A letra:

 

Don't rush me, just this once
I wanna make this moment last
Slow down the pace, there's no hurry
I can't let another pass me by again
Let me be the one to say when I've had enough

Just let me close my eyes, memorize
The way things are this minute
So, when you're gone, I can't go on
If memory can hold within it what I'm feeling
Should time try fadin' or stealing something away?

Hold on, nothing's the same
Tell me why I feel this way
Life wouldn't be worth living without you
All along I've been the pretender
But now that's gone forever
Nobody's ever loved me like you do
Nobody's broken through

Gotta concentrate, file away
Every last detail
Don't wanna lose what's goin' down
I wanna remember everything I'm feeling
Should time try fadin' or stealing something away?

Hold on, nothing's the same
Tell me why I feel this way
Life wouldn't be worth living without you
All along I've been the pretender
But now that's gone forever, yeah
Nobody's ever loved me like you do
Nobody's broken through

Nobody's ever loved like you
Nobody's broken through
Nobody's ever broken through
Nobody's ever loved like you

Hold on, nothing's the same
Tell me why I feel this way
Life wouldn't be worth living without you
All along I've been the pretender
But now that's gone forever (yeah)
Nobody's ever loved me like you do

Hold on, nothing's the same
Tell me why I feel this way
Life wouldn't be worth living without you
All along I've been the pretender
But now that's gone forever, yeah
Nobody's ever loved me like you do

 

A versão de Santana:

 

 

A versão de Ian Thomas:

 

A versão de kristin and Mike Bauer:

 

2269 – Kenny Rogers – Through the years (1981)

 

 

Escrita por Steve Dorff e Marty Panzer, foi gravada em 1981 em Los Angeles, California e lançada em 24 de junho de 1981 no disco Share your love, o décimo primeiro álbum de Kenny. Saiu também em compacto, com So in love with you como Lado B, em 14 de dezembro de 1981. Foi produzida por Lionel Ritchie. Chegou ao número 13 do Billboard Hot 100. Chegou ao número 5 do Billboard country. Chegou também ao número 5 no Canadá e número 92 na Austrália. A letra fala de um relacionamento através dos anos, mencionando os bons momentos e os maus, mas no fim ele está feliz porque ficou com ela o tempo todo.

 

A letra:

 

I can't remember when you weren't there
When I didn't care for anyone but you
And I swear, we've been through everything there is
Can't imagine anything we've missed
Can't imagine anything the two of us can't do

Through the years, you've never let me down
You turned my life around, the sweetest days I've found
I've found with you through the years
I've never been afraid, I've loved the life we've made
And I'm so glad I've stayed right here with you
Through the years

I can't remember what I used to do
Who I trusted, whom I listened to before
I swear, you've taught me everything I know
Can't imagine needing someone so
Through the years it seems to me
I need you more and more

Through the years, through all the good and bad
I knew how much we had, I've always been so glad
To be with you through the years
It's better every day, you've kissed my tears away
As long as it's okay, I'll stay with you
Through the years

Through the years, when everything went wrong
Together we were strong, I know that I belonged
Right here with you, through the years
I've never had a doubt, we'd always work things out
I've learned what life's about by loving you
Through the years

Through the years
You've never let me doubt...

 

A versão de Kenny Rogers:

 

 

A versão de Mark Carpio:

 

 

A versão de Gigi de Lana:

 

2268 – Bob Seger – Shame on the moon (1982)

 

 

Escrita por Rodney Crowell, foi gravada em 1982 e lançada em 30 de novembro de 1982, no compacto que tinha House behind the house como Lado B. Saiu também no disco The Distance, o décimo segundo de Seger, em 13 de dezembro de 1982. Foi produzida por Jimmy Iovine. Ela foi lançada em 1981 pelo próprio Rodney Crowell. A gravação de Seger é no entanto uma versão já. Glenn Frey dos Eagles faz as hamonias de background junto com Seger e podemos perceber sua voz claramente. Chegou ao número 2 do Billboard Hot 100. Chegou ao número 15 nos charts country da Billboard, sendo o único top 40 de Seger nesses charts. Chegou ao número 1 no Canadá, número 15 na África do Sul, número 24 na Nova Zelandia, número 27 na Espanha, número 38 na Austrália, número 50 na Alemanha e número 58 na França. Bob Seger cantou e fez harmonias vocais. Chris Campbell tocou baixo. Craig Frost tocou órgão. Drew Abbot tocou guitarra. Laura Creamer, Joan Sliwin e Shaun Murphy fizeram backing vocals. Glenn Frey fez harmonias vocais. Bobbye Hall tocou percussão. Russ Kinkel tocou bateria. Bill Payne tocou piano e Waddy Wachtel tocou guitarra. Willie Nelson gravou-a em 2025.

