2194 – The Stranglers – Golden brown (1981)

 

Escrita por Hugh Cornwell, Jean Jacques Burnel, Dave Greenfield e Jet Black, foi gravada entre agosto e setembro de 1981 e lançada em 9 de novembro de 1981, no disco La Folie, o sexto da banda. Foi lançada também em compacto, com Love 30 como Lado B, em 11 de janeiro de 1982. Foi produzida por Steve Churchyard e The Stranglers. É conhecida pela sua instrumentação de harpsichord. Chegou ao número 2 no Reino Unido, sendo a melhor posição alcançada pela banda no Reino Unido. Chegou ao número 3 na Irlanda, número 7 na Belgica, número 8 na Holanda, número 10 na Austrália, número 63 na Alemanha Ocidental e número 73 na França. Fala ao mesmo tempo de heroína e de uma garota.

A letra:

Golden brown, texture like sun
Lays me down, with my mind she runs
Throughout the night
No need to fight
Never a frown with golden brown

Every time just like the last
On her ship tied to the mast
To distant lands
Takes both my hands
Never a frown with golden brown

Golden brown, finer temptress
Through the ages she's heading west
From far away
Stays for a day
Never a frown with golden brown

Never a frown (never a frown), never a frown
With golden brown (with golden brown), with golden brown
Never a frown (never a frown), never a frown
With golden brown (with golden brown), with golden brown
Never a frown (never a frown), never a frown
With golden brown (with golden brown), with golden brown
Never a frown (never a frown), never a frown
With golden brown (with golden brown), with golden brown

A versão dos Stranglers:

A versão de Jasmine Elise:

A versão de Karina Ramage:

2193 – Joan Jett and The Blackhearts – I love rock and roll (1981)

 

Escrita por Alan Merrill e Jake Hooker, foi gravada inicialmente pelos Arrows e lançada em 1975. A nossa versão no entanto é a de Joan Jett and The Blackhearts, gravada entre julho e setembro de 1981, no Kingdom Sound, em Long Island e lançada em 23 de novembro de 1981, no disco de mesmo nome, o segundo disco da banda. Sairia também em compacto, com Love is pain como Lado B, em 20 de janeiro de 1982. Foi produzida por Kenny Laguna, Ritche Cordell e Glen Kolotkin. É uma resposta à música I'ts only rock and roll (but I like it) dos Rolling Stones. A versão de Joan Jett and The Blackhearts chegou ao número 1 do Billboard Hot100 e ficou lá no topo por 7 semanas e vendeu duas milhões de cópias somente nos Estados Unidos na época. Chegou ao número 4 nos Estados Unidos, número 1 na Austrália, Canadá, Holanda, Nova Zelandia, Africa do Sul e Suécia. Número 2 na Bélgca e Irlanda. Número 3 na Suíça. Número 4 na Áustria e na França. Número 6 na Alemanha Ocidental e número 8 na Finlandia. Foi regravada por Britney Spears, entre outros artistas. A versão de Joan Jett entrou pro Grammy Hall of Fame em 2016. Joan Jett cantou e tocou guitarra base. Ricky Byrd tocou guitarra solo e fez backing vocals. Gary Ryan tocou baixo e fez backing vocals. Lee Crystal tocou bateria e fez backing vocals.

A letra:

I saw him dancin' there by the record machine
I knew he must've been about 17
The beat was goin' strong
Playin' my favorite song

And I could tell it wouldn't be long
'Til he was with me, yeah, me
And I could tell it wouldn't be long
'Til he was with me, yeah, me, singin'

"I love rock 'n roll
So put another dime in the jukebox, baby
I love rock 'n roll
So come and take your time and dance with me"
Ow!

He smiled, so I got up and asked for his name
"That don't matter", he said, "'Cause it's all the same"
Said, "Can I take you home where we can be alone?"

And next, we were movin' on, he was with me, yeah, me
Next, we were movin' on, he was with me, yeah, me, singin'

"I love rock 'n roll
So put another dime in the jukebox, baby
I love rock 'n roll
So come and take your time and dance with me"
Ow!

Said, "Can I take you home where we can be alone?

Next, we were movin' on, he was with me, yeah, me
And we'll be movin' on and singin' that same old song
Yeah, with me, singin'

"I love rock 'n roll
So put another dime in the jukebox, baby
I love rock 'n roll
So come and take your time and dance with me"

I love rock 'n roll
So put another dime in the jukebox, baby
I love rock 'n roll
So come and take your time and dance with-

I love rock 'n roll
So put another dime in the jukebox, baby
I love rock 'n roll
So come and take your time and dance with-

I love rock 'n roll
So put another dime in the jukebox, baby
I love rock 'n roll
So come and take your time and dance with-

I love rock 'n roll
So put another dime in the jukebox, baby
I love rock 'n roll
So come and take your time and dance with me

A versão de Joan Jett and The Blackhearts:

A versão de Britney Spears:

A versão do Arrows:

2192 – Depeche Mode – Dreaming of me (1981)

Escrita por Vince Clark, foi gravada em dezembro de 1980 no Blackwing Studios e lançada em 20 de fevereiro de 1981 no compacto que tinha Ice machine como Lado B. Saiu também no disco Speak and Spell, em outubro de 1981, o disco de estréia do Depeche Mode. Foi produzida por Daniel Miller e Depeche Mode. Chegou ao numero 57 no Reino Unido. Foi o primeiro compacto oficial da banda.

A letra:

Light switch, man switch
Film was broken only then
All the night, fused tomorrow
Dancing with a distant friend

Filming and screening
I picture the scene
Filming and dreaming
Dreaming of me, yeah

So we left, understanding
Clean cut so we're sounding fast
Talked of sad, I talked of war
I laughed and climbed the rising cast

Filming and screening
I picture the scene
Filming and dreaming
Dreaming of me, yeah

Quickly I remembered
Fused and saw a face before
Timing reason, understanding
Like association hall

Filming and screening
I picture the scene
Filming and dreaming
Dreaming of me, yeah

Dreaming of me
Ooh, la, la, la
Ooh, la, la, la
Just dreaming of me
Ooh, la, la, la
Ooh, la, la, la
It's only me
Ooh, la, la, la
Ooh, la, la, la
Just me
Ooh, la, la, la
Ooh, la, la, la
Ooh, la, la, la
Ooh, la, la, la
Ooh, la, la, la
Ooh, la, la, la
Ooh, la, la, la
Ooh, la, la, la
Ooh, la, la, la
Ooh, ah

A versão de Depeche Mode:

A versão do Forced to Mode:

2191 – Ramones – 7-11 (1981)

Escrita por Joey Ramone, foi gravada entre março e abril de 1981 no Mediasound, em New York City e Strawberry Studios, em Stockport e Dorking, na Inglaterra e lançada em 20 de julho de 1981, no disco Pleasant Dreams, o sexto da banda. Foi produzida por Graham Gouldman. Fala sobre namorar com uma idade nova, onde vão pros encontros nas lojas de conveniencia e lojas de discos. Na letra, o menino encontra a namorada numa maquina de fliperama de Space Invaders e depois ela morre num acidente de carro. Joey Ramone cantou e fez backing vocals. Johhny Ramone tocou guitarra e fez backing vocals. Dee Dee Ramone tocou baixo e fez backing vocals. Marky Ramone tocou bateria e fez backing vocals. Vic Emerson tocou sintetizador. Dave Hassell tocou percussão. Graham Gouldman tocou guitarra e fez backing vocals. Russell Mael fez backing vocals. Ian Wilson fez backing vocals.

A letra:

I met her at the 7-11
Now I'm in 7th heaven
Tell me, tell me
Can this be true
I never thought I'd ever
meet a girl like you

She was standing by the Space Invaders
So I said can I see you later
Yeah we went for a little spin
Down to the Holiday Inn

We was young and in love
We was young and in love
And you're the only girl
I'm ever thinking of

We went down to the record swap
The kids were dancing
to the blitzkrieg bop
Bop-shoo-wop shoo-wop shoo-wop
Bop-shoo-wop shoo-wop shoo-wop

What ever happend to the radio
And where did all the fun songs go
Summer fun, with the Beach Boys on
But we all know what went wrong
Oh-wo-wo

We was young and in love
We was young and in love
And you're the only girl
I'm ever dreaming of

And so we went down to the dance
Which turned into a whole romance
And after just one night
I never knew that things could be so right
Oh-no-no-no-no-no-no-no

I kissed her and hugged her
And I said good-bye
Last thing I knew
She wouldn't make it alive
Oncoming car went out of control
It crushed my baby
And it crushed my soul
Now all I've got is sorrow and pain
Standing out here in the rain
The crash, shattering glass
The sirens, and pain
Is driving me insane oh-yeah

We was young and in love
We was young and in love
And you're the only girl
I'm ever thinking of
Yeah, yeah, yeah, yeah, yeah

A versão dos Ramones:

A versão dos Raimundos:

A versão de Postmark:

2190 – Bryan Adams – Lonely nights (1981)

Escrita por Bryan Adams e Jim Vallance, foi gravada em 1981 no Le Studio em Morin Heigts, em Quebec e no Power Studio, em New York City e lançada em 28 de julho de 1981, no dico You want it, you got it, o segundo disco de Bryan Adams. Foi produzida por Bryan Adams e Bob Clearmountain. Se tornou um hit no estado de New York antes de tocar no resto do mundo, por causa de Djs tocando-a sem parar em Rochester, Albany e Syracuse. Ela chegou ao número 84 no Billboard Hot100. Bryan Adams cantou e fez backing vocals, tocou piano acústico e guitarra. Tommy mandel tocou teclado. Brian Stanly tocou baixo. Mickey Curry tocou bateria e Jimmy Maelen tocou percussão.

A letra:

Will you risk your reputation?
I don't know
You just don't know what you're sayin'
Anymore
You know beggers can't be chosers
And that's fair
When we win we may be losers
I don't care, no no no

Oh, baby, I just can't stand another lonely night
So come over and save me
Save me from another lonely night
I hear every word you're sayin'
They're all lies
But with every breath you're takin'
You're thinkin' of ways to say good night

Oh, no baby, I just can't stand another lonely night
Come over and save me
Save me from another lonely night, yeah

Oh, yeah

Oh, baby, just can't stand another lonely night
Come over and save me
Oh, baby, just can't stand another lonely night
Come over and save me

Oh, baby, just can't stand it
Another lonely, another lonely night, yeah
Oh, baby, just can't stand another lonely night
Come over and save me
Baby, from another lonely night, oh

Oh, baby
Baby, yeah
Another lonely night
Oh, lonely, oh, so lonely
Yeah

A versão de Uriah Heep:

2189 – The Go-Go's – Our lips are sealed (1981)

Escrita por Jane Wiedlin e Terry Hall, foi gravada em 1981 e lançada em 12 de junho de 1981, no compacto que tinha Surfing and spying como Lado B. Saiu também no disco Beauty and The Beat, o disco de estréia das Go-Go's, em 14 de julho de 1981. Foi produzida por Richard Gottehrer e Rob Freeman. Chegou ao número 20 no Billboard Hot100, número 47 no Reino Unido, número 2 na Austrália, número 3 no Canadá, número 14 na Suécia e número 23 na Nova Zelandia.

A letra:

Can you hear them?
They talk about us
Telling lies
Well, that's no surprise

Can you see them?
See right through them
They have no shield
No secrets to reveal

Doesn't matter what they say
In the jealous games people play
Hey, hey, hey
Our lips are sealed

There's a weapon
That we must use
In our defense
Silence

When you look at them
Look right through them
That's when they'll disappear
That's when we'll be feared

It doesn't matter what they say
In the jealous games people play
Hey, hey, hey
Our lips are sealed

Pay no mind to what they say
It doesn't matter anyway
Hey, hey, hey
Our lips are sealed

Hush, my darling
Don't you cry
Quiet angel
Forget their lies

Can you hear them?
They talk about us
Telling lies
Well, that's no surprise

Can you see them?
See right through them
They have no shield
No secrets to reveal

Doesn't matter what they say
In the jealous games people play
Hey, hey, hey
Our lips are sealed

Pay no mind to what they say
It doesn't matter anyway
Hey, hey, hey
Our lips are sealed
Our lips are sealed
Oh, our lips are sealed

A versão dos Go-Go's:

A versão do Fun Boy Three:

A versão de Jane Wiedlin acústica:

2188 – Echo and The Bunnymen – A promise (1981)

 

Escrita por Will Sergeant, Ian McCulloch. Les Pattinson e Pete de Freitas, foi gravada em março de 1981, no Rockfield Studios, no País de Gales. Foi lançada em 29 de maio de 1981, no disco Heaven up here, o segundo da banda. Saiu também em compacto, com Broke my neck como Lado B. Foi produzida por Hugh Jones e The Bunnymen. Ian McCulloch cantou e tocou guitarra. Will Sergeant tocou guitarra solo. Les Pattinson tocou baixo e Pete de Freitas tocou bateria.

A letra:

You said something will change
We were all dressed up
Somewhere to go
No sign of rain
But something will change
You promised

You said nothing will change
We were almost near
Almost far
Down came the rain
But nothing will change
You promised

A promise a promise a promise

It's exactly the same
You said
It's always the same
But I'll make it change
Into something the same
I promise

A promise a promise a promise

Light on the waves
Light on the waves
Light on the waves
Light on the waves
A promise a promise a promise a promise
(Light on the water)
(We could sail on forever) a promise
A promise
(There's light on the water)
(We could sail on forever) a promise
(There's light on the water) a promise
(There's light on the water) a promise
(We could sail on forever) a promise
(There's Light on the water) a promise
(There's Light on the water) a promise
(We could sail on forever)

A versão de Echo and The Bunnymen:

2187 – Peter Frampton – Breaking all the rules (1981)

 

Escrita por Peter Frampton e Keith Reid, foi gravada em novembro de 1979 e junho de 1980, no Charlie Chaplin Sound Stage no A&M Studios, em Los Angeles e foi lançada em 14 de maio de 1981, no disco de mesmo nome, o sétimo da carreira de Peter. Foi produzida por Peter Frampton, David Kershenbaum, Chris Kimsey e Harvey Goldberg. Peter Frampton tocou guitarra, teclado e cantou. Steve Lukather tocou guitarra. John Regan tocou baixo. Arthu Stead tocou piano, sintetizador, piano elétrico, órgão e Fender Rhodes. Jeff Porcaro tocou bateria e percussão.

A letra:

We are the people one and all
From deliverance to the fall
From the battle and the heat
To our triumph and defeat
We are the young ones crying out
Full of anger full of doubt
And we're breaking all of the rules
Never choosing to be fools
We are tired of being used
We are constantly excused
In the battle and the heat
In the shadow of retreat
We are the young ones crying out
Full of anger full of doubt
And we're breaking all of the rules
Never choosing to be fools
We are the people one and all
From deliverance to the fall
From the bitter to the brave
From the cradle to the grave
We are the young ones crying out
Full of anger full of doubt
And we're breaking all of the rules
Never choosing to be fools

A versão de Peter Frampton:

A versão de Mad Max Band:

A versão de Marco Barone:

2186 – James Taylor – London town (1981)

 

Escrita por James Taylor, foi gravada entre setembro de 1980 e janeiro de 1981 e lançada em março de 1981, no disco Dad love his work, o décimo da carreira de James. Foi produzida por Peter Asher. James Taylor cantou e tocou violão. Don Grolnick tocou piano acústico e Fender Rhodes. Dan Dugmore tocou guitarra. Waddy Wachtel também tocou guitarra. Leland Sklar tocou baixo. Rick Marotta tocou bateria. Grege Taylor tocou gaita. David Lasley e Arnold McCuller fizeram backing vocals.

A letra:

I do believe, I must believe, I think I can begin again.
Become again the man I was back when.
So I'm walking on your streets again, feeling now as I did then,
I've since become a different man.
London Town, turn be around, London Town, carry me back,
oh, London Town, lost and found, and I feel like going back

I can remember lots of time and space, if I lose the name, still I know the faces.
Time as come and left its traces.
London Town, turn be around, London Town, carry me back,
oh, London Town, lost and found, and I feel like going back.

When I grew too old and dull to rock 'n roll, like to hold on tight to you, darling.
And when my fires have all burned out, I'd like to think I can still think about
the things I used to sing about When I was spending all my time alone.
By myself and on my own, seldom seen and quite unknown.
London Town, turn be around, London Town, carry me back,
oh, London Town, lost and found, and I feel like going back. Yes, I feel like going back.

A versão de James Taylor:

2185 – Emmylou Harris and Waylon Jennings – Spanish Johnny (1981)

 

Escrita por Paul Siebel, foi gravada entre 1978 e 1980, e lançada em 4 de fevereiro de 1981 no disco Evangeline, o oitavo disco de Emmylou Harris. Foi produzida por Brian Ahern. Foi gravada em dueto com Waylon Jennings.

A letra:

Those other years, the dusty years
We drove the big hers through
I tried to forget the miles we rode
And Spanish Johnny too
He'd sit beside a water ditch when all this herd was in
And he'd never harm a child but sing to his mandolin

The old talk, the old ways, and the dealin' of our game
But Spanish Johnny never spoke, but sing a song of Spain
And his talk with men was vicious talk
When he was drunk on gin
Ah, but those were golden things he said to his mandolin

We had to stand, we tried to judge, we had to stop him then
For the hand so gentle to a child had killed so many men
He died a hard death long ago before the road come in
And the night before he swung he sung to his mandolin

Well, we carried him out in the mornin' sun
A man that done no good
And we lowered him down in the cold clay
Stuck in a cross of wood
And a letter we wrote to his kinfolk
To tell them where he'd been
And we shipped it out to Mexico, along with his mandolin

A versão de Emmylou Harris com Waylon Jennings:

2184 – Emmylou Harris – Evangeline (1981)

Escrita por Robbie Robertson, fo gravada entre 1978 e 1980 e foi lançada em 4 de fevereiro de 1981, no disco de mesmo nome, o oitavo disco de Emmylou Harris. Foi produzida por Brian Ahern. Na gravação, Dolly Parton e Linda Ronstadt fizeram harmonias vocais. Brian Ahern tocou violão, guitarra, baixo de seis cordas e pandeiro. Hal Blaine tocou bateria. James Burton tocou guitarra. Emmylou Harris cantou, tocou violãoe fez backing vocals. Albert Lee tocou guitarra.

A letra:

She stands on the banks of the mighty Mississippi
Alone in the pale moonlight
Waitin' for a man, a riverboat gambler
Said that he'd return tonight

They used to waltz on the banks of the mighty Mississippi
Lovin' the whole night through
He was a riverboat gambler off to make a killin'
And bring it on back to you

Evangeline Evangeline
Curses the soul of the Mississippi Queen
That pulled her man away

Bayou Sam from South Louisian'
Had gamblin' in his veins
Evangeline from the maritime
Was slowly goin' insane

High on the top of a Hickory Hill
She stands in the lightning and thunder
Down on the river the boat was a sinkin'
She watched that Queen go under

Evangeline Evangeline
Curses the soul of the Mississippi Queen
That pulled her man away

Evangeline Evangeline
Curses the soul of the Mississippi Queen
That pulled her man away

A versão de Emmylou Harris:

A versão de Levon Helm com Sheryl Crow:

 

2183 – Christopher Cross – Arthur's theme (Best that you can do) (1981)

 

Escrita por Christopher Cross, Burt Bacharach, Carole Bayer Sager e Peter Allen, foi gravada em 1981 e lançada em 14 de agosto de 1981 no compacto que tinha Minstrel gigolo como Lado B. Saiu também na trilha sonora do filme Arthur. Foi produzida por Michael Omartian. Ganhou o Oscar de Best original song no 54^th Academy Awars e ganhou também um globo de ouro na mesma categoia, no 39^th Golden Globe Awards. Foi um grande sucesso comercial nos Estados Unidos, chegando ao número 1 Billboard Hot100, ficando no topo por 3 semanas consecutivas. Além disso, foi número 1 no Canadá e na Noruega. Número 5 na Itália, número 6 na Suíça e número 7 na Irlanda, África do Sul e Reino Unido. Número 10 na Nova Zelandia, número 13 na Austrália e número 14 na Espanha. Christopher Cross tocou guitarra, cantou e fez backing vocals. Michael Omartian tocou teclado e sintetizadores. Michael Boddicker tocou sintetizador. Steve Lukather tocou guitarra. Marty Walsh tocou guitarra. David Hungate tocou baixo. Jeff Porcaro tocou bateria. Paulinho da Costa tocou percussão e Ernie Watts tocou sax.

A letra:

Once in your life you find her
Someone that turns your heart around
And next thing you know you're closing down the town
Wake up and it's still with you
Even though you left her way 'cross town
Wondering to yourself, "Hey! What've I found?"

When you get caught between the moon and New York City
I know it's crazy, but it's true
If you get caught between the moon and New York City
The best that you can do
The best that you can do
Is fall in love

Arthur, he does as he pleases
All of his life, his master's toys
Deep in his heart, he's just, he's just a boy
Living his life one day at a time
And showing himself a pretty good time
Laughing about the way they want him to be

When you get caught between the moon and New York City
I know it's crazy, but it's true
If you get caught between the moon and New York City
The best that you can do (The best that you can do)
The best that you can do
Is fall in love

When you get caught between the moon and New York City
I know it's crazy, but it's true
If you get caught between the moon and New York City
The best that you can do (The best that you can do)
The best that you can do
Is fall in love

When you get caught between the moon and New York City
I know it's crazy, but it's true
If you get caught between the moon and New York City
The best that you can do (The best that you can do)
The best that you can do
Is fall in love

When you get caught between the moon and New York City
I know it's crazy, but it's true

A versão de Christpher Cross:

A versão de HSCC:

A versão de Rumer:

2182 – New Order – Ceremony (1981)

 

Escrita por Ian Curtis, Peter Hook, Stephen Morris e Bernard Summer, foi gravada em 1980 e lançada em março de 1981, em um compacto que tinha In a lonely place como Lado B. Foi produzida por Martin Hannett. Foi uma das últimas canções escritas ainda na época do Joy Division. A letra é de Ian Curtis. Bernard Summers, o guitarrista, foi quem fez os vocais que seriam feitos por Ian Curtis. Chegou ao número 34 no Reino Unido e número 7 na Nova Zelandia.

A letra:

This is why events unnerve me
They find it all, a different story
Notice whom for wheels are turning
Turn again and turn towards this time
All she asks the strength to hold me
Then again the same old story
Word will travel, oh so quickly
Travel first and lean towards this time

Oh, I'll break them all, no mercy shown
Heaven knows, it's got to be this time
Watching her, these things she said
The times she cried
Too frail to wake this time

Oh, I'll break them down, no mercy shown
Heaven knows, it's got to be this time
Avenues all lined with trees
Picture me and then you start watching
Watching forever

Forever, watching love grow
Forever, letting me know
Forever

A versão do New Order:

A versão Day Wave:

A versão do Radiohead:

2181 – The Teardrop Explodes – Reward (1981)

 

Escrita por Allan Gill e Julian Cope, foi gravada entre o verão de 1979 e o verão de 1980 no Rockfield Studios, no País de Gales e lançada em 23 de janeiro de 1981 no compacto que tinha Strange house in the snow como Lado B. Ela sairia também no disco Kilimanjaro, o disco de estréia da banda. Mas isso foi um caso curioso. O disco foi lançado em 10 de outubro de 1980 sem Reward. Como Reward virou um hit, eles relançaram o disco em 1981 incluindo Reward no disco, tornando a primeira impressão do disco rara. Foi produzida por Clive Langer e Alan Winstanley. Reward foi o maior hit da banda, chegando ao numero 6 no Reino Unido e número 11 na Irlanda. Fala sobre a alegria de fazer sucesso. A frase inicial diz: “Bless my cotton socks, I'm in the news”.

A letra:

Bless my cotton socks, I'm in the news
The king sits on his face, but it's all assumed

All wrapped up the same
All wrapped up the same
They can't have it, you can't have it, I can't have it too
Until I learn to accept my reward

Prisoners stand in queues and stand in queues
Live in solitude like Howard Hughes

All wrapped up the same
All wrapped up the same
Silence has it, arrogance has it, I can't have it too
Until I learn to accept my reward

Suddenly it struck me very clear
Oh, suddenly it struck me very clean

All wrapped up the same (same)
All wrapped up the same (same)
They can't have it, you can't have it, I can't have it too
Until I learn to accept my reward

Until I learn to accept my reward
Until I learn to accept my reward
Until I learn to accept my
I learn to accept my
I learn to accept my reward

A versão do Teardrop Explodes:

2180 – The Psychedelic Furs – Pretty in pink (1981)

 

Escrita por John Ashton, Tim Butler, Richard Butler, Vince Ely, Duncan Kilburn e Roger Morris, foi gravada entre 1980 e 1981 e lançada em 15 de maio de 1981 no disco Talk talk talk, o segundo da banda. Sairia também em um compacto com Mack the Knife como Lado B ainda em 1981. Foi produzida por Steve Lillywhite. Foi feito um filme em 1986 com o mesmo nome da música, de muito sucesso entre os jovens de todo o mundo. Chegou ao número 43 no Reino Unido. É sobre duas mulheres que Richard Butler conhecia em Muswell Hill, no norte de Londres. Uma era amiga de uma ex-namorad e a outra frequentava o pub que ele frequentava. Mas nenhuma se chamava Caroline e nenhuma estava na idade de high school. Ele disse que a canção era sobre uma garota que gostava muito de trepar e achava que era popular por causa disso. Quando na verdade os caras que estão trepando com ela estão rindo dela pelas costas.

A letra:

Caroline laughs and it's raining all day
She loves to be one of the girls
She lives in the place in the side of our lives
Where nothing is ever put straight

She turns her self round and she smiles and she says
"This is it, that's the end of the joke"
And loses herself in her dreaming and sleep
And her lovers walk through in their coaches

Pretty in pink, isn't she?
Pretty in pink, isn't she?

All of her lovers, all talk of her notes
And the flowers that they never sent
And wasn't she easy?
Isn't she pretty in pink?

The one who insists he was first in the line
Is the last to remember her name
He's walking around in this dress that she wore
She is gone, but the joke's the same

Pretty in pink, isn't she?
Pretty in pink, isn't she?

Caroline talks to you softly, sometimes
She says, "I love you" and "Too much"
She doesn't have anything you want to steal
Well, nothing you can touch

She waves, she buttons your shirt
The traffic is waiting outside
She hands you this coat
She gives you her clothes
These cars collide

Pretty in pink, isn't she?
Pretty in pink, isn't she?

All their favorite rags are worn
And other kinds of uniform
Kitty, you're really free like individuality
You are what you want to be
Until tomorrow, the driveway's broken
His doorbell sings its chimes
In time with what and for who
God knows why I tried this
Vicious drug and I shake

A versão do Psychedelic Furs: