Escrita
por George Harrison, foi gravada no Amigos Studio, em Los Angeles,
entre abril e outubro de 1978 e lançada em 14 de fevereiro de 1979,
no disco George Harrison, o oitavo da carreira dele. Foi produzida
por George Harrison e Russ Titelman. Foi escrita pra Olivia Arias,
sua esposa, que estava grávida do seu filho, Dhani Harrison. Tem
estilo espanhol. George disse que a música era um resumo do efeito
positivo que Olivia tinha trazido pra sua vida, em contraste com a
bagunça que era quando se separou de Patty Boyd. George cantou e fez
backing vocals, tocou guitarra e violão, dobro, bandolim e cítara.
Neil Larsen tocou piano e Fender Rhodes. Steve Winwood tocou
Polymoog, harmonium e fez backing vocals. Willie Weeks tocou baixo.
Andy Newmark tocou bateria. Ray Cooper tocou percussão. Emil
Richards tocou marimba e Gayle Levant tocou harp.
A
letra:
My dark sweet lady You
really got to me You gave me everything I've really fallen.
You came and helped me
through When I'd let go You came from out the blue Never
have known what I'd done without you.
My dark sweet lady Your heart so
close to mine You shine so heavenly and I love you dearly.
Escrita
por Roger Hodgson, foi gravada entre maio e dezembro de 1978 e
lançada em 29 de março de 1979, no disco Breakfast in America, o
sexto disco da banda. Saiu também em compacto, com From now on como
Lado B. Foi produzida por Supertramp e Peter Henderson. Fala sobre o
desejo de tomar o caminho mais longo pra chegar em casa, pois a
esposa o trata como um móvel da casa. E fala também do eterno
desejo de termos um lugar onde nos sentimos em casa. Mas também é
uma metáfora sobre a nossa jornada de auto-conhecimento. Chegou ao
número 10 no Billboard Hot100, número 4 no Canadá, número 32 na
Holanda e número 53 na Alemanha Ocidental. Roger Hodgson cantou,
tocou piano e guitarra. Rick Davies tocou gaita, orgão Hammond e
sintetizadores. Dougie Thomson tocou baixo. Bob Benberg tocou bateria
e pandeiro. John Helliwell tocou clarinete.
A
letra:
So,
you think you're a Romeo Playing a part in a picture show Well,
take the long way home Take the long way home
'Cause you're the joke of the
neighborhood Why should you care if you're feelin' good? Well,
take the long way home Take the long way home
There are times that you feel you're
part of the scenery All the greenery is comin' down, boy And
then your wife seems to think you're part of the furniture Oh,
it's peculiar, she used to be so nice
When lonely days turn to lonely
nights You take a trip to the city lights And take the long way
home Take the long way home
You never see what you want to
see Forever playing to the gallery You take the long way
home Take the long way home
When you're up on the stage, it's so
unbelievable Oh, unforgettable, how they adore you But then
your wife seems to think you're losing your sanity Oh, calamity,
is there no way out?
Does it feel that your life's become a
catastrophe? Oh, it has to be, for you to grow, boy When you
look through the years and see what you could have been Oh, what
you might have been If you would have more time
So when the day comes to settle
down Who's to blame if you're not around? You took the long way
home You took the long way home You took the long way home You
took the long way home You took the long way home You took the
long way home You took the long way home You took the long way
home
Long way home Long way home Long
way home Long way home Long way home Long way home Long
way home
Escrita
por Roger Waters, foi gravada entre abril e setembro de 1979 e no
disco The Wall, o décimo primeiro disco da banda, no dia 30 de
novembro de 1979. Foi produzida por Roger Waters, David Gilmour, Bob
Ezrin e James Guthrie. Nessa primeira parte da música (são três),
Pink começa a construir metaforicamente o seu muro ao redor dele
mesmo, após a morte do pai dele. Roger cantou e tocou baixo. David
tocou guitarra e fez harmonias vocais. Richard Wright tcou
sintetizadores. Não tem bateria.
A
letra:
Daddy's
flown across the ocean Leaving just a memory A snapshot in the
family album Daddy, what else did you leave for me?
Daddy,
what d'ya leave behind for me?
All in all it was just a brick
in the wall All in all it was all just bricks in the wall
Escrita por
Mark Knopfler, foi gravada entre 28 de novembro e 12 de dezembro de
1978, no Compass Point, em Nassau
e lançada em 5 de junho de 1979 no disco Communiqué, o segundo
disco da banda. Foi produzida por Barry Beckett e Jerry Wexler. Mark
Knopfler cantou, tocou guitarra solo e base. David Knopfler tocou
guitarra base e fez backing vocals. John Illsley tocou baixo e fez
backing vocals. Pick Withers tocou bateria. Barry Beckett tocou
teclado.
A letra:
They want to get a statement
for Jesus' sake It's like a talking to the wall He's
incommunicado no comment to make He's saying nothing at all
But in the communique you know he's
gonna come clean Think what he say Say what he means Maybe
on Monday he got something to say
Communication Communique Communique
Maybe he could talk about the tricks of
the trade Maybe he could talk about himself Maybe he could talk
about the money that he made Maybe he'd be saying something else
But in the communique you know he's
gonna come clean Think what he say, Say what he means Maybe
on monday he got something to say
Communication Communique Communique
And now the rumors are
flying Speculation rising Say that he's been trying someone
else's wife Somebody at the airport Somebody on the phone Says
he's at the station and he's coming on the noon Then we get the
story a serious breeze And a photograph taken in the hall You
don't have to worry with the previous release Right now, he's
saying nothing at all But in the communique you know he's gonna
come clean Think what he say Say what he means Maybe on
Monday he got something to say
Escrita
por Benny Andersson e Bjorn Ulvaeus, foi gravada em setembro de 1979
e lançada em 12 de outubro de 1979, no compacto que tinha The king
has lost his crown como Lado B. Foi produzida por Benny Andersson e
Bjorn Ulvaeus. Agnetha Faltskog fez os vocais principais. Fala de uma
mulher à procura de um relacionamento romântico. Não entrou nos
charts americanos, mas foi número 3 no Reino Unido. Número 1 na
Bélgica, Europa, Finlandia, Irlanda, Japão e Suíça. Número 2 na
Áustria, Holanda e Noruega. Número 3 na Alemanha Ocidental, número
8 na Austrália, número 15 da Nova Zelandia, número 16 na Suécia e
África do Sul e número 17 no Japão.
A
letra:
Half-past
twelve And I'm watching the late show in my flat all alone How
I hate to spend the evening on my own Autumn winds Blowing
outside the window as I look around the room And it makes me so
depressed to see the gloom
There's not a soul out there No one
to hear my prayer
Gimme, gimme, gimme a man after
midnight Won't somebody help me chase the shadows away? Gimme,
gimme, gimme a man after midnight Take me through the darkness to
the break of the day
Movie stars Find the end of the
rainbow with a fortune to win It's so different from the world I'm
living in Tired of TV I open the window and I gaze into the
night But there's nothing there to see, no one in sight
There's not a soul out there No one
to hear my prayer
Gimme, gimme, gimme a man after
midnight Won't somebody help me chase the shadows away? Gimme,
gimme, gimme a man after midnight Take me through the darkness to
the break of the day
Gimme, gimme, gimme a man after
midnight Gimme, gimme, gimme a man after midnight
There's not a soul out there No one
to hear my prayer
Gimme, gimme, gimme a man after
midnight Won't somebody help me chase the shadows away? Gimme,
gimme, gimme a man after midnight Take me through the darkness to
the break of the day
Gimme, gimme, gimme a man after
midnight Won't somebody help me chase the shadows away? Gimme,
gimme, gimme a man after midnight Take me through the darkness to
the break of the day
Escrita
por Neil Young, foi gravada em 26 de maio de 1978, no Boarding House,
em San Francisco. Foi lançada no disco Rust never sleeps, em 22 de
junho de 1979. Foi produzida por Neil Young, Davd Briggs e Tim
Mulligan. Essa música na verdade foi composta pro disco Zuma, de
1975 e não foi utilizada. Conta a história de um viajante espacial
que toca guitarra com um alien. Neil a chama de uma canção folk
extraterrestre. Ela foi escrita no mesmo dia que Cortez the killer.
Neil tocou violão e cantou.
A
letra:
Remember
the Alamo When help was on the way It's better here and now I
feel that good today I'd like to take a walk But not around the
block I really got some news I met a man from Mars He picked
up all my guitars And played me traveling songs And when we got
on ship He brought out something for the trip And said, "It's
old but it's good" Like any other primitive would
I'm gonna ride my llama From Peru to
Texarkana I wanna ride him good In my old neighborhood My
old neighborhood My old neighborhood Old neighborhood Old
neighborhood
Escrita
por George Harrison e Gary Wright, foi gravada em 1978 na casa do
próprio George, em Oxfordshire. Eles começaram a compô-la no dia 1
de janeiro de 1978 e George terminou-a no Hawaii, alguns meses
depois. Foi lançada no disco George Harrison, o oitavo disco de sua
carreira, no dia 20 de fevereiro de 1979. Foi produzida por George
Harrison e Russ Titelman. A letra fala do poder da fé pra se
conseguir o que se almeja. Esta foi a primeira colaboração oficial
entre George e Wright. George cantou, tocou violão, slide guitar e
fez backing vocals. Gary Wright tocou sintetizador. Neil Larsen tocou
piano. Willie Weeks tocou baixo. Andy Newmark tocou bateria.
A
letra:
You
can worry your life away with Not knowing what each new day may
bring to you Or take each day as it goes on Wake up to the love
that flows on, around you
If you believe if you believe in
you Everything you thought is possible, if you believe, If you
believe in me, All your love's reflected back to you When you
believe
Too many troubles you can't control To
get you falling into the holes they dig for you Get up - you have
all your needs, pray Give up - and it all recedes away from you If
you believe - if you believe in you
Everything you thought is possible, if
you believe If you believe in me All your love's reflected
back to you When you believe
Escrita
por Rick Davies, foi gravada entre maio e dezembro de 1978 no Village
Recorder, em Los Angeles e lançada no disco Breakfast in America, o
sexto da banda, em 16 de março de 1979. Foi produzida por Peter
Henderson e Supertramp. Rick Davies cantou e tocou teclado. Roger
Hodgson tocou teclado, guitarra e vibes. John Helliwell tocou sax e
woodwinds. Bob Siebenberg tocou bateria e Dougie Thomson tocou baixo.
Slyde Hyde tocou tuba e trombone.
A
letra:
It
doesn't matter what I say You never listen, anyway Just don't
know what you're looking for Imagination's all I have But even
then, you say it's bad Just can't see why we disagree
Casual conversations, how they bore
me Yeah, they go on and on, endlessly No matter what I say,
you'll ignore me anyway I might as well talk in my sleep I
could weep
You try to make me feel so small Until
there's nothing left at all Why go on Just hoping that we'll
get along
There's no communication left between
us But is it me or you, who's to blame There's nothing I can
do, yes, you're fading out of view Don't know if I feel joy or
pain It's such a shame
And now it seems it's all been said If
you must leave, then go ahead Should feel sad But I really
believe that I'm glad I really believe that I'm glad I really
believe that I'm glad
Escrita
por Roger Waters e David Gilmour, foi gravada entre abril e setembro
de 1979 e lançada no disco The Wall, o décimo primeiro disco da
banda, em 30 de novembro de 1979. Foi produzida por David Gilmour,
Roger Waters, Bob Ezrin e James Guthrie. Fala sobre se jogar no sexo,
hedonismo, drogas e rock and roll. Fala de um astro do rock
procurando sexo casual pra amenizar o tédio da turnê. É uma das
poucas canções em que David Gilmour toca baixo. E uma das três em
que ele compôs pro disco The Wall. David Gilmour cantou com backing
vocals feitos por Roger Waters. Além de cantar e tocar baixo, David
Gilmour toca guitarra. Nick Mason tocou bateria e pandeiro. Richard
Wright toca orgão Hammond e piano elétrico Wurlitzer. Foi regravada
por Bryan Adams ao vivo.
A
letra:
I
am just a new boy Stranger in this town Where are all the good
times? Who's gonna show this stranger around? Ooh, I need a
dirty woman Ooh, I need a dirty girl
Will some woman in this desert
land Make me feel like a real man? Take this rock and roll
refugee Ooh, baby set me free
Ooh, I need a dirty woman Ooh, I
need a dirty girl
Ooh, I need a dirty woman Ooh, I
need a dirty girl
Hello? Yes, a collect call for Mrs.
Floyd from Mister Floyd Will you accept the charges from United
States?
Oh, he hung up, that's your residence,
right? I wonder why he hung up? Is there supposed to be someone
else there besides your wife there to answer?
Hello? This is United States
calling, are we reaching See he keeps hanging up, and it's a man
answering
Escrita
por Mark Knopfler, foi gravada entre 28 de novembro e 12 de dezembro
de 1978, no Compass Point, em Nassau e lançada em 5 de junho de 1979
no disco Communiqué, o segundo disco da banda. Foi produzida por
Barry Beckett e Jerry Wexler. Mark Knopfler cantou, tocou guitarra
solo e base. David Knopfler tocou guitarra base e fez backing vocals.
John Illsley tocou baixo e fez backing vocals. Pick Withers tocou
bateria. Barry Beckett tocou teclado.
A
letra:
Well
there's a Peter Pan moon, shepherd's delight I got the dragon at
noon, yes and I won the fight Now I want my reward in heaven
tonight, just like you promised Angel of Mercy, you'll come to no
harm Angel of Mercy, there's no need for alarm The knight in
his armour wants a night in your arms You know he's honest
Angel
of Mercy, angel delight Give me my reward in Heaven tonight And
if I give up my sword, won't you give me the right Angel of Mercy
give me Heaven tonight
Well now it's too late for talking we
can talk later on Let the saxophone play us till the chorus of
dawn And all I need is a little oblivion, you don't need
protection Well now here come the moonlight down on your bed Angel
of mercy let your heart rule your head I don't want your money, I
want you instead Don't need rejection yeah
Angel of Mercy,
angel delight Give me my reward in Heaven tonight And if I give
up my sword, won't you give me the right Angel of Mercy give me
Heaven tonight
Well if you cross your heart And spit and
swear upon the grave of your mother You got to get into it, you
gotta tell me that I'm more than a lover
Angel of Mercy, angel
delight Give me my reward in Heaven tonight And if I give up my
sword, won't you give me the right Angel of Mercy give me Heaven
tonight
Yeah, angel of Mercy, angel delight Give me my
reward in Heaven tonight And if I give up my sword, won't you give
me the right Angel of Mercy give me Heaven tonight
Angel of
Mercy, angel delight Give me my reward in Heaven tonight And if
I give up my sword, won't you give me the right Angel of Mercy
give me Heaven tonight
Escrita
por Benny Andersson e Bjorn Ulvaeus, foi gravada entre março de 1978
e março de 1979 e lançada no disco de mesmo nome, o sexto da banda,
em 23 de abril de 1979. Sairia também em compacto, em 2 de julho de
1979, com Angeleyes como Lado B. Foi produzida por Benny Andersson e
Bjonr Ulvaeus. Agnetha Faltskog e Anni-Frid Lyngstad dividiram os
vocais principais. Nasceu de uma viagem às Bahamas e como estavam
perto de Miami, pararam no Criteria Studios em Miami pra gravar.
Assim, essa foi a única canção do ABBA que foi gravada fora da
Suécia. Chegou ao número 80 no Billboard Hot100, número 3 no Reino
Unido, Irlanda e Holanda, número 1 na Bélgica, número 9 na Suíça,
número 14 na Alemanha Ocidental, número 20 na Finlandia, número 79
na Austrália e número 87 no Canadá.
A
letra:
People
everywhere A sense of expectation hangin' in the air Givin' out
a spark Across the room, your eyes are glowin' in the dark
And here we go again, we know the
start, we know the end Masters of the scene We've done it all
before and now we're back to get some more You know what I mean
Voulez-vous (aha) Take it now or
leave it (aha) Now is all we get (aha) Nothing promised, no
regrets (aha) Voulez-vous (aha) Ain't no big decision (aha) You
know what to do (aha) La question c'est voulez-vous Voulez-vous
I know what you think "The girl
means business, so I'll offer her a drink" Lookin' mighty
proud See you leave your table, pushing through the crowd
I'm really glad you came, you know the
stars, you know the game Master of the scene We've done it all
before and now we're back to get some more You know what I mean
Voulez-vous (aha) Take it now or
leave it (aha) Now is all we get (aha) Nothing promised, no
regrets (aha) Voulez-vous (aha) Ain't no big decision (aha) You
know what to do (aha) La question c'est voulez-vous
And here we go again, we know the
start, we know the end Master of the scene We've done it all
before and now we're back to get some more You know what I mean
Voulez-vous (aha) Take it now or
leave it (aha) Now is all we get (aha) Nothing promised, no
regrets (aha) Voulez-vous (aha) Ain't no big decision (aha) You
know what to do (aha) La question c'est voulez-vous Voulez-vous
Escrita
por Neil Young, foi gravada em 8 de novembro de 1976, no Indigo Ranch
Studio, em Malibu, California. Foi lançada no disco Rust never
sleeps, o décimo de Neil, em 2 de julho de 1979. Foi produzida por
Neil Young, David Briggs e Tim Mulligan. O único instrumento da
gravaçã foi o violão de Neil. Críticos dizem que a melodia foi
tirada de He's a bad boy, de Carole King, de 1963. Foi regravada por
Johny Cash (com Tom Petty and The Heartbreakers como banda de fundo),
entre outros artistas. Neil se inspirou quando leu o poema The
Bridge, de Hart Cane, escrito em 1930. Neil leu esse poema em
Londres, em 1931. O personagem central do poema é Matoaka, cujo nome
branco é Pocahontas. Neil disse que escreveu a canção quando viu
Marlon Brandon recusar o oscar e pediu pra uma atriz índia falar no
lugar dele, pois ele estava protestando sobre o papel do índio nos
filmes americanos. Por isso Neil Young fala em Marlon Brandon na
música. A letra fala de um massacre de índios pelos colonizadores
europeus, mas no fim da canção, existe um encontro entre Neil,
Brandon e Pocahontas.
A
letra:
Aurora
Borealis The icy sky at night Paddles cut the water In a
long and hurried flight From the white man to the fields of
green And the homeland we've never seen
They killed us in our teepees And
cut our women down They might have left some babies Cryin' on
the ground But the fire sticks and the wagons come And the
night falls on the setting sun
They massacred the buffalo Kitty
corner from the bank Taxis run across my feet And my eyes have
turned to blanks In my little box at the top of the stairs With
my Indian rug and a pipe to share
I wish a was a trapper I would give
a thousand pelts To sleep with Pocahontas And find out how she
felt In the mornin' on the fields of green In the homeland
we've never seen
Yes
and maybe Marlon Brando will be there by the fire We'll sit and
talk of Hollywood and the good things there for hire And the
Astrodome and the first tepee Marlon Brando, Pocahontas and
me Marlon Brando, Pocahontas and me Pocahontas
Escrita
por George Harrison, foi gravada entre abril e outubro de 1978 e
lançada em 20 de fevereiro de 1979 no disco George Harrison, o
oitavo de George Harrison. Sairia também em compacto, com Your love
is forever como Lado B. Foi produzida por Russ Titelman e George
Harrison. Canção inspirada em corridas de carro. Em 1977, George
tirou umas férias da música e viajou com Jackie Stewart e Niki
Lauda para as corridas de Formula 1 naquele ano. A música fala das
dificuldades de ter e manter o sucesso na Formula 1. George fala que
a carreira de um piloto é como viver em um circo e que a esposa
sempre tem que segurar o choro, por causa do perigo inerente à
profissão. Fala da emoção dos espectadores e da inveja entre os
pilotos. George cantou, tocou violão de 12 cordas, slide guitar,
guitarra, baixo e fez backing vocals. Neil Larsen tocou piano. Andy
Newmark tocou bateria. Ray Cooper tocou pandeiro
A
letra:
Chose
a life in circuses Jumped into the deepest end Pushing himself
to all extremes Made it, people became his friend
Now they stood and noticed him Wanted
to be a part of it Pulled out some poor machinery So he worked
'til the pieces fit
The people were intrigued His wife
held back her fears The headlines gave acclaim He'd realized
their dreams
Faster than a bullet from a gun He
is faster than everyone Quicker than the blinking of an eye Like
a flash you could miss him going by No one knows quite how he does
it But it's true, they say "He's the master of going
faster"
Now he moved into the space That the
special people share Right on the edge of do or die Where there
is nothing left to spare
Still the crowds came pouring in Some
had hoped to see him fail Filling their hearts with
jealousies Crazy people with love so frail
The people were intrigued His wife
held back her fears The headlines gave acclaim He'd realized
their dreams
Faster than a bullet from a gun He
is faster than everyone Quicker than the blinking of an eye Like
a flash you could miss him going by No one knows quite how he does
it But it's true, they say "He's the master of going
faster"
No need to wonder why His wife held
back her fears So few have even tried To realize their dreams
Faster than a bullet from a gun He
is faster than everyone Quicker than the blinking of an eye Like
a flash you could miss him going by No one knows quite how he does
it But it's true, they say "He's the master of going
faster"
No one knows quite how he does it But
it's true, they say "He's the master of going faster"
Escrita
por Rick Davis, foi gravada entre maio e setembro de 1978 e lançada
no disco Breakfast in America, o sexto disco da banda, em 16 de março
de 1979. Sairia também no compacto que tinha Even in que quietest
moments como Lado B, em julho de 1979. Foi produzida por Peter
Henderson e Supertramp. A letra é uma visão otimista de um
naufrágo. Rick Davies tocou piano eletronico Wurlitzer, orgão
Hammond e cantou. Roger Hodgson tocou guitarra e fez harmonias
vocais. John Helliwell fez harmonias vocais e assobio. Dougie Thomson
tocou baixo e Bob Siebenberg tocou bateria. Chegou ao número 15 do
Billboard Hot100, número 57 no Reino Unido, número 6 no Canadá,
número 9 na França, número 40 na Nova Zelandia e número 41 na
Holanda.
A
letra:
It
was an early morning yesterday I was up before the dawn And I
really have enjoyed my stay But I must be moving on
Like a king without a castle Like a
queen without a throne I'm an early morning lover And I must be
moving on
Now I believe in what you say Is the
undisputed truth But I have to have things my own way To keep
me in my youth
Like a ship without an anchor Like a
slave without a chain Just the thought of those sweet ladies Sends
a shiver through my veins
And I will go on shining Shining
like brand new I'll never look behind me My troubles will be
few
Goodbye stranger it's been nice Hope
you find your paradise Tried to see your point of view Hope
your dreams will all come true
Goodbye Mary, goodbye Jane Will we
ever meet again Feel no sorrow, feel no shame Come tomorrow,
feel no pain
Sweet devotion (Goodby Mary) It's
not for me (Goodbye Jane) Just give me motion (Will we ever) To
set me free (Meet again) In the land and the ocean (Feel no
sorrow) Far away (Feel no shame) It's the life I've chosen
(Come tomorrow) Every day (Feel no pain) So goodbye Mary
(Goodbye, Mary) So goodbye Jane (Goodbye, Jane) Will we ever
(Will we ever) Meet again (Meet again)
Now some they do and some they
don't And some you just can't tell And some they will and some
they won't With some it's just as well
You can laugh at my behaviour And
that'll never bother me Say the devil is my saviour But I don't
pay no heed
And I will go on shining Shining
like brand new I'll never look behind me My troubles will be
few
Goodbye, stranger, it's been nice Hope
you find your paradise Tried to see your point of view Hope
your dreams will all come true
Goodbye Mary, goodbye Jane Will we
ever meet again Feel no sorrow, feel no shame Come tomorrow,
feel no pain
Sweet devotion (Goodbye, Mary) It's
not for me (Goodbye, Jane) Just give me motion (Will we ever) To
set me free (Meet again) In the land and the ocean (Feel no
sorrow) Far away (Feel no shame) It's the life I've chosen
(Come tomorrow) Every day (Feel no pain)
So now I'm leaving (Goodbye, Mary) Got
to go (Goodbye, Jane) Hit the road (Will we ever) I'll say it
once again (Meet again) Oh, yes, I'm leaving (Feel so sorrow) Got
to go (Feel no shame) Got to go (Come tomorrow) I'm sorry, I
must dash (Feel no pain)
So goodbye Mary (Goodbye, Mary) So
goodbye Jane (Goodbye, Jane) Will we ever (Will we ever) Meet
again? (Meet again)
Escrita
por David Gilmour e Roger Waters, foi gravada entre abril e novembro
de 1979 e lançada no disco The wall, o décimo primeiro disco da
banda. Sairia também em compacto, com Hey you como Lado B, em 23 de
junho de 1980. Foi produzida por James Guthrie, Bob Ezrin, David
Gilmour e Roger Waters. A letra foi escrita por Roger, baseado em uma
experiencia em 1977, que deram tranquilizantes pra ele antes de um
show. Foi a última composição em que Gilmour e Waters fizeram
juntos. É o número 179 da lista da revista Rolling Stone das 500
greatest songs of all time. O personagem Pink é medicado por um
médico pra que possa fazer um show. Roger Waters cantou os versos e
tocou baixo. David Gilmour cantou o refrão e fez harmonias vocais,
tocou violão, guitarra, baixo, pedal steel guitar e sintetizador.
Nick Mason tocou bateria. Richard Wright tocou orgão Hammond. Lee
Ritenour tocou violão. A Rádio BBC elegeu-a como a número 4 das
músicas pra se levar pra uma ilha deserta. A Guitar World Magazine
disse que o solo de Gilmour era o quarto melhor de todos os tempos. A
rádio digital Planet Rock disse que o solo de Gilmour foi o melhor
solo de todos os tempos. A revista Guitarrist disse que o tom da
guitarra de Gilmour era o melhor som de guitarra de todos os tempos.
A
letra:
Hello?
(Hello? Hello? Hello?)
Is there anybody in there? Just nod
if you can hear me Is there anyone home? Come on now I hear
you're feeling down Well I can ease your pain Get you on your
feet again Relax I'll need some information first Just the
basic facts Can you show me where it hurts?
There is no pain you are receding A
distant ship smoke on the horizon You are only coming through in
waves Your lips move but I can't hear what you're saying When I
was a child I had a fever My hands felt just like two balloons Now
I've got that feeling once again I can't explain you would not
understand This is not how I am I have become comfortably numb
I have become comfortably numb
Okay (okay, okay, okay) Just a
little pinprick There'll be no more, ah But you may feel a
little sick Can you stand up? I do believe it's working,
good That'll keep you going through the show Come on it's time
to go
There is no pain you are receding A
distant ship, smoke on the horizon You are only coming through in
waves Your lips move but I can't hear what you're saying When I
was a child I caught a fleeting glimpse Out of the corner of my
eye I turned to look but it was gone I cannot put my finger on
it now The child is grown The dream is gone I have become
comfortably numb