 

A letra:

 

Until you've been beside a man
You don't know what he wants
You don't know if he cries at night
You don't know if he don't

When nothing comes easy
Old nightmares are real
Until you've been beside a man
You don't know how he feels

Once inside a woman's heart
A man must keep his head
Heaven opens up the door
Where angels fear to tread

Some men go crazy (ooh)
Some men go slow (ooh)
Some men go just where they want
Some men never go

Oh, blame it on midnight
Ooh, shame on the moon

Everywhere it's all 'round
Comfort in the crowd
Stranger's faces all around
Laughing right out loud

Hey, watch where you're goin' (ooh)
Step light on old toes (ooh)
'Cause until you've been beside a man
You don't know who he knows

Oh, blame it on midnight
Ooh, shame on the moon
Oh, blame it on midnight
Ooh, shame on the moon

Ooh-ooh
Blame it on midnight
You can blame it on midnight
Shame, shame, shame
Shame on the moon
You can blame it on midnight
Shame on the moon

 

A versão de Bob Seger:

 

 

A versão de Rodney Crowell, o compositor:

 

 

A versão de Willie Nelson:

 

2267 – John Mellencamp – Hurts so good (1982)

 

 

Escrita por John Mellencamp e George Green, foi gravada entre o final de 1981 e começo de 1982, no Cherokee Studio em Hollywood e no Criteria Studio, em Miami. Foi lançada em 12 de abril de 1982 no disco American fool, o quinto de John. Saiu também no compacto que tinha Close enough como Lado B, na mesma data. Foi produzida por por Don Gehman e John Mellencamp. Chegou ao número 2 no Billboard Hot 100. Só não chegou ao número 1 por causa de Eye of the tiger, do Survivor. Chegou ao número 3 no Canadá, número 5 na Austrália e África do Sul. Número 39 na Nova Zelandia. Fez ele ganhar o 25th Grammy Awards de Best Rock Vocal Performance, Male. George Greene é um amigo de infância de John e parceiro de vez em quando. Larry Crane e Mike Wanchic tocaram guitarra e fizeram backing vocals. Kenny Aronoff tocou bateria. George Perry tocou baixo e Dave Parman fez backing vocals.

 

A letra:

 

When I was a young boy
Said put away those young boy ways
Now that I'm gettin' older, so much older
I long for those young boy days

With a girl like you
With a girl like you
Lord knows there are things we can do, baby
Just me and you
Come on and make it, uh

Hurt so good
Come on, baby, make it hurt so good
Sometimes, love don't feel like it should
You make it hurt so good

Don't have to be so inviting
Tryin' to give myself a little bit of fun, yeah
You always look so invitin'
You ain't as green as you are young

Hey, baby, it's you
Come on, girl, now, it's you
Sink your teeth right through my bones, baby
See what we can do
Come on and make it, uh

Hurt so good
Come on, baby, make it hurt so good
Sometimes, love don't feel like it should
You make it hurt so good

I ain't talkin' no big deals
I ain't made no plans myself
I ain't talkin' no high heels
Maybe we could walk around all day long
Walk around all day long, uh

Hurts so good
Come on, baby, make it hurt so good
Sometimes, love don't feel like it should
You make it hurt so good

Hurt so good
Come on, baby, make it hurt so good
Sometimes, love don't feel like it should
You make it hurt so good

 

A versão de John Mellencamp:

 

 

A versão Todd Johnson and The Revolvers:

 

 

A versão de Kenny Chesney e Gretchen Wilson:

 

2266 – R.E.M. – Stumble (1982)

 

 

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.

A versão de R.E.M.:

2265 – Chicago – Hard to say I’m sorry (1982)

 

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

You're gonna be the lucky one

 

A versão do Chicago:

 

 

A versão de Jason Derlatka:

 

 

A versão de Boyce Avenue:

 

2264 – R.E.M. – Carnival of sorts (Boxcars) (1982)

   

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

 

A versão do R.E.M.:

 

 

A versão de Matt B. Davis:

 

2263 – The Who – I’ve known no war (1982)

 

 

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

A versão do Who:

2262 – Van Morrison – Vanlose stairway (1982)

 

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

Send me your bible child
Send me your Gita

 

A versão de Van Morrison:

A versão de Jess Kav:

2261 – John Cougar Mellemcamp – Jack and Diane (1982)

 

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

 

A versão de John Mellencamp:

 

 

A versão do Reagan Years:

 

 

A versão de Michael Tyler:

 

2260 – The Jam – Beat Surrender (1982)

 

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

 

A versão do Jam:

 

2259 – Falco – Der kommissar (1981)

 

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.'"

 

A versão do Falco:

 

 

A versão de After the fire:

 

 

A versão de Falco Tribute com Fettes Brot:

 

2258 – R.E.M. – Gardening at night (1982)

 

 

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

A versão do R.E.M.:

A versão do Fred Armisen e Rich Robinson:

2257 – The Who – Athena (1982)

 

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

 

A versão do Who:

 

 

A versão de Robbie Gil and Co.:

 

A versão de Scott Fish:

 

2256 – Van Morrison – Cleaning windows (1982)

 

 

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...

A versão de Van Morrison:

 

A versão de Jon Knight and Soulstack”:

A versão de Celtic Soul: