Escrita
por Chrissie Hynde, foi gravada em 1979, no Wessex Studios e no Air
Studios, e lançada em 11 de janeiro de 1980, no disco Pretenders, o
disco de estréia da banda. Foi produzida por Chris Thomas. Teve uma
versão gravada por Grace Jones que ficou bem conhecida.
A
letra:
Your
private life drama baby leave me out (repeat 3 times) J'ai
les glands with your theatrics Your acting's a drag It's o.k.
on TV 'cause you can turn it off But don't try me Yes your
marriage is a tragedy But it's not my concern I'm very
superficial I hate anything official
Your private life drama baby leave me
out (repeat 3 times) (backup chorus) You've been lying to
someone and now me Stop (repeat 3 times)
Your sentimental gestures only bore me
to death You've made a desperate appeal now save your breath
Attachment to obligation through guilt and regret Shit that's
so wet And your sex life complications are not my fascinations
Your private life drama baby leave me
out (repeat 3 times) (backup chorus) You've been lying to
someone and now me Stop (repeat 3 times)
You asked me for advice I said use the
door But you're still clinging to somebody you deplore And
now you want to use me for emotional blackmail I just feel pity
when you lie, contempt when you cry
Your private life drama baby leave me
out (repeat 3 times) (backup chorus) You've been lying to
someone and now me Stop (repeat 3 times)
Escrita
por Elvis Costello, foi gravada em outubro de 1979, no Eden Studio em
Londres e lançada em 15 de fevereiro de 1980, no disco Get happy!, o
quarto disco de Costello. Foi produzida por Nick Lowe. Costello disse
que o som dessa canção presta homenagem ao som do começo dos anos
60s, de Liverpool, incluindo os Merseybeats. A letra fala de um
romance fracassado. O narrador mostra uma dissatisfação com uma
mulher e o homem mais velho dela. Ele demonstra indiferença com
relação à ela mas no fundo ele deseja o amor e a atenção dela.
Costello cantou e tocou violão. Steve Nieve tocou piano e orgão.
Bruce Thomas tocou baixo.
A
letra:
Now
there's newsprint all over your face, well Maybe that's why I can
read you like a book Just when I thought I was getting my tasty
bite I go and lose my appetite Look at the men that you'd call
uncle They'd like to sink their teeth into you For the pride
and the pleasure and the privilege of having you If I say you're
the one, do you think that I'm serious? You get that kind of talk
from older men If I say I love you then I must be delirious So
why are you trying to put my temperature up again? Look at the men
that you'd call uncle Having a heart attack 'round your
ankles When you wake up with x-rated eyes When you wake up
still shaking How could I apologize as your check your effects And
you check your reflection? I'm so affected in the face of your
affection Look at the men that you'd call uncle Having a
heart-attack 'round your ankles I could swear, I could promise
that I'll always be true to you But we may not live to be so old I
could even say I'm going to do something new to you Now the girls
I see just leave me cold Look at the men that you'd call
uncle Look at the men that you'd call uncle Look at the men
that you'd call uncle
Escrita
por Paul Simon, foi gravada entre 1979 e 1980 e lançada no compacto
que tinha How the hearts approches what it yearns como Lado B, em
julho de 1980. Sairia também no disco One trick Pony, o quinto disco
solo de Paul Simon. Foi produzida por Paul Simon e Phil Ramone.
Chegou ao número 6 do Billboard Hot 100, número 58 no Reino Unido,
número 2 no Canadá, número 9 na Holanda, número 15 na Bélgica,
número 19 na Nova Zelandia e número 34 na Austrália. A bateria
tocada por Steve Gadd foi tocada com duas baquetas em cada mão. E
tocou em um estilo de New York City misturado com cubano e de
Moçambique. Pau Simon cantou. Steve Gadd tocou bateria. Tony Levin
tocou baixo. Eric Gale tocou guitarra. Hugh McCracken tocou violão.
Ralph MacDonald tocou sino e temple blocks.
A
letra:
First
thing I remember I was lying in my bed I couldn't have been no
more than one or two And I remember there was a radio Coming
from the room next door And my mother laughed The way some
ladies do When it's late in the evening And the music's seeping
through
The next thing I remember I am
walking down the street I'm feeling all right I'm with my boys,
I'm with my troops, yeah And down along the avenue Some guys
were shooting pool And I heard the sound of a cappella groups,
yeah Singing late in the evening And all the girls out on the
stoops, yeah
Then I learned to play some lead
guitar I was underage in this funky bar And I stepped outside
to smoke myself a "J" And when I come back to the
room Everybody just seemed to move And I turned my amp up loud
and I began to play And it was late in the evening And I blew
that room away
First thing I remember When you came
into my life I said I'm gonna get that girl no matter what I
do Well, I guess I've been in love before And once or twice I
been on the floor But I never loved no one the way that I love
you And it was late in the evening And all the music seeping
through
Escrita
por Clive Davis e Graham Russell, foi gravada em 1979 e lançada em 7
de fevereiro de 1980, no compacto que tinha Old habits die hard como
Lado B. Sairia também no disco Lost in love, o quinto disco da
banda, em 3 de março de 1980. Foi produzida por Robbie Porter. A
canção fala do estado emocional de um homem desesperado tentndo
ganhar de volta o amor de sua vida depois de uma separação causada
por uma merda feito pelo homem. Chegou ao número 2 do Billboard Hot
100 e número 11 na Inglaterra. Chegou também ao número 1 na
Argentina e Zimbabwe. Número 2 na Candá. Número 3 na França,
Número 4 na Islandia, número 9 na Australia, Número 10 na Irlanda,
número 11 na África do Sul, número 21 na Nova Zelandia e 31 na
Holanda. A frase original do refrão era “I'm
all out of love, I want to arrest you". No entanto, Clive Davis
pensou que seria confuso pros americanos entenderem e mudou pra "I'm
all out of love, I'm so lost without you", que deu a ele a
co-autoria da música. A canção é conhecida pelo fato do vocalista
Russell Hitchcock segurar a nota final por 16.2 segundos. Foi o maior
tempo pra um homem cantor pop até1983. Russell Hitchcock fez o
segundo vocal principal. Graham Russell primeiro vocal principal e
backing vocal, além de violão. Marcy Levy fez backing vocals.
A letra:
I'm lying alone with my head
on the phone Thinking of you 'til it hurts I know you're hurt
too, but what else can we do? Tormented and torn apart I wish I
could carry your smile in my heart For times when my life seems so
low It would make me believe what tomorrow could bring When
today doesn't really know Doesn't really know
I'm all out of love, I'm so lost
without you I know you were right believing for so long I'm all
out of love, what am I without you? I can't be too late to say
that I was so wrong
I want you to come back and carry me
home Away from these long, lonely nights I'm reaching for you,
are you feeling it too? Does the feeling seem oh so right? And
what would you say if I called on you now And said that I can't
hold on? There's no easy way, it gets harder each day Please
love me or I'll be gone I'll be gone
I'm all out of love, I'm so lost
without you I know you were right believing for so long I'm all
out of love, what am I without you? I can't be too late to say
that I was so wrong
Oh, what are you thinking of? What
are you thinking of? What are you thinking of? What are you
thinking of?
I'm all out of love, I'm so lost
without you I know you were right believing for so long I'm all
out of love, what am I without you? I can't be too late, I know I
was so wrong
I'm all out of love, I'm so lost
without you I know you were right believing for so long I'm all
out of love, what am I without you? I can't be too late, I know I
was so wrong
I'm all out of love, I'm so lost
without you I know you were right believing for so long I'm all
out of love, what am I without you? I can't be too late to say
that I was so wrong (I'm all out of love, I'm so lost without
you, I know you were right)
Escrita
por Bruce Springsteen, foi gravada entre março e junho de 1980, no
Power Station Studios, em New York City e lançada em 17 de outubro
de 1980, no disco The River, o quinto de Bruce. Sairia também em
compacto, com Be true como Lado B, em 22 de janeiro de 1981. Foi
produzida por Bruce Springsteen, Steve Van Zandt e Jon Landau. Foi
uma das últimas músicas a serem gravadas pro disco. Chegou ao
número 20 no Billboard Hot 100. É uma das canções favoritas de
Steve Van Zandt (das de Bruce), mas acha que não é tocada muito nos
shows por ser lenta. Toda vez que a toca, Bruce diz que estão
tocando porque Steve quer ouví-la, pois é uma de suas favoritas.
Bruce cantou e tocou guitarra. Roy Bittan tocou piano. Clarence
Clemons tocou pandeiro e chocalho. Danny Federici tocou orgão. Garry
Tallent tocou baixo. Steve Van Zandt tocou guitarra e fez harmonias
vocais. Max Weinberg tocou bateria.
A
letra:
Oh
Well now you say you've found another
man Who does things to you that I can't And that no matter
what I do it's all over now Between me and you girl But I can't
believe what you say No I can't believe what you say 'Cause
baby
I don't want to fade away Oh I don't
want to fade away Tell me what can I do what can I say 'Cause
darlin' I don't want to fade away
Well now you say that you've made up
your mind It's been such a long, long time since it's been good
with us And that somewhere back along the line you lost your love
and I lost your trust Now rooms that once were so bright Are
filled with the coming night, oh darlin'
I don't want to fade away Oh I don't
want to fade away Tell me what can I do what can I say 'Cause
darlin' I don't want to fade away
You say it's not easy for you And
that you've been so lonely While other girls go out doing what
they want to do You say that you miss the nights when we'd go out
dancing The days when you and I walked as two Well girl, I miss
them, too Oh I swear that I do Oh girl
Now baby I don't want to be just
another useless memory holding you tight Or just some other ghost
out on the street to whom you stop and politely speak When you
pass on by vanishing into the night Left to vanish into the
night No baby
I don't want to fade away Oh I don't
want to fade away Tell me what can I do what can I say 'Cause
darlin' I don't want to fade away Oh darlin', I don't want to fade
away No, I don't want to fade away Tell me what can I do what
can I say 'Cause darlin' I don't want to fade away
Don't make me darlin' I don't want
to fade away Don't make me darlin' No, I don't want to fade
away I don't want to fade away I don't want to fade away
Escrita
por Ian Curtis, Peter Hook, Stephen Morris e Bernard Summer, foi
gravada em 8 de janeiro de 1980, no Pennine Studios, em Oldham, mas
Ian não gostou e regravaram-a em março de 1980, no Strawberry
Studios, em Stockport, onde Love will keep us together foi gravada em
1973. Foi lançada em June 27th 1980, em um compacto com
These days como Lado B. Foi produzida por Martin Hannett. A letra foi
inspirada nos problemas conjugais de Ian com sua esposa Deborah
Woodruff (que era casado desde agosto de 1975) e em sua luta contra a
epilepsia. O compacto saiu um mês depois do suicídio dele. Em um
show do Joy Division em outubro de 1979, Ian conheceu a promoter de
música e jornalista Annik Honoré e se apaixonou por ela, o que
piorou ainda mais as coisas em casa. O título é uma brincadeira com
o título da música Love will keep us together, de Captain and
Tennille. A guitarra de 12 cordas foi tocada por Bernard Summer, que
não sabia tocar guitarra. Ian ensinou um Ré pra ele e ele ficou
tocando o ré durante a canção. Ian Curtis canta imitando Frank
Sinatra. Quando eles gravavam essa canção, o U2 foi no estúdio
falar com Hannett pra produzir um compacto pra eles e conheceram Ian
Curtis e a turma do Joy Division. Chegou ao número 13 no Reino Unido
e número 1 na Nova Zelandia. Neil Tennant do Pet Shop Boys disse que
Love will tear us apart era a melhor canção pop de todos os tempos.
A
letra:
When
routine bites hard and ambitions are low And resentment rides
high, but emotions won't grow And we're changing our ways, taking
different roads
Then love, love will tear us apart
again Love, love will tear us apart again
Why is the bedroom so cold? You've
turned away on your side Is my timing that flawed? Our respect
runs so dry Yet there's still this appeal that we've kept through
our lives
But love, love will tear us apart
again Love, love will tear us apart again
You cry out in your sleep, all my
failings exposed There's a taste in my mouth as desperation takes
hold Just that something so good, just can't function no more
Then love, love will tear us apart
again Love, love will tear us apart again Then love, love will
tear it apart again Love, love will tear it apart again
Escrita
por Mick Jagger e Keith Richards, foi gravada entre janeiro e
fevereiro de 1979 e lançada em 20 de junho de 1980, no disco
Emotional Rescue, o décimo quinto da banda. Foi produzida por Jagger
e Richards, sob o pseudonimo de Glimmer Twins. É uma oportunidade
rara de ter Keith Richards cantando os vocais principais. Mesmo que
creditada à dupla, Keith escreveu a canção sozinho. Fala sobre o
fim do relacionamento de Keith com Anita Pallenberg, que começou em
1967 e terminou em 1979, quando Keith conheceu Patti Hansen, com quem
viria a se casar. A letra tem sentimentos misturados de uma pessoa
ainda presa à outra e de querer partir. Muitos analisam como o
começo do fim do relacionamento fraterno entre Keith e Mick. Keith
havia largado a heroína em 1977, mas queria apitar mais na banda,
uma vez que Mick tomou conta de tudo da banda enquanto Keith estava
mal. Quando Keith quis voltar a ter o controle da banda, Mick o
barrou e houve problemas sérios entre os dois. Duas passagens que
deixam crer que isso seja verdade. “Well
if you call this a life, Why must I spend mine with you? If the show
must go on, Let it go on without you” e “Though the laughs may be
cheap, That's just 'cause the joke's about you/I'm so sick and tired,
Of hanging around with dogs like you”. Quanto à parte musical,
Keith disse que ficou com essa música na cabeça por três anos,
perguntando a todos se conheciam. Como ninguém conhecia, ele então
gravou. Além de cantar os vocais principais, Keith tocou baixo,
piano, guitarra e fez backing vocals. Ronnie Wood tocou guitarra e
fez backing vocals. Charlie Watts tocou bateria. Bobby Keys toca sax.
Nem Mick Jagger e nem Bill Wyman participaram da gravação.
A letra:
Well if you call this a
life
Why must I spend it with you? If the
show must go on Let it go on without you So sick and tired
hanging around with jerks like you Who'll tell me those lies
And let me think they're true? What
am I to do You want it, I got it too Though the lies might be
true
That's just cause the joke's about
you I'm so sick and tired hanging around with dogs like you You're
the first to get blamed, always the last bitch to get paid Oh,
tell me those lies
Let me think they're true I heard
one or two They weren't about me, they weren't about her They
were all about you I may miss you
But missing me just isn't you I'm so
sick and tired hanging around with dogs like you Tell me those
lies
Let me think they're true I heard
one or two, and they weren't about me, they weren't about her They're
all about you I'm so sick and tired What should I do You
want it, you get it So how come I'm still in love with you?
Escrita
por Elvis Costello, foi gravada em outubro de 1979, no Pimlico
Studios, na Inglaterra e lançada em 15 de fevereiro de 1980, no
disco Get happy!, o quarto disco de Costello. Sairia também em EP,
em 13 de junho de 1980, com Dr. Luther Assistant como outro Lado A e
Ghost train e Just a memory como Lado B. Foi produzida por Nick Lowe.
É sobre o Novo Mundo e New York. Chegou ao número 36 no Reino
Unido. Ele pensou em como ele era um solitário em New York. New
Amsterdam foi o nome que os holandeses deram à NYC quando por lá
estavam.
A
letra:
You're
sending me tulips mistaken for lilies You give me your lip after
punching me silly You turned my head till it rolled down the brain
drain If I had any sense now I wouldn't want it back again
New Amsterdam it's become much too
much Till I have the possession of everything she touches Till
I step on the brakes to get out of her clutches Till I speak
double dutch to a real double duchess
Down on the mainspring, listen to the
tick tock Clock all the faces that move in on your block Twice
shy and dog tired because you've been bitten Everything you say
now sounds like it was ghost-written
New Amsterdam it's become much too
much Till I have the possession of everything she touches Till
I step on the brakes to get out of her clutches Till I speak
double dutch to a real double duchess
Back in London they'll take you to
heart After a little while Though I look right at home I
still feel like an exile
Somehow I found myself down at the
dockside Thinkin' of the old days of Liverpool and Rotherhithe The
transparent people who live on the other side Living a life that
is almost like suicide
New Amsterdam it's become much too
much Till I have the possession of everything she touches Till
I step on the brakes to get out of her clutches Till I speak
double dutch to a real double duchess
Escrita
por Phil Collins, foi gravada em novembro de 1979 e lançada em 28 de
março de 1980 no disco Duke, o décimo da banda. Sairia também no
compacto que tinha Evidence of Autumn como Lado B, em maio de 1980.
Foi produzida por David Hentschel e Genesis. Chegou ao número 14 no
US Billboard Hot100, número 42 no Reino Unido e número 1 no Canadá.
Foi escrita durante a produção do seu disco de estréia solo, mas
não foi usada por ele e foi doada ao Genesis. Phil disse que a
canção foi moldada pensando em Sail on Sailor, dos Beach Boys, em
Hot fun in the summertime, de Sly and The Family Stone e Hold the
line, de Toto. Phil Collins cantou, tocou bateria e percussão. Tony
Banks tocou teclado. Mike Rutherford tocou guitarra e baixo.
A
letra:
There
must be some misunderstanding There must be some kind of mistake I
waited in the rain for hours You were late
Now it's not like me to say the right
thing But you could've called to let me know I checked your
number twice, don't understand it So I went home
Well I'd been waiting for this
weekend I thought that maybe we could see a show Never dreamed
I'd have this feeling But seeing you is believing That's why I
don't know why You didn't show up that night
There must be some
misunderstanding There must be some kind of mistake I was
waiting in the rain for hours You were late
Since then I've been running around
trying to find you I went to the places you always go I rang
your home but got no answer Jumped in my car, I went round there I
still don't believe it He was just leaving
There must be some
misunderstanding There must be some kind of mistake.
Escrita
por John Kander e Fred Ebb, foi gravada inicialmente por Liza
Minnelli e lançada em 1977, no disco New York New York. A nossa
versão no entanto é a de Frank Sinatra, gravada em 19 de setembro
de 1979, e lançada em março de 1980, no seu disco Trilogy: Past
present and future, o seu disco de número 55 e último disco a ter
um hit top 40, que foi justamente The Theme from New York New York.
Sairia também em compacto, em abril de 1980, com That's what God
looks like to me como Lado B. Foi produzida por Sonny Burke. New York
New York foi um filme dirigido por Martin Scorcese, de 1977. Se
tornou a canção da vida de Sinatra. O que eles chamam de “Signature
song”. A versão de Sinatra chegou ao número 32 do Billboard
Hot100, se tornando o último top 40 dele. Chegoyu também ao número
2 no Canadá, número 1 no México, número 59 no Reino Unido. A
música se tornou o hino de NYC, sendo tocada em eventos sociais na
cidade, casamentos, bar mitzvahs, jogos esportivos, sendo o New York
Yankees o que mais toca. Desde julho de 1980, ao fim de cada jogo do
Yankees, a música é tocada no Yankee Stadium. De ínicio, quando
ganhavam, tocavam a versão de Sinatra. Quando perdiam, tocavam a
versão de Minnelli. Ela foi reclamar, então agora só tocam a de
Sinatra, independente do resultado. Em 2013, a versão de Sinatra was
inducted to the Grammy Hall of Fame.
A
letra:
Start
spreading the news I'm leaving today I want to be a part of
it New York, New York
These vagabond shoes Are longing
to stray Right through the very heart of it New York, New
York
I wanna wake up in a city That doesn't sleep And
find I'm king of the hill Top of the heap
These little town
blues Are melting away I'll make a brand new start of it In
old New York
If I can make it there I'll make it
anywhere It's up to you New York, New York
New York, New
York
I want to wake up in a city That never sleeps And
find I'm a number one Top of the list King of the hill A
number one
These little town blues Are melting away I'm
gonna make a brand new start of it In old New York
And if I
can make it there I'm gonna make it anywhere It's up to you New
York, New York, New York
Escrita
por Bruce Springsteen, foi gravada em janeiro de 1980, no Power
Station Studios, em New York City e lançada em outubro de 1980, no
disco The River, o quinto de Bruce. Foi produzida por Bruce
Springsteen, Jon Landau e Steven Van Zandt. Foi escrita rapidamente
um dia após Hungry heart. Fala de um casamento que faliu. O
protagonista é conduzido pela sua solidão pra se tornar um ladrão
de carro, que quer se pego mas tem medo de desaparecer.
Essencialmente ele quer se preso somente pra provar que ele existe. A
gravação tem um piano de leve e um sintetizador, pontuada por uma
bateria com timpano apenas. Bruce canta e toca guitarra. Roy Bittan
toca piano. Danny Federici toca orgão. Garry Tallent toca baixo. Max
Weinberg toca bateria.
A
letra:
Well
I found me a little girl and I settled down In a pretty little
house, in a pretty little town We got married and promised never
to part Then little by little we drifted from each other's hearts
Now I'm driving a stolen car on a
pitch-black night And I'm doing my best to make it through Well
I'm just sitting down here at the Stanton light I wanna get caught
but I never do
At first I thought it was just
restlessness That would fade as time went by and our love grew
deep But in the end it was something more, I guess That tore us
apart and made us weep
And I'm driving a stolen car waiting on
that little red light I keep telling myself everything's gonna be
alright But I ride by night and I travel in fear That in this
darkness I might just disappear
She asked if I remembered the letters I
wrote When our love was young and we were bold She said last
night she read those letters And they made her feel a hundred
years old
There's a river that runs by that
little town Down into the sea It was there in the shade I laid
my body down As she flowed on so effortlessly
Now there's a party tonight out at
County Line There'll be dancing down at Seven Trees From these
banks I can see those party lights shine Maybe she's there, maybe
she's looking for me
Last night I dreamed I made the call I
swore to return and stay forevermore Once again we stood on the
wedding steps at Victory Hall And walked arm in arm through the
chapel door
I can remember how good I felt
inside When the preacher said "Son, you may kiss the
bride" But as I leaned over to touch her pretty lips I
felt it all slip away through my fingertips
And I'm driving a stolen car through a
pitch-black night I keep telling myself everything's gonna be
alright But I ride by night and I travel in fear No matter what
I do or where I drive Nobody ever sees me when I ride by
Escrita
por Chris Difford e Glenn Tilbrook, foi gravada em 1979, no Olympic
Studios, em Londres e lançada em fevereiro de 1980, no disco
Argybargy, o terceiro da banda. Sairia também no compacto com What
the butler saw como Lado B, em 9 de maio de 1980. Foi produzida por
John Wood e Squeeze. Chegou ao número 44 no Reino Unido. Fala sobre
as experiencias dos autores em um holiday camp. Tem um solo de piano
do tecladista Jools Holland. O termo pulling mussels significa
estimular os orgãos sexuais femininos com os dedos.
A
letra:
They
do it down on Camber Sands They do it at Waikiki Lazing about
the beach all day, At night the crickets creepy
Squinting faces at the sky A Harold
Robbins paperback Surfers drop their boards and dry And
everybody wants a hat
But behind the chalet My holiday's
complete And I feel like William Tell Maid Marian on her
tiptoed feet Pulling mussels from a shell Pulling mussels from
a shell
Shrinking in the sea so cold Topless
ladies look away A he-man in a sudden shower Shelters from the
rain
You wish you had a motor boat To
pose around the harbor bar And when the sun goes off to bed You
hook it up behind the car
But behind the chalet My holiday's
complete And I feel like William Tell Maid Marian on her
tiptoed feet Pulling mussels from a shell Pulling mussels from
a shell
Two fat ladies window shop Something
for the mantelpiece In for bingo all the nines A panda for
sweet little niece
The coach drivers stand about Looking
at a local map About the boy who's gone away Down to next
door's caravan
But behind the chalet My holiday's
complete And I feel like William Tell Maid Marian on her
tiptoed feet Pulling mussels from a shell Pulling mussels from
a shell
But behind the chalet My holiday's
complete And I feel like William Tell Maid Marian on her
tiptoed feet Pulling mussels from a shell Pulling mussels from
a shell
Escrita
por Mick Jagger e Keith Richards, foi gravada entre junho e dezembro
de 1979, no Pathé Marconi Studios, em Paris e no Electric Lady
Studios, em New York City e foi lançada no disco Emotional Rescue, o
décimo quinto disco da banda, em 23 de junho de 1980. Foi produzida
por Mick Jagger e Keith Richards, sob o pseudonimo de The Glimmer
Twins. É fortemente influenciada pelo reggae. Fala sobre um homem
solitário que quer que mandem um amor pra ele pelo correio. Mick
cantou, Ronnie Wood tocou slide guitar, Keith Richards toca guitarra
base. Charlie Watts tocou bateria e Bill Wyman tocou baixo. Sugar
Blue tocou gaita. Max Romeo toca percussão.
A
letra:
Oh,
I think I had enough of your religion
It's tough, it's a state of mind I
don't need it! Sending a letter
To my mother I need some loving Send
it to me I lost my lover
Unfaithful lover I need some
money Send it to me I need consoling
Your boy's feeling lonely Describe
her for me Send it to me
Send it to me
Send it to me Send it to me Send
it to me If she can't travel
I can take the mule train I can take
the aeroplane Send it to me Yeah, and I'm begging you
Begging you, down on my knees Baby
please, please please You, you, got to send it, send it, send
it Send it to me Send her to me Send her to me
Send her to me Send her to me Yeah,
I'm sending in a letter
To my sister In Australia Sister
Marie Ain't got no lover
No sense of cover I need some
loving Send it to me Send it to me
Send it to me Send it to me Send
it to me She won't have to watch her step
Seh won't have to relocate I
guarantee her personal security She don't have to be five foot ten
Or blond or brunette She don't have
to be no social hostess Send her She might work in a factory
Right next door to me In my
fantasy Send her to me Send her to me Send her to me Send
her to me Send her to me She could be Rumanian She could be
Bubarian She could be Albanian She could be Hungarian She
might be Ukrainian She could be Australian She could be the
Alien Send her to me (You got to send it to) Send her to me
(You got to send it to) Send her to me (You got to send it
to) Send her to me Send her to me
Escrita
por Angus Young, Malcolm Young e Brian Johnson, foi gravada entre
abril e maio de 1980 e lançada no compacto que
tinha Have a drink on me, em 15 de agosto de 1980. Foi o primeiro
compacto da banda com Brian Johnson como vocalista, após a morte de
Bon Scott, por overdose alcólica, em fevereiro de 1980. Chegou ao
número 35 do Billboard Hot100, número 38 no Reino Unido, número 8
na Austrália, número 19 na Irlanda e número 29 França e Alemanha
Ocidental. Saiu também no disco Who made who, a trilha sonora do
filme maximum overdrive, em 26 de maio de 1986. VH1 disse que essa
canção foi a número 10 da lista das 100 maiores canções dos anos
80s e a número 1 das canções AC/DC. Guitar World colocou-a como
número 80 na lista dos 100 melhores solos de guitarra de todos os
tempos. Brian Johnson cantou. Angus Young tocou guitarra solo.
Malcolm Young tocou guitarra base e fez backing vocals. Cliff
Williams tocou baixo e fez backing vocals. Phil Rudd tocou bateria.
Foi regravada por Celine Dion e por Shania Twain, entre outros
artistas.
A
letra:
She
was a fast machine, she kept her motor clean She was the best damn
woman that I ever seen She had the sightless eyes, telling me no
lies Knocking me out with those American thighs
Taking more than her share, had me
fighting for air She told me to come, but I was already
there 'Cause the walls start shaking, the Earth was quaking My
mind was aching and we were making it
And you shook me all night long Yeah,
you shook me all night long
Working double time on the seduction
line She's one of a kind, she's just mine, all mine Wanted no
applause, it's just another course Made a meal outta me, and come
back for more
Had to cool me down to take another
round Now I'm back in the ring to take another swing That the
walls were shaking, the Earth was quaking My mind was aching and
we were making it
And you shook me all night long Yeah,
you shook me all night long And knocked me out, I said you shook
me all night long You had me shaking and you shook me all night
long Yeah, you shook me Well, you took me
You really took me and you shook me all
night long Ooh, you shook me all night long Yeah, yeah, you
shook me all night long You really got me and you shook me all
night long
Yeah, you shook me Yeah, you shook
me all night long
Escrita
por Paul McCartney, foi gravada em 7 de setembro de 1979 e lançada
no disco McCartney II, o segundo disco solo de Paul, em . Sairia
também no compacto que tinha Coming up ao vivo como Lado B, em 11 de
abril de 1980. Foi produzida por Paul McCartney. Como as outras
canções do disco, tem um som sintetizado, com vocais acelerados
artificialmente, usando uma vari-speed tape machine. Paul tocou todos
os instrumentos (voz, guitarra, teclado, baixo e bateria). Chegou ao
número 2 no Reino Unido, Nova Zelandia e Austrália. Número 1 no
Billboard Hot100 e numero 1 no Canadá. Número 3 na Irlanda. Paul
gravou-a na sua fazenda, na Escócia. John Lennon gostou dessa
canção, o que o reanimou a voltar aos estúdios. John gostou mais
da versão da fazenda do que da versão ao vivo que saiu no Lado B.
A
letra:
You
want a love to last forever One that will never fade away I
wanna help you with your problem Stick around, I say
Coming
up (Ooh, ooh) Coming up, yeah Coming up like a flower Coming
up, I say (Ooh)
You want a friend you can rely on One who
will never fade away And if you're searching for an answer Stick
around, I say
Coming up (Ooh, ooh) Coming up Coming up
like a flower Coming up, yeah
You want some peace and
understanding So everybody can be free I know that we can get
together We can make it, stick with me
Coming [-] up
(Ooh, ooh) Coming up (Can't you see?) Coming up like a
flower Coming up for you and me
Coming up Coming
up
Coming up Coming up, I say Coming up like a
flower Coming up I feel it in my bones Yeah, yeah, yeah,
yeah, yay
You want a better kind of future One that
everyone can share You're not alone, we all could use it Stick
around, we're nearly there
Coming [-] up (Ooh,
ooh) Coming up (Everywhere) Coming up like a flower Coming
up, for all to share Coming up, yeah Coming up any way Coming
up like a flower Coming up
