Escrita
por J. J. Cale, foi gravada em 1978 em Nashville, Tennessee e lançada
em agosto de 1979, no disco 5, o quinto da carreira dele. Foi
produzida por JJ Cale e Audie Ashworth. Uma cançã que fala de
tesão. J.J. Cale cantou, tocou as guitarras e baixo. Christine
Lakeland cantou e tocou órgão.
A
letra:
Now
she don't know where she is, how sexy she can be She don't realise
what her eyes do to me She keeps me hot, like a boilin' pot She
whispers in my ear, "Let's do it right here"
The
ways of a wantin' woman aren't a mystery The style she has will
never fade as long as she's havin' me She keeps me hot, like a
boilin' pot She whispers in my ear, "Let's do it right
here"
She keeps me hot, like a boilin' pot Burning
right through the night It don't take long for her to catch my
eye When she wants to suck me in, it's easy as pie She keeps me
hot, like a boilin' pot Burning right through the night
Escrita
por Roger Waters, foi gravada entre abril e novembro de 1979 e
lançada em 30 de novembro de 1979, no disco The Wall, o décimo
primeiro da banda. Foi produzida por Bob Ezrin, Roger Waters, David
Gilmour e James Guthrie. O título é uma referencia à cantora
britânica Vera Lynn, que fez sucesso durante a Segunda Guerra
Mundial com a canção popular We'll meet again. Roger cantou e tocou
violão. David Gilmour tocou violão e baixo. Richard Wright tocou
sintetizador. Tem também participação da Orquestra Sinfonica de
New York.
A
letra:
Where
the hell are you? Over 47 German planes were destroyed with the
loss of only 15 of our own aircraft Where the hell are you,
Simon?
Does anybody here remember Vera Lynn? Remember how
she said that we would meet again Some sunny day?
Vera!
Vera! What has become of you? Does anybody else in here feel
the way I do?
Escrita
por Tom Petty, foi gravada entre 1978 e 1979, foi lançada no disco
Damn the Torpedoes, o terceiro disco da banda, em 19 de outubro de
1979. Saiu também em compacto, com Casa Dega como Lado B, em 5 de
novembro de 1979. Foi produzida por Jimmy Iovine. Chegou ao número
10 no Billboard Hot100, sendo o único Top 10 da banda. Chegou também
ao número 3 no Canadá e número 17 na Nova Zelandia. Tom Petty
escreveu e gravou uma demo com sua antiga banda, Mudcrutch, em 1974.
Jimmy Iovine convenceu Tom a incluir essa canção no disco, pois ele
achava que seria um hit e foi.
A
letra:
I
was talking with a friend of mine, said a woman had hurt his
pride Told him that she loved him so and turned around and let him
go Then he said, "You better watch your step Or you're
gonna get hurt yourself Someone's gonna tell you lies, cut you
down to size"
Don't do me like that Don't do me like
that What if I love you baby? Don't do me like that
Don't
do me like that Don't do me like that Someday I might need you,
baby Don't do me like that
Listen honey, can you see? Baby,
it would bury me If you were in the public eye givin' someone else
a try And you know you better watch your step Or you're gonna
get hurt yourself Someone's gonna tell you lies, cut you down to
size
Don't do me like that Don't do me like that What if
I love you baby? Don't, don't, don't, don't
Don't do me
like that Don't do me like that What if I need you baby? Don't
do me like that
'Cause somewhere deep down inside Someone
is saying, "Love doesn't last that long" I've had this
feelin' inside night and day in And baby I can't take it no
more
Listen honey, can you see? Baby, it would bury me If
you were in the public eye givin' someone else a try And you know
you better watch your step Or you're gonna get hurt
yourself Someone's gonna tell you lies, cut you down to
size
Don't do me like that Don't do me like that What if
I love you baby? Don't, don't, don't, don't
Don't do me
like that Don't do me like that I just might need you
honey Don't do me like that
Wait! Don't do me like
that Don't do me like that Baby, baby, baby, Don't, don't,
don't
No! Don't do me like that Don't do me like
that Baby, baby, baby...
Escrita
por Marley, foi gravada entre janeiro e fevereiro de 1979, no Tuff
Gong Recording Studio, em Kingston, Jamaica e lançada em 2 de
outubro de 1979, no disco Survival, o décimo primeiro da banda. Foi
produzida por Bob Marley and The Wailers e Alex Sadkin. Bob Marley
proclama nessa música uma solidariedade Pan-African. Bob Marley
cantou, tocou guitarra base, violão e percussão. Aston Barrett
tocou baixo, guitarra base e percussão. Carlton Davis tocou bateria
e percussão. Tyrone Downie tocou teclado, percussão e fez backing
vocals. Alvin Patterson tocou percussão. Junior Marvin tocou
guitarra. Earl Lindo tocou teclado. Al Anderson tocou guitarra solo.
Rita Marley, Marcia Griffiths e Judy Mowatt fizeram backing vocals.
Headley Bennett tocou sax alto. Ronaldo Robinson, Luther François e
Melba Liston tocaram trombone. Junior Chin, Jackie Willacy e Micky
Hanson tocaram trompete. Lee Jaffe tocou gaita.
A
letra:
Africa
unite 'Cause we're moving right out of Babylon And we're going
to our Father's land, yeah
How good and how pleasant it would
be Before God and man, yeah To see the unification of all
Africans, yeah As it's been said already, let it be done, yeah We
are the children of the Rastaman We are the children of the Iyaman
So, Africa unite 'Cause the children
wanna come home (Africa unite), yeah, yeah Africa unite 'Cause
we're moving right out of Babylon And we're grooving to our
Father's land, yeah
How good and how pleasant it would
be Before God and man To see the unification of all Rastaman,
yeah As it's been said already, let it be done I tell you who
we are under the sun We are the children of the Rastaman We are
the children of the Iyaman
So, Africa unite Afri- Africa unite,
yeah Unite for the benefit of your people (Africa unite) Unite
for it's later than you think (Africa unite) Unite for the benefit
of my children (Africa unite) Unite for it's later than you think
(Africa unite)
Africa awaits its creators (Africa
unite) Africa awaiting its Creator (Africa unite) Africa,
you're my forefather cornerstone (Africa unite) Unite for the
Africans abroad (Africa unite) Unite...
Escrita
por Van Morrison, foi gravada na primavera de 1979, no Record Plant
Studios, em Sausalito, California. Saiu em agosto de 1979, no disco
Into the music, o décimo primeiro disco de Van. Saiu também em
setembro de 1979, no compacto que tinha Rolling Hills como Lado B.
Foi produzida por Van Morrison. É uma resposta à música The dark
end of the street. Foi regravada por Shakira e Jerry Garcia, entre
outros artistas. Van Morrison cantou, tocou violão e gaita. Herbie
Armstrong tocou guitarra. Pee Wee Ellis tocou sax tenor. David Hayes
tocou baixo. Zakir Hussain tocou tabla. Mark Isham tocou trompete.
Mark Jordan tocou piano. Katie Kissoon fez backing vocals. Toi Marcus
tocou violino e Peter Van Hooke tocou bateria. Chegou ao número 63
no Reino Unido e número 48 na Holanda,
A
letra:
From
the dark end of the street To the bright side of the road We'll
be lovers once again On the bright side of the road
Little darlin', come with me Won't
you help me share my load From the dark end of the street To
the bright side of the road
Into this life we're born Baby
sometimes, sometimes we don't know why And time seems to go by so
fast In the twinkling of an eye
Let's enjoy it while we can (let's
enjoy it while we can) Won't you help me share my load (help me
share my load) From the dark end of the street To the bright
side of the road
Into this life we're born Baby
sometimes, sometimes we don't know why And time seems to go by so
fast In the twinkling of an eye
Let's enjoy it while we can (let's
enjoy it while we can) Help me sing my song (help me sing my
song) Little darling come alone To the bright side of the road
On the dark end of the street (on the
dark end of the street) To the bright side of the road (to the
bright side of the road) Little darling come alone On the
bright side of the road On the dark end of the street (on the dark
end of the street) To the bright side of the road (to the bright
sight of the road) We'll be lovers once again On the bright
side of the road Yeah, we'll be, we'll be lovers once again On
the bright side of the road
Escrita
por Robert Plant e John Paul Jones, foi gravada entre novembro e
dezembro de 1978, no Polar Studios, em Estocolmo, Suécia. Foi
lançada em 15 de agosto de 1979, no disco In through the out door,
o oitavo e último disco da banda. Foi produzida por Jimmy Page. Tem
um solo feito em um sintetizador, tocado por John Paul Jones. Foi
escrita pra Karac, filho de Plant, que morreu aos cinco anos de
idade, em 1977, de uma doença no estômago. É uma das duas canções
da banda que Jimmy Page não é o autor. A outra é South bond
Saurez, do mesmo disco. Robert Plant cantou, Jimmy Page tocou
guitarra e violão. John Paul Jones tocou baixo e sintetizador e John
Bonham tocou bateria.
A
letra:
Should
I fall out of love, my fire in the light To chase a feather in the
wind Within the glow that weaves a cloak of delight There moves
a thread that has no end
For many hours and days that pass
ever soon The tides have caused the flame to dim At last the
arm is straight, the hand to the loom Is this to end or just
begin?
All of my love, all of my love All of my love to
you, now All of my love, all of my love Oh, all of my love to
you, now
The cup is raised, the toast is made yet again One
voice is clear above the din Proud Arianne one word, my will to
sustain For me, the cloth once more to spin
Oh, all of my
love, all of my love Oh, all of my love for you now All of my
love, all of my love, yes All of my love to you, child
Yours
is the cloth, mine is the hand that sews time His is the force
that lies within Ours is the fire, all the warmth we can find He
is a feather in the wind
Oh, all of my love, all of my
love Oh, all of my love to you, now All of my love, oh yes All
of my love to you All of my love, all of my love All of my
love! Sometimes, sometimes Hey hey hey hey, ooh yeah It's
all all all All of my love, all of my love All of my love to
you, now All of my love, all of my love All of my love to you,
now I get a little bit lonely Just a little, just a little Just
a little bit lonely Just a little bit lonely
Escrita
por J.J. Cale, foi gravada em 1979 no Crazy Mama Studios, em
Nashville, Tennessee e lançada em agosto de 1979, no disco 5, o
quinto da carreira de Cale. Foi produzida por J.J. Cale e Audie
Ashworth. É uma canção sobre drogas e que fala dos altos e baixos
de ser um músico em turnê. J.J. Cale tocou guitarra e cantou.
Christine Lakeland cantou e tocou orgão. Billy Cox tocou baixo. Karl
Himmel tocou bateria.
A
letra:
Thirteen
days on a gig down South But we had enough dope to keep us all
around We had two girls dancin' to bring in a crowd A sound man
to mix us, make us sound loud
Sometimes we make money, sometimes I
don't know Thirteen days with five to go
Birmingham, Mobile, and up to Baton
Rouge We're smokin' cigarettes and reefer, drinkin' coffee and
booze We see the sun go down in Georgia, come up in New
Orleans Now we got to know a waitress, I tried to get in her jeans
Sometimes we make money, sometimes I
don't know Thirteen days with five to go
Migrant worker is the name of this
band Well, they come to your town, come and see us if you
can Yeah, we've been to California, we been to New York Some
think we're good, to others it's a joke
Sometimes we make money, sometimes I
don't know Thirteen days with five to go Yeah, thirteen days
with five to go
Thirteen days with five to go Thirteen
days with five to go
Escrita
por Roger Waters, foi gravada entre abril e novembro de 1979 e
lançada em 30 de novembro de 1979, no disco The Wall, o décimo
primeiro da banda. Foi produzida por Roger Waters, David Gilmour, Bob
Ezrin e James Guthrie. Waters pegou um briga com a banda e foi pra
casa. No outro dia apareceu com essa música, que David Gilmour chama
de fantástica. O personagem Pink descreve sua vida solitária, de
isolamento, por trás do muro mental que ele criou. Ele não tem
ninguém pra conversar, somente seus objetos. Rogers disse que foi
isso que ele sentiu na turnê de 1977 da banda, a primeira da banda
em estádios lotados. A canção faz referencias à Syd Barrett. Foi
a última canção a ser escrita pro disco. Gilmour diz que é uma de
suas favoritas do disco. A letra: "I
got nicotine stains on my fingers, I got a silver spoon on a chain.
Got a grand piano to prop up my mortal remains" foi escrita pra
Richard Wright, que lutava na época pra se livrar do vício da
cocaína. David Gilmour tocou baixo. Roger Waters cantou e tocou EMS
VCS3. Richard Wright tocou sintetizador. Bob Ezrin tocou piano.
Também participou da gravação a New York Symphony Orchestra.
A letra:
"But there's somebody
else that needs taking care of in Washington..." "Who's
that?" "Rose Pilchitt!" "Rose Pilchitt?
Who's that?" (Shut up!) "36-24-36. Does that answer
your question?" (Oi! I've got a little black book with me
poems in!) "Who's she?" "She was 'Miss Armoured
Division' in 1961."
I've got a little black book with my
poems in Got a bag with a toothbrush and a comb in When I'm a
good dog they sometimes throw me a bone in
I got elastic bands
keeping my shoes on Got those swollen hand blues I've got
thirteen channels of shit on the T.V. to choose from
I've got
electric light And I've got second sight I've got amazing
powers of observation
And that is how I know When I try to
get through On the telephone to you There'll be nobody
home
I've got the obligatory Hendrix perm And the
inevitable pinhole burns All down the front of my favourite satin
shirt
I've got nicotine stains on my fingers I've got a
silver spoon on a chain I've got a grand piano to prop up my
mortal remains
I've got wild staring eyes And I've got a
strong urge to fly But I've got nowhere to fly to
Ooh,
babe, when I pick up the phone ("Surprise, surprise,
surprise") There's still nobody home
I've got a pair
of Gohil's boots But I've got fading roots
Escrita
por Tom Petty e Mike Campbell, foi gravada em 1979 e lançada em 19
de outubro de 1979, no disco Damn the torpedoes, o terceiro de Tom
Petty and The Heartbreakers. Sairia também em compacto, com
Louisiana rain como Lado B, em 7 de abril de 1980. Foi produzida por
Tom Petty e Jimmy Iovine. Chegou ao número 59 do Billboard Hot100,
número 41 na Nova Zelandia e número 82 no Canadá. Petty disse que
o refrão foi inspirado no som dos Byrds. Tom Petty cantou e tocou
guitarra base. Mike Campbell tocou guitarra solo. Ron Blair tocou
baixo. Stan Lynch tocou bateria e fez backing vocals. Benmont Tench
tocou piano e orgão.
A
letra:
You
know sometimes, I don't know why But this old town just seems so
hopeless I ain't really sure but it seems I remember the good
times Were just a little bit more in focus
But when she puts
her arms around me I can somehow rise above it Yeah, man when I
got that little girl Standing right by my side You know, I can
tell the whole wide world To shove it, hey
Here comes my girl Here comes my
girl Yeah, and she looks so right She is all I need tonight
Every now and then I get down to the
end of the day I'll just stop, ask myself Why I've done it? It
just seems so useless to have to work so hard And nothing ever
really seem to come from it
And then she looks me in the eye and
says "We're gonna last forever and ever" And you know
I can't begin to doubt it No, 'cause it just feels so good and so
free and so right I know we ain't never going to change our minds
about it, hey
Here comes my girl Here comes my
girl Yeah, and she looks so right She is all I need tonight
Watch her walk
Yeah every time, it seems like there
ain't nothing left no more I find myself having to reach out and
grab hold of something Yeah, I just catch myself wondering, and
waiting, and worrying About some silly little thing that don't add
up to nothing
And then she looks me in the eye, and
says "We're gonna last forever and ever" And you know
I can't begin to doubt it No, 'cause it just feels so good and so
free and so right I know we ain't never gonna change our minds
about it, hey
Here comes my girl Here comes my
girl Yeah, and she looks so right She is all I need tonight
Escrita
por Paul McCartney, foi gravada entre 12 e 17 de julho de 1978 e
lançada em 8 de junho de 1979 no sétimo e último disco dos Wings,
chamado Back to the egg. Sairia também em compacto em 14 de agosto
de 1979, com Old Siam, Sir como Lado B. Foi produzida por Paul
McCartney e Chris Thomas. Chegou ao número 29 no Billboard Hot100 e
número 6 no Canadá. Paul cantou, tocou baixo, piano elétrico e
clavinet. Steve Holley tocou bateria e flexatone. Howie Casey, Tony
Dorsey, Steve Howard e Thaddeus Richard tocaram os sopros.
A
letra:
Ooh,
baby, you couldn't have done a worse thing to me If you'da taken
an arrow and run it right through me, ooh Ooh baby, a bird in the
hand is worth two flyin' But when it came to love, I'd knew you'd
be lyin'
It could have been a finer thing Would
have been a major attraction With no other thing Offering a
note of distraction Come on, get up, get under way and bring your
love
Ooh baby, you wouldn't have found a
more down hero If you'da started at nothing and counted to zero
Ooh baby, you couldn't have done a
worse thing to me If you'da taken an arrow and run it right
through me
It could have been a finer thing Flying
in a righter direction With no other thing Featuring my love
and affection Come on, get up, get under way and bring your
love Ooh baby, you wouldn't have found a more down hero If
you'da started at nothing and counted to zero
Escrita
por Leonard Cohen, foi gravada entre abril e maio de 1979 e lançada
no disco Recent songs, o sexto disco de Leonard. Foi produzida por
Leonard Cohen e Henry Lewy. Leonard se inspirou em um texto chinês
do século 12 chamado Ten bulls, que ele conheceu através de Joshu
Sasaki. Tem também o uso de uma banda de Mariachi. Foi regravada por
Emmylou Harris, entre outros artistas. Leonard cantou e tocou violão.
Mitch Watkins, Ricardo Gonzalez e Filipe Peres tocaram guitarra.
Everado Sandoval tocou “guitarrón”. Abraham Laboriel tocou
baixo. John Lissaeur tocou piano. Garth Hudson tocou acordeon. Bill
Ginn tocou piano elétrico. Steve Meador tocou bateria.
A
letra:
Why
do you stand by the window Abandoned to beauty and pride The
thorn of the night in your bosom The spear of the age in your
side Lost in the rages of fragrance Lost in the rags of
remorse Lost in the waves of a sickness That loosens the high
silver nerves
Oh chosen love, Oh frozen love Oh
tangle of matter and ghost Oh darling of angels, demons and
saints And the whole broken-hearted host Gentle this soul
And come forth from the cloud of
unknowing And kiss the cheek of the moon The New Jerusalem
glowing Why tarry all night in the ruin And leave no word of
discomfort And leave no observer to mourn But climb on your
tears and be silent Like a rose on its ladder of thorns
Oh chosen love, Oh frozen love
Then lay your rose on the fire The
fire give up to the sun The sun give over to splendour In the
arms of the high holy one For the holy one dreams of a
letter Dreams of a letter's death Oh bless thee continuous
stutter Of the word being made into flesh
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 da carreira de George. Foi produzida por George Harrison e Rus
Titelman. Fala das experiencias de George com chás de cogumelo,
enquanto estava de férias no Hawaii. Hana é uma cidade em Maui. É
tocada em um ragtime da década de 1920, chamada Hard Hearted Hannah.
O dobro é o instrumento principal da canção. George foi quem
tocou. George dedicou a canção à Bob Longui, que era o dono do
restaurante Longhi's, em Lahaina, no lado oposto de Hana, em Mauí.
George cantou, tocou violão, dobro e fez backing vocals. Neil Larsen
tocou piano. Willie Weeks tocou baixo. Andy Newmark tocou bateria.
Steve Winwood fez backing vocals.
A
letra:
I
ate it and at once my eyes could see you No sooner had I ooped it
down I felt so far off from the ground I stood on.
My legs
they seemed to me like high-rise buildings My head was high up in
the sky My skin the sun began to fry like bacon.
And then
somebody old appeared and asked had I come far . . . And hadn't
they just seen me up on Haleakala . . . I kept on body surfing to
pretend I hadn't heard There was someone there beside me, swimming
like Richard III And I'm still smiling
Seven naked native
girls swam seven sacred pools . . . Lone-ranger smoking doobies
said you're breaking all the rules . . . You'd better get your
clothes on or else there'll be a row . . . If it wasn't for my
sunstroke I would take you on right now . . . And I'm still
smiling.
I fell in love with my Soft-Hearted Hana She
entered right in through my heart And now although we're miles
apart I still feel her.
She lives beneath the crater in the
meadow She moves among the fruit and grain You can meet her
after heavy rain has fallen.
Escrita
por Rick Davies, foi gravada entre maio e dezembro de 1978 e lançada
no disco Breakfast in America, o sexto disco da banda. Foi produzida
por Supertramp e Peter Henderson. Rick Davies cantou e tocou teclado.
Roger Hodgson cantou, tocou teclado e guitarra. John Helliwel tocou
sax, cantou e tocou woodwinds. Bob Siebenberg tocou bateria. Dougie
Thomson tocou baixo. Slyde Hyde tocou tuba e trombone. É a canção
que fecha o disco. Assim como em Logical song, o piano elétrico
Wurlitzer é o instrumento principal da canção. Depois da parte da
letra, a canção vai pra um longo solo, tocado por um grande piano,
ao lado do Wurlitzer. Acaba com um solo de sax curto, feito por John
Helliwell. Roger disse que a canção foi escrita com pensamento
similar à Gone Hollywood, que olha pra maneira de viver dos
americanos.
A
letra:
I'm
feeling so alone now They cut the telephone, uh, huh Yeah, my
life is just a mess
I threw it all away now I could have
made a fortune I lost the craving for success
And as the acrobats, they tumble And
so the corn begins to crumble While in the mirror She admires a
brand new dress
Live on the second floor now They're
trying to bust the door down Soon I'll have a new address
So much for liberation They'll have
a celebration Yeah, I've been under too much stress
And as the clouds begin to rumble So
the juggler makes his fumble And the sun upon my wall is getting
less
Don't, give a damn Fight, while you
can Kill, shoot 'em up They'll, they'll run amok Shout,
Judas Loud, they'll hear us Soldier, sailor Who's your
jailer? They'll run for cover when they discover Everyone's a
nervous wreck now
I used to think she was so nimble I
would have bought her as a symbol But now I can't afford the
pen To sign her checks
I Don't give a damn Fight, while you
can Kill, shoot 'em up They'll, yeah, they'll run amok Shout,
Judas Loud, they'll hear us Soldier, sailor Who's your
jailer? They'll run for cover when they discover Everyone's a
nervous wreck now
Life's just a bummer, they got your
number Well, give as good as we get now Rise from the gutter,
stick with each other We'll drive 'em over the edge now They're
gonna bleed, that's what they need We'll get together and blow
their cover We're ready (yeah, we're ready) Yeah, we're ready
(yeah, we're ready) Yeah, we're ready, yeah, yeah, yeah, yeah
(yeah, we're ready) Oh, we're ready, ready (yeah, we're ready) Ah,
we're ready, yeah (yeah, we're ready)
Escrita
por Roger Waters, foi gravada entre abril e setembro de 1979 e
lançada em 23 de novembro de 1979, no compacto que tinha Another
brick in the wall Part 2 como Lado A. Saiu também no disco The wall,
o décimo primeiro do Pink Floyd, em 30 de novembro de 1979. Foi
produzida por Roger Waters, Bob Ezrin e David Gilmour. Começa com
uma fã, interpretada pela atriz canadense Trudy Young, falando do
local onde eles estão. A história da canção é que Pink, o
roqueiro alienado, chama a fã pro seu quarto, depois que descobriu
que foi traído por sua esposa. A fã fica tentando chamar a atenção
de Pink, mas ele a ignora, pensando na esposa que o traiu. Ele começa
cantando normalmente, depois a canção explode em um violento rock,
e ele quebra o quarto todo e a fã corre com medo. No fim ele não
sabe porque ela foi embora e pergunta: why are you running away?
Roger Waters cantou e tocou baixo. David Gilmour tocou guitarra solo.
Richard Wright tocou orgão e sintetizador. Nick Mason tocou bateria
e percussão. Bob Ezrin tocou piano. Lee Ritenour tocou guitarra base
e wah-wah pedal. Trudy Young fez a voz da fã.
A
letra:
"Oh
my God! What a fabulous room! Are all these your guitars?" [Film
in background:] ("I'm sorry sir, I didn't mean to startle
you!") "God! This place is bigger than our
apartment!" ("Let me know when you're entering a
room.") ("Yes, sir!") "Uh, can I get a
drink of water?" ("I was wondering about dinner,
sir.) "You want some, huh?" ("Yes?") ("When
do you and your guests want to dine? I have to inform the kitchen
staff.") "Oh wow, look at this tub? Wanna take a
bath?" ("Yes, I'm aware of your duties, Dobbs.") ("Yes,
sir.") (I'll have to find out from Mrs. Bancroft what time
she wants to eat. As for her maid, needless to say, she can have her
meal with the kitchen help.) "What are you watching?" ("Very
good, sir. If you'll just let me know as soon as you can when you and
Mrs Bancroft want to eat.") ("Mrs. Bancroft will be
dining alone.") "Hello?" ("Why? I don't
understand, sir.") ("I won't be staying for
dinner.") "Are you feeling OK?..." ("I'm
surprised to hear that, sir, since you just arrived.") ("Yes,
I'm a little surprised about it myself.")
Day after day,
love turns grey Like the skin of a dying man And night after
night, we pretend it's all right But I have grown older and You
have grown colder And nothing is very much fun any more And I
can feel one of my turns coming on I feel cold as a razor
blade Tight as a tourniquet Dry as a funeral drum
Run to
the bedroom In the suitcase on the left You'll find my
favourite axe Don't look so frightened This is just a passing
phase One of my bad days Would you like to watch T.V.? Or
get between the sheets? Or contemplate the silent freeway? Would
you like something to eat? Would you like to learn to fly? Would
you? Would you like to see me try?
Ah, no!
Would you
like to call the cops? Do you think it's time I stopped? Why
are you running away?
Escrita
por Tom Petty e Mark Campbell, foi gravada em 1979 e lançada no
disco Damn the torpedoes, o terceiro de Tom Petty and The
Heartbreakers, em 19 de outubro de 1979. Sairia também em compacto,
com It's rainin' again como Lado B. Foi produzida por Jimmy Iovine e
Tom Petty. Chegou ao número 15 do Billboard HOT 100, número 2 no
Canadá, número 3 na Nova Zelandia, número 23 na Bélgica e número
24 na Austrália e Holanda. Foi regravada por Melissa Etheridge,
entre outros artistas. Tom Petty cantou e tocou guitarra base. Mike
Campbell tocou guitarra base. Ron Blair tocou baixo. Stan Lynch tocou
bateria e fez backing vocals. Jim Keltner tocou shaker.
A
letra:
We
did somethin' we both know it We don't talk too much about
it Ain't no real big secret all the same Somehow we get around
it Listen it don't really matter to me, baby You believe what
you want to believe You see, you don't have to live like a refugee
(don't have to live like a refugee)
Somewhere, somehow, somebody Must
have kicked you around some Tell me why you want to lay
there Revel in your abandon Honey, it don't make no difference
to me, baby Everybody's had to fight to be free You see, you
don't have to live like a refugee (don't have to live like a
refugee) Now baby, you don't have to live like a refugee (don't
have to live like a refugee) No
Baby we ain't the first I'm sure a
lot of other lovers been burned Right now this seems real to
you But it's one of those things You gotta feel to be true
Somewhere, somehow, somebody Must
have kicked you around some Who knows, maybe you were
kidnapped Tied up, taken away and held for ransom, honey It
don't really matter to me, baby Everybody's had to fight to be
free You see, you don't have to live like a refugee (don't have to
live like a refugee) No, you don't have to live like a refugee
(don't have to live like a refugee) You don't have to live like a
refugee (don't have to live like a refugee) Oh, oh, oh
