2140 – Tom Petty and The Heartbreakers – Letting you go (1981)

 

Escrita por Tom Petty, foi gravada entre 1980 e 1981 e lançada no disco Hard promises, o quarto disco de Tom Petty and The Heartbreakers, em 5 de maio de 1981. Foi produzida por Tom Petty e Jimmy Iovine. Tom Petty cantou e fez backing vocals, tocou também violão de 12 cordas, guitarra e baixo. Nuke Campbell tocou guitarra, violão de 12 cordas, baixo, sanfona e harmonium. Benmont Tench tocou orgão, piano e fez backing vocals. Ron Blair tocou baixo e Stan Lynch tocou bateria e fez backing vocals. Phil Jones tocou percussão.

A letra:

I used to think that when this was all over
You might feel different 'bout me
Yeah I always knew, one of these days you'd come around
Now I wonder if dreams are just dreams

Whoa oh, whoa oh oh
I'm having trouble
Letting you go
Whoa oh, whoa oh oh
I'm having trouble
Letting you go

Baby look out your window
It's raining on your summer home
You by the fire keeping warm and dry
There's no one as honest as those in pain
Oh honey can you see me?
Will you let me inside?

Whoa oh, whoa oh oh
I'm having trouble
Letting you go

Whoa oh, whoa oh oh
I 'm having trouble
Letting you go

It's a restless world, uncertain times
You said hope was getting hard to find
But time rolls on, days roll by
What about the broken ones?
What about the lonely ones?
Oh honey I'm having trouble letting you go

It's off in the distance somewhere up the road
There's some easy answer for the tears you've cried
And it makes me uneasy, makes me feel different
Do you get scared when you close your eyes?

Whoa oh, whoa oh oh
I'm having trouble
Letting you go
Whoa oh, whoa oh oh
I'm having trouble
Letting you go

A versão de Tom Petty and The Heartbreakers:

2139 – The Kinks – Better things (1981)

 

Escrita por Ray Davies, foi gravada em abril de 1981, no Konk Studios, em Hornsey, Londres e lançada em 19 de junho de 1981, no compacto que tinha Massive reduction no Lado B. Sairia também no disco Give the people what they want, o décimo nono disco dos Kinks. Foi produzida por Ray Davies. Fala sobre o casamento de Davies que está acabando, chegou ao número 46 no Reino Unido e número 92 no Billboard Hot100. Desde 1972 que a banda não aparecia nos charts britânicos. Davies disse que a compôs num período de grande depressão. Ray regravou-a em 2020 fazendo um dueto com Bruce Springsteen. Ela também foi regravada por Pearl Jam e pelo Counting Crows, entre outros artistas.

A letra:

Here's wishing you the bluest sky
And hoping something better comes tomorrow
Hoping all the verses rhyme
And the very best of choruses, too
Follow all the doubt and sadness
I know that better things are on the way

Here's hoping all the days ahead
Won't be as bitter as the ones behind you
Be an optimist instead
And somehow happiness will find you
Forget what happened yesterday
I know that better things are on the way

It's really good to see you rocking out
And having fun
Living like you've just begun
Accept your life and what it brings
I hope tomorrow you'll find better things
I know tomorrow you'll find better things

Here's wishing you the bluest sky
And hoping something better comes tomorrow
Hoping all the verses rhyme
And the very best of choruses, too
Follow all the doubt and sadness
I know that better things are on the way

I know you've got a lot of good things happening up ahead
The past is gone, it's all been said
So here's to what the future brings
I know tomorrow you'll find better things
I know tomorrow you'll find better things
I hope tomorrow you'll find better things
I know tomorrow you'll find better things
I hope tomorrow you'll find better things

A versão dos Kinks:

A versão de Ray Davies e Bruce Springsteen:

A versão do Pearl Jam:

2138 – The Pretenders – I go to sleep (1981)

Escrita por Ray Davies, teve uma história curiosa. Ela foi composta em 23 de maio de 1965, no piano na casa dos pais dele, em Fortis Green, na parte norte de Londres. Ele compôs a música enquanto esperava notícias sobre o nascimento do seu primeiro filho. No dia seguinte ele gravou a demo dela no Regent Sound Studios, no centro de Londres. Somente voz e piano. Os Kinks, sua banda, nunca gravaram essa canção. A demo dele ficou inédita até 1998, quando saiu numa caixa especial. Ela foi gravada por Cher em 1965, e outros artistas, mas a nossa versão é a dos Pretenders, de 1981. Ela foi gravada entre 1980 e 1981 e lançada em 7 de agosto ed 1981, no disco Pretenders II, o segundo disco da banda. Saiu também em compacto, com The English roses como Lado B, em 6 de novembro de 1981. Foi produzida por Chris Thomas. Chrissie Hynde dos Pretenders estava saindo com Ray Davies quando gravou essa canção como cantora dos Pretenders. A versão dos Pretenders chegou ao número 7 no Reino Unido, número 4 na Holanda, número 6 na Bélgica e número 28 na Nova Zelandia.

A letra:

When I look up from my pillow
I dream you are there with me
Though you are far away
I know you'll always be near, to me

I go to sleep, sleep
And imagine that you're there with me
I go to sleep, sleep
And imagine that you're there with me

I look around me
And feel you are ever so close, to me
Each tear that flows from my eye
Brings back memories of you, to me

I go to sleep, sleep
And imagine that you're there with me
I go to sleep, sleep
And imagine that you're there with me

I was wrong, I would cry
I will love you 'til the day I die
You were all, you and no one else
You were meant for me

When morning comes again
I have the loneliness, you left me
Each day drags by
Until finally night time descends, on me

I go to sleep, sleep
And imagine that you're there with me
I go to sleep, sleep
And imagine that you're there with me

A versão dos Pretenders:

A versão demo de Ray Davies:

A versão de Cher:

2137 – Eric Clapton – Floating bridge (1981)

 

Escrita por Sleepy John Estes, foi gravada por Eric Clapton em 1980 no Compass Studio, em Nassau, Bahamas e lançada em 20 de fevereiro de 1981 no disco Another Ticket, o sétimo de Eric. Foi produzida por Tom Dowd. Eric Clapton tocou guitarra e cantou. Gary Brooker tocou teclado e fez backing vocals. Chris Stainton tocou teclados. Albert Lee tocou guitarra e fez backing vocals. Dave Markee tocou baixo. Henry Spinetti tocou percussão e bateria.

A letra:

Well, I never will forget that floating bridge
Lord, I never will forget that floating bridge
Lord, I never will forget that floating bridge
They tell me five minutes time underwater I was hid

I was going down and I throwed up my hands
As I was going down, I throwed up my hands
As I was going down, I throwed up my hands
Saying, "Please Lord, take me on dry land!"

Well, they carried me in the house and they laid me 'cross the bed
Well, they carried me in the house, they laid me 'cross the bed
Well, they carried me in a house, they laid me 'cross the bed
I couldn't hear nothing but muddy waters running round my head

Oh my mother often told me, "Quit playing a bum."
My mother always told me, "Quit playing a bum."
Lord, my mother always told me, "Son, quit playing a bum!
Go out somewhere and make a crumb!"

All the people on the bridge were screaming and crying
Well, all the people on the bridge were screaming and crying
All the people on the bridge stood screaming and crying
Saying, "Lord have mercy, we're doing fine"

A versão de Eric Clapton:

A versão de Greg Allman:

A versão de Sleepy John Estes:

2136 – George Harrison – Writing's on the wall (1981)

Escrita por George Harrison, foi gravada entre março e setembro de 1980 e lançada em 1 de junho de 1981, no disco Somewhere in England, o nono disco de George. Foi produzida por George Harrison e Ray Cooper. George fala nessa canção da importancia do lado espiritual e da natureza de mudanças da vida. Juntamente com Life itsel, essa canção representa uma volta de George a temas mais espirituais e filosóficos na sua escrita. Como se trata de uma frase no Livro de Daniel, da Bíblia, vê-se uma chegada de George ao Cristianismo, talvez influenciado por seu amigo Bob Dylan, que havia se convertido ao Cristianismo anos antes. Por essa música vê-se que George não tem o menor interesse nos novos gêneros, como disco, new wave, ou heavy metal. A música parece ter saído dos anos 70s. Foi gravada no seu estúdio particular, em Friar Park, em Oxfordshire. George cantou, tocou guitarras, gubgubbi e fez backing vocals. Neil Larsen tocou teclado. Gary Brooker tocou sintetizador. Willie Weeks tocou baixo. Jim Keltner tocou bateria. Ray Cooper toco percussão e congas. Alla Rakha tocou tabla. A canção fala sobre amigos serem “shot away” e saiu como Lado B do compacto que tinha All those years ago, que falava sobre John Lennon.

A letra:

The writing's on the wall brother
Your life is in your hands
It's up to you to see the writing's on the wall.

It looks you in the eye mister
It's time we stand up tall
Go see and understand the writing's on the wall.

Strange we hold on to things that have no grace
or power
While death holds on to us much more with every
passing hour
And all the time you thought it would last
Your life, your friends would always be
'Til they're drunk away or shot away or die away
from you.

There's nothing that you need sister
The Lord is in you all
Life is designed to see the writing's on the wall.

The music's in the air mothers
You may have heard it call
To you that you may see the writing's on the wall.

Be careful going home sister
Be watchful down that road
You've got a lot of love sister
More to grow.

The writing's on the wall brothers
Your life is in your hands
It's up to you to see the writing's on the wall
I hope that you may see the writing's on the wall.

A versão de George Harrison:

2135 – The Police – Spirits in the material world (1981)

 

Escrita por Sting, foi gravada em 1981 e lançada em 2 de outubro de 1981 no disco Ghost in the machine, o quarto disco da banda. Saiu também no compacto que tinha Low life como Lado B, no dia 4 de dezembro de 1981. Foi produzida por Sting, Stewart Copeland, Andy Summers e Hugh Padgham. Foi regravada por Pato Banton, entre outros artistas. Chegou ao número 11 no Billboard Hot100, número 12 no Reino Unido e número 4 na França. Chego ao número 6 na Holanda e na Irlanda. Número 13 no Canadá. Número 44 na Alemanha e número 50 na Austrália. Foi escrita em um teclado Casiotone enquanto estavam viajando. Na verdade era um sintetizador e Sting não queria que Andy tocasse guitarra na gravação, que ficasse somente o sintetizador. Andy não aceitou e queria a guitarra no lugar do sintetizador. No fim, ficaram os dois, guitarra e sintetizador. Stewart Copeland disse que essa era a canção da banda mais difícil pra ele tocar, porque não tinha uma batida principal, todas eram upbeat. Foi gravada no Air Studios, em Montserrat. A letra fala da existencia da natureza humana e a falha das instituições terrenas. Sting cantou, fez backing vocals, tocou baixo, sintetizador e sax. Andy Summers tocou guitarra e sintetizador. Stewart Copeland tocou bateria.

A letra:

There is no political solution
To our troubled evolution
Have no faith in constitution
There is no bloody revolution

We are spirits in the material world
Are spirits in the material world
We are spirits in the material world
Are spirits in the material world

Our so-called leaders speak
With words they try to jail you
They subjugate the meek
But it's the rhetoric of failure

We are spirits in the material world
Are spirits in the material world
We are spirits in the material world
Are spirits in the material world

Where does the answer lie?
Living from day to day
If it's something we can't buy
There must be another way

We are spirits in the material world
Are spirits in the material world
We are spirits in the material world
Are spirits in the material world
We are spirits in the material world
Are spirits in the material world
We are spirits in the material world
Are spirits in the material world

A versão do The Police:

A versão de Musif for the Kitchen:

A versão de Riko Burrows:

2134 – Tom Petty and The Heartbreakers – The waiting (1981)

 

Escrita por Tom Petty, foi gravada no começo de 1981 e lançada em 20 de abril de 1981, no compacto que tinha Nightwatchman como Lado B. Sairia também no disco Hard Promises, o quarto disco de Petty, em 5 de maio de 1981. Foi produzida por Tom Petty e Jimmy Iovine. Chegou ao número 19 no Billboaard Hot100, número 6 no Canadá e número 27 na Nova Zelandia. O título foi inspirado numa frase de Janis Joplin, que uma vez disse que amava estar no palco e todo o resto é apenas a espera. Foi regravada por Linda Ronstadt e Natalie Imbruglia, entre outros artistas. Tom Petty tocou guitarra base e cantou. Mike Campbell tocou guitarra solo e baixo. Benmont Tench tocou teclado e fez backing vocals. Stan Lynch tocou bateria e fez backing vocals. Phil Jones tocou percussão.

A letra:

Oh baby, don't it feel like heaven right now?
Don't it feel like something from a dream?
Yeah, I've never known nothing quite like this
Don't it feel like tonight might never be again?
Baby, we know better than to try and pretend
Honey no one coulda ever told me 'bout this

I said yeah, yeah (Yeah, yeah)
Yeah, yeah, yeah, yeah

The waiting is the hardest part
Every day you see one more card
You take it on faith, you take it to the heart
The waiting is the hardest part

Well yeah, I might have chased a couple women around
All it ever got me was down
Then there were those that made me feel good
But never as good as I feel right now
Baby, you're the only one that's ever known how
To make me wanna live like I wanna live now

I said yeah, yeah (Yeah, yeah)
Yeah, yeah, yeah, yeah

The waiting is the hardest part
Every day you get one more yard
You take it on faith, you take it to the heart
The waiting is the hardest part

Oh, don't let it kill you baby, don't let it get to you
Don't let it kill you baby, don't let it get to you
I'll be your bleedin' heart, I'll be your cryin' fool
Don't let this go too far, don't let it get to you

Yeah, yeah (Yeah, yeah)
Yeah, yeah, yeah, yeah

The waiting is the hardest part
Every day you get one more yard
You take it on faith, you take it to the heart
The waiting is the hardest part
Yeah, the waiting is the hardest part

Ooh
Is the hardest part
Ooh
Is the hardest part
Ooh

A versão de Tom Petty and The Heartbreakers:

A versão de Linda Ronstadt:

A versão de Natalie Imbruglia:

2133 – Bob Dylan – Trouble (1981)

 

Escrita por Bob Dylan, foi gravada entre março e maio de 1981 e lançada no disco Shot of love, o vigésimo primeiro disco de Bob Dylan, em 12 de março de 1981. Foi produzida por Chuck Plotkin, Bob Dylan e Bumps Blackwell esteve no estudio no dia da gravação dessa canção supervisionando a produção. Bumps foi o produtor de Little Richard, nos anos 50s. Dylan ficou super contente com a presença de Bumps, mas ele só foi um dia, por questão de saúde, que já estava debilitada. Trouble é um blues que fala sobre a tribulação ser intrinseca à existencia humana. Bob Dylan tocou guitarra, gaita, percussão, piano, teclado e cantou. Carolyn Dennis, Clydie King, Regina McCrory, Madelyn Quebec e Monalisa Young fizeram backing vocals. Steve Douglas tocou Sax. Tim Drummond tocou baixo. Jun Keltner tocou bateria. Carl Pickhardt tocou piano. William Smith tocou orgão Hammond. Benmont Tench tocou teclado. Danny Kortchmar, Steve Riplev e Fred Tackett tocaram guitarra.

A letra:

Trouble in the city, trouble in the farm
You got your rabbit’s foot, you got your good-luck charm
But they can’t help you none when there’s trouble

Trouble
Trouble, trouble, trouble
Nothin’ but trouble

Trouble in the water, trouble in the air
Go all the way to the other side of the world, you’ll find trouble there
Revolution even ain’t no solution for trouble

Trouble
Trouble, trouble, trouble
Nothin’ but trouble

Drought and starvation, packaging of the soul
Persecution, execution, governments out of control
You can see the writing on the wall inviting trouble

Trouble
Trouble, trouble, trouble
Nothin’ but trouble

Put your ear to the train tracks, put your ear to the ground
You ever feel like you’re never alone even when there’s nobody else around?
Since the beginning of the universe man’s been cursed by trouble

Trouble
Trouble, trouble, trouble
Nothin’ but trouble

Nightclubs of the broken-hearted, stadiums of the damned
Legislature, perverted nature, doors that are rudely slammed
Look into infinity, all you see is trouble

Trouble
Trouble, trouble, trouble
Nothin’ but trouble

A versão de Bob Dylan:

2132 – Elvis Costello – A good year for the roses (1981)

 

Escrita por Jerry Chesnut, foi gravada inicialmente por George Jones e lançaada em 1970. A nossa versão no entanto é a de Elvis Costello, foi gravada em maio de 1981, nos estudios da CBS, em Nashville, Tennesse e lançada em setembro de 1981, no disco Almost blue, o sexto disco de Costello. Foi produzida por Billy Sherrill. A letra fala dos pensamentos de um homem quando é deixado pela sua esposa. A versão de Costello chegou ao n'mero 6 no Reino Unido, número 11 na Holanda, número 25 na Bélgica e número 34 na Austrália.

A letra:

I can hardly bear the sight of lipstick on the cigarettes there in the ashtray
Lyin' cold the way you left 'em, but at least your lips caressed them while you packed
Or the lip-print on a half-filled cup of coffee that you poured and didn't drink
But at least you thought you wanted it, that's so much more than I can say for me

What a good year for the roses (roses)
Many blooms still linger there
The lawn could stand another mowin'
Funny, I don't even care
As you turn to walk away
And as the door behind you closes
The only thing I have to say
It's been a good year for the roses

After three full years of marriage, it's the first time that you haven't made the bed
I guess the reason we're not talkin', there's so little left to say we haven't said
While a million thoughts go racin' through my mind, I find I haven't said a word
From the bedroom, the familiar sound of one baby's crying goes unheard

What a good year for the roses (roses)
Many blooms still linger there
The lawn could stand another mowin'
Funny, I don't even care
As you turn to walk away
As the door behind you closes
The only thing I have to say
It's been a good year for the roses

A versão de Elvis Costello:

A versão de George Jones:

A versãod e George Jones e Alan Jackson:

2131 – Eric Clapton – Rita Mae (1981)

 

Escrita por Eric Clapton e Gary Brooker, foi gravada em 1980, no Compass Point Studios, em Nassau, Bahamas e lançada em 20 de fevereiro de 1981, no disco Another ticket, o sétimo disco de Eric. Foi produzida por Tom Dowd. Eric Clapton tocou guitarra e cantou. Gary Brooker tocou teclado e fez backing vocals. Chris Stainton tocou teclado. Albert Lee tocou guitarra e fez backing vocals. Dave Markee tocou baixo e Henry Spinetti tocou bateria e percussão.

A letra:

Rita Mae, Rita Mae
Come and visit me today
Rita Mae, Rita Mae
Come and visit me today
I'll do anything you want
Give you anything you say

I saw you out walking
With your other man today
I saw you out walking
With your other man today
If I catch you one more time
I'm gonna blow you both away

Rita Mae, Rita Mae
I'll see you one more time today
Rita Mae, Rita Mae
I'll see you one more time today
When I've finished what I've done
Gonna come and drive you away

A versão de Eric Clapton:

2130 – George Harrison – Life itself (1981)

 

Escrita por George Harrison, foi gravada entre março de 1980 e fevereiro de 1981 e lançada no disco Somewhere in England, em 1 de junho de 1981. Foi produzida por George Harrison e Ray Cooper. Trata-se de uma canção de amor pra Deus. É o trabalho religioso mais aberto de George desde 1974. A letra fala de amor por Critso, Vishu, Jehovah e Buda, falando de um Deus sem a demarcação religiosa, da mesma forma que fez em My sweet Lord. Foi gravada no seu estúdio no Friar Park. Traçaram inclusive um paralelo entre Life itself e Every grain of sand, de Bob Dylan, de 1980, como sendo canções irmãs. Canções de fé. George Harrison cantou, tocou guitarra, slide guitar e fez backing vocals. Neil Larsen tocou teclado. Gary Brooker tocou orgão. Al Kooper tocou orgão Hammond. Willie Weeks tocou baixo. Jim Keltner tocou bateria. Ray Cooper tocou percussão.

A letra:

You are the One
You are my love
You send the rain and bring the sun
You stand alone and speak the truth
You are the breath of life itself, oh yes you are
You are the One

You're in my dream
I hold you there in high esteem
I need you more each step I take
You are the love in life itself, oh yes you are
You are the One

You are the one that I'd die for
And you're all that is real
You are the essence of that which
We taste, touch and feel

You are the One
No matter what
You are the real love that I've got
You are my friend and when life's through
You are the light in death itself, oh yes you are
You are the One

They call you Christ, Vsnu, Buddha, Jehovah,
Our Lord
You are, Govindam, Bismillah, Creator of All

You are the One
No matter what
You are the real love that I've got
You are my friend and when life's through
You are the light in death itself, oh yes are
You are the One
You are my love
You send the rain and bring the sun
You stand alone and speak the truth
You are the breath of life itself, oh yes you are
You are the breath of life itself, oh yes you are
You are the One

A versão de George Harrison:

2129 – The Police – Every little thing she does is magic (1981)

 

Escrita por Sting, foi gravada entre janeiro e julho de 1981, no Le Studio (Morin Heights), em Montréal, no Québec, Canadá e em Montserrat. Foi lançada em 2 de outubro ed 1981 no disco Ghost in the machine, o quarto da banda. Sairia também no compacto com Flexible strategies como Lado B. Foi produzida por Sting e Hugh Padgham. Chegou ao número 3 no Billboard Hot 100 e n Bélgica. Número 1 no Reino Unido, Canadá, Irlanda e Holanda. Número 2 na Austrália e Itália. Número 5 na Noriega, número 7 na Nova Zelandia, número 12 na África do Sul e número 15 na Finlandia. Número 21 na Alemanha Ocidental. Teve a participação especial do tecladista Jean Alain Roussel. A música foi feita ainda em 1977, por Sting. Diferente de outras canções do Police, essa tem um forte arranjo de piano e sintetizadores, por causa da Roussel. A letra fala de um sujeito romantico que é apaixonado por uma pessoa por muito tempo, mas que tem medo partir pra cima. Foi composta antes da criação da banda, no ano do jubileu de prata da Rainha Elizabeth. Sting era casado com Frances Tomelty e morava vizinho de Trudie Styler. Elas eram melhores amigas. Sting deixou Frances pra casar cm Trudie e estão casados até hoje. Ele disse que compôs essa música pra Trudie. Summers não queria Roussel na gravação mas acabou cedendo. Copeland estava do lado de Sting e venceram. Roussel ficou. Sting tocou baixo, cantou e fez os backing vocals. Andy Summers tocou as guitarras. Stewart Copeland tocou bateria. Jean Alain Roussel tocou piano e sintetizadores.

A letra:

Though I've tried before to tell her
Of the feelings I have for her in my heart
Every time that I come near her
I just lose my nerve as I've done from the start

Every little thing she does is magic
Everything she do just turns me on
Even though my life before was tragic
Now I know my love for her goes on

Do I have to tell the story
Of a thousand rainy days since we first met?
It's a big enough umbrella
But it's always me that ends up getting wet

Every little thing she does is magic
Everything she do just turns me on
Even though my life before was tragic
Now I know my love for her goes on

I resolved to call her up
A thousand times a day
And ask her if she'll marry me
Some old-fashioned way

But my silent fears have gripped me
Long before I reach the phone
Long before my tongue has tripped me
Must I always be alone

Every little thing she does is magic
Everything she do just turns me on
Even though my life before was tragic
Now I know my love for her goes on

Every little thing she does is magic
Everything she do just turns me on
Even though my life before was tragic
Now I know my love for her goes on

On and on and on and

Every little thing, every little thing
Every little thing, every little thing
Every little, every little, every little
Every little thing she does

Every little thing she does
Every little thing she does
Every little thing she does
Thing she does is magic

E-oh E-oh E-oh E-oh E-oh E-oh E-oh E-oh
E-oh E-oh E-oh E-oh E-oh E-oh E-oh E-oh
Every little thing, every little thing
Every little thing she do is magic, magic, magic
Magic, magic, magic
Oh oh, Oh oh
E-oh oh oh oh oh

I have to tell a story
Of a thousand rainy days since we first met

It's a big enough umbrella
But it's always me that ends up getting wet

A versão do Police:

A versão do HSCC:

A versão de Sting solo:

2128 – Tom Petty and The Heartbreakers – A woman in love (It's not me) (1981)

 

Escrita por Tom Petty e Mike Campbell, foi gravada em 1981 e lançada em 5 de maio de 1981, no disco Hard promises, o quarto do grupo. Saiu também em compacto, com Gator on the lawn como Lado B, em 29 de junho de 1981. Foi produzida por Tom Petty e Jimmy Iovine. Chegou ao número 79 no Billboard Hot100. Tom Petty tocou guitarra base e cantou. Mike Campbell tocou guitarra solo. Bennont Tench tocou teclado. Stan Lynch tocou bateria. Duck Dunn tocou baixo e Phil Jones fez percussão.

A letra:

She laughed in my face, told me good-bye
Said, "Don't think about it, you can go crazy
Anything can happen, anything can end
Don't try to fight it, don't try to save me"

She's a woman in love
She's a woman in love
And he's gonna break her heart to pieces
She don't wanna see
She's a woman in love
But it's not me

Well alright, do what you want
Don't try to talk, don't say nothin'
She used to be the kind of woman
You have and you hold
She could understand the problem
She let the little things go

She's a woman in love
She's a woman in love
And he's gonna break her heart to pieces
She don't wanna know
She's a woman in love
She can't let go

Time after time, night after night
She would look up at me
And say she was lonely
I don't understand the world today
I don't understand what she needed
I gave her everything she threw it all away
On nothin'

She's a woman in love
She's a woman in love
And he's gonna break her heart to pieces
She don't wanna see
She's a woman in love
But it's not me

She's a woman in love

A versão de Tom Petty and The Heartbreakers:

A versão de Gaffersband:

A versão de Full Moon Fever:

2127 – Bob Dylan – Lenny Bruce (1981)

Escrita por Bob Dylan, foi gravada entre março e maio de 1981 e lançada no disco Shot of love, o vigésimo primeiro disco de Bob Dylan. Foi produzida por Chuck Plotkin e Bob Dylan. Fala sobre o comediante judeu Lenny Bruce, um comediante influente cuja linguagem provocativa o levou a um julgamento acusado de obscenidade. Ele morreu de uma overdose em 1966. A música tem uma cadencia de um piano gospel. Bob disse que não sabe porque escreveu essa música sobre ele tantos anos após sua morte, mas que a fez em cinco minutos. Talvez pra dizer aos comediantes da época quem era Lenny Bruce e o que ele fazia muitos anos antes era melhor do que o que eles faziam naquela época. Bob Dylan tocou guitarra, gaita, percussão, piano, teclado e cantou. Carolyn Dennis, Clydie King, Regina McCrory, Madelyn Quebec e Monalisa Young fizeram backing vocals. Steve Douglas tocou Sax. Tim Drummond tocou baixo. Jun Keltner tocou bateria. Carl Pickhardt tocou piano. William Smith tocou orgão Hammond. Benmont Tench tocou teclado. Danny Kortchmar, Steve Riplev e Fred Tackett tocaram guitarra.

A letra:

Lenny Bruce is dead, but his ghost lives on and on
Never did get any Golden Globe Award
Never made it to Synanon
He was an outlaw, that's for sure
More of an outlaw than you ever were
Lenny Bruce is gone, but his spirit's livin' on and on

Maybe he had some problems
Maybe some things that he couldn't work out
But he sure was funny, and he sure told the truth
And he knew what he was talkin' about

Never robbed any churches, nor cut off any babies' heads
He just took the folks in high places, and he shined a light in their face
He's on some other shore, he didn't wanna live anymore

Lenny Bruce is dead, but he didn't commit any crime
He just had the insight to rip off the lid before its time
I rode with him in a taxi once, only for a mile and a half
Seemed like it took a couple of months
Lenny Bruce moved on, and the ones that killed him, are gone

They said that he was sick, 'cause he didn't play by the rules
He just showed the wise men of his day to be nothing more than fools
They stamped him, and they labeled him like they do with pants and shirts
He fought a war on a battlefield where every victory hurts
Lenny Bruce was bad, he was the brother that you never had

A versão de Bob Dylan:

2126 – Men at work – Underground (1981)

 

Escrita por Colin Hay, foi gravada entre março e setembro de 1981 e lançada no disco Business as usual, o disco de estréia da banda, em 9 de novembro de 1981. Foi produzida por Peter McIan. Colin Hay cantou e tocou guitarra. Greg Ham tocou flauta, teclado e sax e fez backing vocals. Ron Strykert tocou guitarra e fez backing vocals. John Rees tocou baixo e fez backing vocals. Jerry Speiser tocou bateria e fez backing vocals.

A letra:

Don't take the fire from your eyes
Must make them feel the heat
They build castles underground for the rich and politic elite
Keep all the home fires burning
Don't let the lights go out
The streets are empty, and there's nobody about

We'll be alright in the morning time, yeah
We're doing fine, I'll see you on the night line

There's no need for you to fight, boys
Hang up all your guns
Find your mask and as best as you can
Get ready to run
Keep all the food lines moving
Don't come crying for more
The signs were there
You should have bought connections before

We'll be alright in the morning time, yeah
We're doing fine
I'll see you on the nightline

It's such a big joke
It's the talk of the town
All the planets to whom I spoke
Are trying their best to play it down

Don't take the fire from your eyes
Must make them feel the heat
But my head's unsteady
I can't seem to keep my feet

We'll be alright in the morning time, yeah
We're doing fine
I'll see you on the nightline

Jump off the Eiffel Tower
Just have a look around
Move fast, in the tunnels of the underground
Move fast, in the tunnels of the underground

Let's go!

A versão do Men at Work: