Escrita por
Rick Davies, foi gravada entre novembro de 1981 e meados de 1982, na
Califórnia e lançada no disco Famous Last words, o sétimo disco do
Supertramp, em 29 de outubro de 1982. Foi produzida por Peter
Henderson, Russell Pope e Supertramp. Rick Davies cantou e fez
backing vocals e tocou piano. Roger Hodgson tocou guitarra. John
Helliwell tocou sintetizadores. Dougie Thomson tocou baixo e Bob
Siebenberg tocou bateria.
A letra:
Your silver
nights and golden days I try to reach you in a million ways I'm
crazy 'bout you, Bonnie, can you tell? Your diamond rings and
fancy clothes How do I want you, babe? Well, Heaven knows I'm
wild about you, Bonnie, can't you see?
Hey Bonnie I've loved you, oh, so
long I know we'd get along Hey Bonnie, will you ever notice
me? Yes I know you, oh, so well Just one look and I fell Please
tell me that our love will always be
I've seen your films and all your
plays I read about you every single day I'd like to get my
loving arms 'round you From rags to riches, you've got it made How
does it feel to be a famous name? Well, Bonnie, can you do the
same for me?
Oh, Bonnie I feel you in my soul And
to love you is my role Oh, Bonnie, you're the only one for me Yes,
I've got my fortune read And here's what the gypsy said That
we'll live and love and share eternity
Bonnie, please be nice We'll find
paradise Beneath the golden skies Bonnie, you're so good Make
me, if you could The toast of Hollywood I'll give you all my
love We'll really live it up Beneath the stars above
Your silver nights and golden days I
try to reach you in a million ways I'm crazy 'bout you, Bonnie,
can you tell? Your diamond rings and fancy clothes How do I
want you, babe? Well, Heaven knows I'm wild about you, Bonnie,
can't you see?
Escrita por
Paul McCartney, foi gravada em 1981 e lançada em 26 de abril de
1982, no disco Tug of war, o terceiro disco solo de Paul sem os
Wings. Foi produzida por George Martin. A música foi inspirada na
viagem que Paul fez as Ilhas Virgens e a lfandega dos Estados Unidos
encontrou maconha no iate e o capitão ficou preocupado de perder o
iate. O capitão então começou a brigar com Paul e ele viu um outro
iate no caís chamado Wanderlust e o pessoal dono do Wanderlust
convidou Paul pra ir com eles. Paul viu naquele barco uma espécie de
liberdade. E ficou com esse nome e usou na canção. Foi regravada
por Brian Wilson, em 2014. Na gravação original do Tug of War, Paul
tocou baixo, guitarra, piano e cantou. Adrian Sheppard tocou bateria
e percussão. Denny Laine tocou baixo, guitarra e sintetizador de
guitarra. Linda McCartney e Eric Stewart fizeram backing vocals. The
Phillip Jones Brass tocaram os sopros.
A letra:
Light out wanderlust Head us out to sea Captain says there'll
be a bust This one's not for me
Take us from the dark Out
where we can see Captain's out to make his mark This one's not
to be
Light out wanderlust Help us to be free Light out
wanderlust Do it just for me - wanderlust
Oh where did I go
wrong my love? What petty crime was I found guilty of? What
better time to find a brand new day? Oh - wanderlust away
Light
out wanderlust Help us to be free Light out wanderlust Do it
just for me – wanderlust
Captain's out to make his mark This
one's not to be
Light out wanderlust (oh where did I go wrong
my love?) Head us out to sea (what petty crime was I found guilty
of?) Captain says there'll be a bust (what better time to find a
brand new day?) This one's not for me (oh - wanderlust
away)
Dropping a line Maybe this time It's wanderlust
for me
Escrita por
Billy Joel, foi gravada em 1982, em New York City e lançada em 23 de
setembro de 1982 no disco The Nylon Curtain, o oitavo disco de Billy.
Saiu também no compacto que tinha Elvis Presley Boulevard no Lado B,
em novembro de 1982. Foi produzida por Phil Ramone. Se tornou um hino
da AméricaBlue Collar, representando as aspirações e frustrações
da classe trabalhadora americana do final do século 20. Chegou ao
número 17 no Billboard Hot 100, número 21 no Canadá, número 37 na
Nova Zelandia, número 46 no Reino Unido e número 49 na Austrália.
Fala da resiliencia de Allentown, quando no começo dos anos 1980s
sentiu um declínio no setor manufatureiro daquela região, seguindo
o fechamento da Bethlehem Steel, que foi a segunda maior fábrica de
aço do mundo durante muito tempo. Ela operou de 1857 até 1995. A
canção segundo Billy é motivadora. Foi regravada por John Cougar
Mellencamp. O povo de Allentown não gostou da canção de início
mas logo depois que ela se tornou um hit, Billy Joel ganhou a chave
da cidade.
A letra:
Well we're
living here in Allentown And they're closing all the factories
down Out in Bethlehem they're killing time Filling out
forms Standing in line Well our fathers fought the Second World
War Spent their weekends on the Jersey Shore Met our mothers in
the USO Asked them to dance Danced with them slow And we're
living here in Allentown
But the restlessness was handed
down And it's getting very hard to stay
Well we're waiting
here in Allentown For the Pennsylvania we never found For the
promises our teachers gave If we worked hard If we behaved So
the graduations hang on the wall But they never really helped us
at all No they never taught us what was real Iron and coke And
chromium steel And we're waiting here in Allentown
But
they've taken all the coal from the ground And the union people
crawled away
Every child had a pretty good shot To get at
least as far as their old man got But something happened on the
way to that place They threw an American flag in our face
Well
I'm living here in Allentown And it's hard to keep a good man
down But I won't be getting up today
And it's getting very
hard to stay And we're living here in Allentown
Escrita por
Mark Knopfler, foi gravada entre março e junho de 1982, no Power
Station Studios, em New York City e lançada no disco Love over gold,
o quarto disco da banda, em 24 de setembro de 1982. Foi produzida por
Mark Knopfler. Mark tocou guitarra e cantou. Hal Lindes tocou
guitarra. John Illsley tocou baixo. Alan Clark tocou teclado e Pick
Withers tocou bateria.
A letra:
I hear the seven deadly sins And the terrible twins came to call
on you The bigger they are, baby The harder they fall on you
And you, you're always the
same, you persevere On the same old pleasure ground Oh, and it
never rains around here It just comes pouring down
You had no more volunteers So you
got profiteers for to help you out Well, with friends like that,
baby Good friends you had to do without
And now they've taken the chains and
the gears From off a your merry-go-round Oh, and it never rains
around here It just come pouring down
And your new Romeo Was just a gigolo
when he let you down See the faster they are, babe The faster
they get out of town
They're leaving make up stains And
the tears of a clown Yes and it never rains around here It just
come pouring down
Oh, you were just a roller coaster
memory I don't know why I was even passing through I saw you
making a date with destiny When he came around here asking after
you
In the shadow of the wheel of
fortune You're busy trying to clear your name You say I may be
guilty, yeah, that may be true But I'd be lying if I said I was to
blame
See, we could have been major
contenders We never got no money, no breaks You've got a list
of all the major offenders You got a list of all their major
mistakes
Ah yeah, he just standing in the
shadow Yes and he smile that come-on smile Oh, I can still hear
you say as clear as the day "I'd like to make it worth your
while"
Oh, but it's a sad reminder When
your organ grinder has to come to you for the rent And all you've
got to give him Is the use of your side-show tent
Yes, and that's all that remains of the
years Spent doing the rounds And it never rains around
here Well, it just come pouring down
Now you know what they say about
beggars, baby You can't complain about the rules Well, you know
what they say about beggars, darlin' You know who's the first to
blame his tools
You never gave a damn about who you
pick up And leave them lying bleeding on the ground You screw
people over on the way up They thought that you were never coming
down
And he take you out in vaudeville
valley With his hand up, smothering your screams And he'll
screw you down in Tin Pan Alley In the city of a billion dreams,
goddamn
Escrita por
Bruce Springsteen, foi gravada em 23 de junho de 1982 e lançada em
30 de setembro de 1982 no disco Nebraska, o sexto disco de Bruce.
Saiu também em compacto em novembro de 1982, no compacto que tinha
The big payback como Lado B. Foi produzida por Bruce Springsteen. É
a única música do Nebraska que tem guitarra elétrica. Tem um riff
no estilo Chuck Berry e fala a história de um narrador sem nome que
dirige a noite toda pela New Jersey industrial para encontrar sua
namorada, Wanda, que ele conheceu quando ela era garçonete na Route
60 no Bob's Big Boy. Bruce cantou e tocou guitarra.
A letra:
I had the
carburetor cleaned and checked With her line blown out she's
hummin' like a turbojet Propped her up in the backyard on concrete
blocks For a new clutch plate and a new set of shocks Took her
down to the carwash check the plugs and points I'm goin' out
tonight I'm gonna rock that joint
Early north Jersey
industrial skyline I'm a all set cobra jet creepin' through the
nighttime Gotta find a gas station gotta find a payphone This
turnpike sure is spooky at night when you're all alone Gotta hit
the gas baby I'm runnin' late This New Jersey in the mornin' like
a lunar landscape
The boss don't dig me so he put me on the
nightshift It takes me two hours to get back to where my baby
lives In the wee wee hours your mind gets hazy Radio relay
towers won't you lead me to my baby Underneath the overpass
trooper hits his party light switch Goodnight good luck one two
powershift
I met Wanda when she was employed Behind the
counter at the route 60 Bob's Big Boy Fried Chicken on the front
seat she's sittin' in my lap We're wipin' our fingers on a Texaco
roadmap I remember Wanda up on scrap metal hill With them big
brown eyes that make your heart stand still
5 A.M. oil
pressure's sinkin' fast I make a pit stop wipe the windshield
check the gas Gotta call my baby on the telephone Let her know
that her daddy's comin' on home Sit tight little mamma I'm comin'
round I got 3 more hours but I'm coverin' ground
Your eyes
get itchy in the wee wee hours Sun's just a red ball risin' over
them refinery towers Radio's jammed up with gospel stations Lost
souls callin' long distance salvation Hey Mr. DJ won't ya hear my
last prayer Hey ho rock 'n' roll deliver me from nowhere
Escrita por
Tom Petty, foi gravada entre 1981 e 1982, na California e lançada no
disco Long after dark, o quinto disco da banda, em 2 de novembro de
1982. Foi produzida por Jimmy Iovine e Tom Petty. Tom Petty cantou,
tocou guitarra e violão. Mike Campbell tocou guitarra solo e de 12
cordas. Howie Epstein tocou baixo e fez backing vocals. Benmont Tench
tocou piano acústico e elétrico, órgãos Hammond e Vox,
Sintetizador e fez backing vocals. Stan Lynch tocou bateria e fez
backing vocals. Phil Jones tocou percussão.
A letra:
I know you're
walking down a lonely street I know you can't get out of the
heat Baby, it's alright, don't have a wasted life I know you
have to feel a little used up And no one can give you enough Baby,
hold on tight, don't have a wasted life I love you too much Don't
have a wasted life I love you too much Don't have a wasted
life Don't have a wasted life
They give it to you from the
time you're born You keep trying to make one more score Baby,
alright, you got to stand and fight So when you're lonely and you
feel let down You can call me, I'll come around and treat you
nice Don't have a wasted life I love you too much Don't have
a wasted life I love you too much
They give it to you from
the time you're born Someone's got to put the pressure on Baby,
alright, you got to stand and fight So when you're lonely and you
feel let down You can call me, I'll come around and treat you
nice Don't have a wasted life I love you too much Don't have
a wasted life I love you too much Don't have a wasted life I
love you too much Don't have a wasted life Don't have a wasted
life
Escrita por
Rick Davies, foi gravada entre novembro de 1981 e meados de 1982 e
lançada em 29 de outubro de 1982, no disco Famous last words, o
sétimo disco da banda e último com Roger Hodgson. Foi produzida por
Peter Henderson, Russell Pope e Supertramp. Rick Davies cantou e fez
backing vocals, tocou piano, piano elétrico e gaita. Roger Hodgson
cantou e fez backing vocals, tocou guitarra e guitarra de 12 cordas.
John Helliwell tocou sax. Dougie Thomson tocou baixo. Bob Siebenberg
tocou bateria. Ann Wilson e Nancy Wilson fizeram backing vocals.
A letra:
Put on your old
brown shoes Right on your feet Time to move on, get away You
know you did your dues Did all you could Time to move on, no
more to say
You and me, we're helpless can't you
see We've got to get away, get away Got to move on Till the
madness around is gone And the rest of our lives we'll be free
Kick out the morning blues Who needs
a job Who needs pain and oppression You know it can't be
beat Stand on your own two feet Goodbye rain and depression
You and me, helpless can't you
see We've got to get away, get away Got to move on, catch the
next train And we'll be gone And the rest of our lives we'll be
free
Get your blue jeans right on, babe Get
your blue jeans right on, babe
You know a friend is a friend You
don't leave him in trouble He got a little drunk, so now he's
seeing double Don't you see him there yeah lying in the rubble But
you have to lend a hand Cause you know he's on the level
You and me, we're helpless can't you
see We've got to get away, get away Got to move on, catch the
next train And we'll be gone And the rest of our lives we'll be
free
Escrita por
Paul McCartney, foi gravada em fevereiro de 1981, no AIR Studios, em
Monteserrat e lançada em 26 de abril de 1982 no disco Tug of war, o
terceiro solo de Paul (sem contar os discos com os Wings). Sairia
tambem em compacto, com I'll give you a ring como Lado B, em 21 de
junho de 1982. Foi produzida por George Martin. Chegou ao número 10
no Billboard Hot100 e número 15 no Reino Unido. Chegou ao número 2
no Canadá, número 7 na Noruega, número 11 em Luxemburgo, número
18 na Austrália, número 26 na Irlanda, número 28 na Bélgica,
número 30 na Nova Zelandia, número 43 na Holanda e número 46 na
Alemanha Ocidental. O video clip da música tem Ringo Starr, sua
esposa Barbara Bach, George Martin, Paul e Linda, Eric Stewart e John
Hurt. Paul cantou e fez backing vocals, tocou baixo, violão e piano.
Linda fez backing vocals. Eric Stewart tocou guitarra e fez backing
vocals. Ringo tocou bateria. Steve Gadd também tocou bateria. George
Martin tocou piano elétrico.
A letra:
Take it away Want to hear you play 'til the lights go down Take
it away Don't you want to stay 'til there's no one else
around? Take it away Want to hear you play 'til the lights go
down Take it away Don't you want to stay 'til there's no one
else around?
Lonely driver out on the road With a hundred
miles to go Sole survivor carrying the load Switches on his
radio
Take it away Want to hear you play 'til the lights go
down Take it away Don't you want to stay 'til there's no one
else around? Take it away Want to hear you play 'til the lights
go down Take it away Don't you want to stay 'til there's no one
else around?
In the audience watching the show With a paper
in his hand (In his hand, in his hand) Some important
impresario Has a message for the band Oh!
Take it
away Want to hear you play 'til the lights go down (Down,
down) Take it away Don't you want to stay 'til there's no one
else around?
You never know who may be listening to ya (Never
know who may be listening to ya) (You never know who may be
listening to ya) Take it away, take it away
After hours,
late in the bar By a darkened corner seat Faded flowers wade in
the jar 'Til the evening is complete (Complete, complete,
complete)
Escrita por
Michael Jackson, foi gravada em abril de 1982 no Westlake Studios, em
Los Angeles e lançada em 18 de novembro de 1982 no compacto que
tinha Can't get outta the rain no Lado B. Saiu também no disco
Thriller, o sexto de Michael, em 29 de novembro de 1982. Foi
produzida por Michael Jackson e Quincy Jones. Chegou ao número 2 no
Billboard Hot100 e número 8 no Reino Unido. Foi número 1 na Noruega
e na Espanha. Número 3 na Nova Zelandia. Número 4 na Australia e
Irlanda. Número 5 na Africa do Sul. Número 6 na Finlandia. Número
8 no Canadá. Número 16 na Holanda e número 22 na Itália. Michael
Jackson disse que foi a melhor gravação de sua vida. Disse que
trabalhar com Paul tinha sido excelente. Membros da banda Toto
participaram da gravação, como David Paich no piano, Jeff Porcaro
na bateria, Steve Lukather na guitarra e Steve Porcaro no
sintetizador. Greg Phillinganes tocou piano Rhodes. David Foster
tocou sintetizador. Dean Parks tocou guitarra. Louis Johnson tocou
baixo. Paul McCartney e Michael cantaram.
A letra:
[Michael Jackson:] Every
night she walks right in my dreams Since I met her from the
start I'm so proud I am the only one Who is special in her
heart
The girl is mine The doggone girl is mine, m-m-m I
know she's mine Because the doggone girl is mine, m-m-m
[Paul
McCartney:] I don't understand the way you think Saying
that she's yours, not mine Sending roses and your silly
dreams Really just a waste of time
Because she's mine The
doggone girl is mine Don't waste your time Because the doggone
girl is mine
I love you more than he
[Michael
Jackson:] (Take you anywhere) Well, I love you
endlessly (Loving we will share) So come and go with me to one
town
But we both cannot have her So it's one or the
other And one day you'll discover That she's my girl forever
and ever
[Paul McCartney:] Don't build your hopes to
be let down
[Michael Jackson:] 'Cause I really feel
it's time I know she'll tell you I'm the one for her 'Cause she
said I blow her mind
The girl is mine The doggone girl is
mine Don't waste your time Because the doggone girl is
mine
[Michael {Paul}:] {She's mine, she's mine} {No,
no, no, she's mine} The girl is mine, {the girl is mine} The
girl is mine, {the girl is mine} {The girl is mine} (mine, mine);
{yep, she's mine} (mine, mine) {The girl is mine} (mine, mine);
{yeah, she's mine} (mine, mine)
[Michael Jackson:] Don't
waste your time Because the doggone girl is mine The girl is
mine, the girl is mine
[Michael {Paul}:] (Michael,
we're not going to fight about this, okay?) Ha, ha, Paul, I think
I told you I'm a lover, not a fighter {Eh, I've heard it all
before, Michael} {She told me that I'm her forever lover, you
know, don't you remember?} Well, after loving me she said she
couldn't love another {Is that what she said?} Yeah, she said
it; you keep dreaming
{I don't believe it! Mine, mine} (No,
no, no) The girl is mine (Mine, mine, mine) {No, mine} No, mine
(Mine, mine) {She's mine, mine, mine, mine, mine} (Mine, mine,
mine) 'Cause the girl is mine {No, the girl is mine} (Mine,
mine) The girl is mine (Mine, mine, mine) {No, the girl is
mine} The girl is mine (Mine, mine) (No, she's mine)
Escrita por
Mark Knopfler, foi gravada entre março de junho de 1981 e lançada
em 24 de setembro de 1982, no disco Love over gold, o quarto disco da
banda. Saiu em compacto com Badges, posters, stickers, T-shirts como
Lado B, em novembro de 1982. Foi produzida por Mark Knopfler. Ò
título é um termo inglês pra fala sobre uma doença relacionada ao
trabalho, uma frequente noticia na imprensa britânica daquele tempo.
Os americanos não entendiam o que queria dizer, pois nos Estados
Unidos chamam de doença ocupacional. Na verdade, a canção fala
mesmo é do declínio da indústria manufatureira britânica no
começo dos anos 1980s. Fala de greves, depressão economica a
clínica. E disfunção social. É uma metáfora, criticando a ideia
de desumanização da rotina e repetição de 9 as 5, todo dia. E que
isso em si é o motivo da doença da sociedade. Quando o narrador vai
ao médico descobre que o que ele tem é industrial disiease. O nome
do médico é Dr. Parkinson, um professor de história da British
University. Ele também foi autor de vários trabalhos sobre
disfunção nas instituições e organizacões. Ele criou a
Parkinson's Law. Brewer's droop é uma piada inglesa pra falar de pau
mole. Brewer's droop é o nome de banda de pub que mark knopfler e
Pick Withers tocaram antes do dire straits. Chegou ao número 75 do
Billboard Hot100.
A letra:
Now, warning
lights are flashing down at quality control Somebody threw a
spanner, they threw him in the hole There's rumors in the loading
bay and anger in the town Somebody blew the whistle, and the walls
came down There's a meetin' in the boardroom, they're tryin' to
trace the smell There's a leakin' in the washroom, there's a
sneak-in personnel Somewhere in the corridors someone was heard to
sneeze Goodness me, could this be industrial disease?
Caretaker was crucified for sleeping at
his post Refusing to be pacified, it's him they blame the
most Watchdog got rabies, the foreman got the fleas Everyone
concerned about industrial disease There's panic on the
switchboard, tongues in knots Some come out in sympathy, some come
out in spots Some blame the management, some the
employees Everybody knows it's the industrial disease
Yeah, now the work force is disgusted,
downs tools, walks Innocence is injured, experience just
talks Everyone seeks damages, everyone agrees that These are
classic symptoms of a monetary squeeze On ITV and BBC they talk
about the curse Philosophy is useless, theology is worse History
boils over, there's an economics freeze Sociologists invent words
that mean "industrial disease"
Doctor Parkinson declared, "I'm
not surprised to see you here You've got smokers cough from
smoking, brewer's droop from drinking beer I don't know how you
came to get the Bette Davis knees But worst of all young man,
you've got industrial disease"
He wrote me a prescription, he said,
"You are depressed But I'm glad you came to see me to get
this off your chest Come back and see me later, next patient,
please Send in another victim of industrial disease"
Ah! Splendid
Now, I go down to Speaker's Corner, I'm
thunderstruck They got free speech tourists, police in trucks Two
men say they're Jesus, one of them must be wrong There's a protest
singer, he's singing a protest song
He says, "They wanna have a war,
keep their factories They wanna have a war to keep us on our
knees They wanna have a war to stop us buying Japanese They
wanna have a war to stop industrial disease
They're pointing out the enemy to keep
you deaf and blind They wanna sap your energy, incarcerate your
mind Give ya "Rule Britannia", gassy beer, page
three Two weeks in España and Sunday striptease" Meanwhile,
the first Jesus says "I'll cure it soon Abolish Monday
mornings and Friday afternoons" The other one's out on hunger
strike, he's dying by degrees How come Jesus gets industrial
disease?
Escrita por
Bruce Springsteen, foi gravada em 3 de janeiro de 1982 na casa de
Bruce em Colts Neck, New Jersey e lançada em 30 de setembro de 1982,
no disco Nebraska, o sexto disco de Bruce. Foi produzida por Bruce
Springsteen. Fala sobre um trabalhador da indústria automobilística,
mais especifico em uma fábrica da Ford, que foi demitido em Mahwah,
New Jersey e atira e mata um atendente quando tava bêbado e com
raiva. Ele foi preso e condenado a 99 anos de prisão, mas pede pra
ser executado. Essa fa'brica fechou em 1980 e por isso Johnny foi
demitido. Johnny Cash regravou essa canção, que deu inclusive nome
ao disco onde ela veio. Foi regravada também pelos Los Lobos, entre
outros artistas. Bruce cantou, tocou violão e gaita.
A letra:
Ooh-ooh-ooh Ooh-ooh-ooh
Well they closed down the auto plant in
Mahwah late that month Ralph went out lookin' for a job but he
couldn't find none He came home too drunk from mixin' Tanqueray
and wine He got a gun, shot a night clerk, now they call him
Johnny 99
Down in the part of town where when you
hit a red light you don't stop Johnny's wavin' his gun around and
threatenin' to blow his top When an off-duty cop snuck up on him
from behind Out in front of the Club Tip Top they slapped the
cuffs on Johnny 99
Well the city supplied a public
defender but the judge was Mean John Brown He came into the
courtroom and stared poor Johnny down Well the evidence is clear,
gonna let the sentence, son, fit the crime Prison for ninety-eight
and a year and we'll call it even Johnny 99
Fistfight broke out in the courtroom,
they had to drag Johnny's girl away His mama stood up and shouted,
"Judge don't take my boy this way" Well, son, you got
any statement you'd like to make Before the bailiff comes to
forever take you away?
Now judge, judge I got debts no honest
man could pay The bank was holdin' my mortgage and takin' my house
away Now I ain't sayin' that make me an innocent man But it was
more 'n all this that put that gun in my hand
Well, your honor, I do believe I'd be
better off dead And if you can take a man's life for the thoughts
that's in his head Then won't you sit back in that chair and think
it over just one more time And let 'em shave off my hair and put
me on that execution line (woo)
Escrita por
Tom Petty, foi gravada entre 1981 e 1982 na California e lançada em
2 de novembro de 1982 no disco Long after dark, o quinto disco da
banda. Foi produzida por Tom Petty e Jimmy Iovine. Tom Petty cantou,
tocou guitarra e violão. Mike Campbell tocou guitarra solo e de 12
cordas. Howie Epstein tocou baixo e fez backing vocals. Benmont Tench
tocou piano elétrico e acústico, sintetizadores e backing vocals.
Stan Lynch tocou bateria e fez backing vocals. Phil Jones fez
percussão.
A letra:
There was a
little girl, I used to know her I still think 'bout her, time to
time There was a moment when I really loved her Then one day,
the feeling just died
We went straight into darkness Out
over the line Yeah, straight into darkness Straight into night
I remember flying out to London I
remember the feeling at the time Out the window of the 747 Man,
there was nothin', only black sky
We went straight into darkness Out
over the line Straight into darkness Straight into night
Oh, give it up to me, I need it,
babe Girl, I get there when I see it Baby, wrong or right, I
need it, yeah Oh, no
I don't believe the good times are
over I don't believe the thrill is all gone Real love is a
man's salvation The weak one's fall, the strong carry on
Straight into darkness Out over the
line Yeah, straight into darkness Straight into the night
We went straight into darkness Out
over the line We went straight into darkness Straight into
night
Escrita por
Rick Davies e Roger Hodgson, foi gravada entre novembro de 1981 e
meados de 1982 e lançada em 29 de outubro de 1982 no disco Famous
last words, o sétimo disco da banda. Saiu também no compacto que
tinha Know who you are como Lado B em janeiro de 1983. Foi produzida
pelo Supertramp e Peter Henderson. Tem um estilo anos 50 e chegou ao
número 31 Billboard Pop Singles e número 74 na Alemanha. Rick
Davies cantou e fez backing vocals. Roger tocou guitarra. Dougie
Thomson tocou baixo. John Helliwell tocou sax baritono, sax alto e
sintetizador. Bob Siebenberg tocou bateria.
A letra:
Let me tell you
what I wanna say You're the only one who can make me feel this way
My kind of lady No better love could
I embrace No better heart, no other face Can quite compare with
you You came along, and then, you mend my broken dreams I was
so down, and then as foolish as it seems You gave me your
affection Yeah, baby, you came through
We'll make it, you'll see In spite
of those who say it's wrong This time we feel that we belong Now,
we can truly say We'll be together and that's all we'll ever
need We'll love each other, that's the way it's gonna be And
nothin' under the sun and moon Can make us be apart
Oh, my honey You know I'll love you
every day When things go wrong, we'll find a way I'm so glad I
met you Much more than I can ever say We're making plans and
holding hands just like before We'll try again, we'll make amends
along the road It's feelin' good just like it should, this time we
know We'll share each other's happiness, for now and evermore
I've been wastin' my life away I've
got a message for you today To tell you that you are
My kind of lady I'm not the same
since I met you All of my dreams had fallen through And then
you came along One magic night when things went right, it was so
fine (one magic night) Looked in your eyes and realized that you
were mine And nothin' under the sun and moon Can make us be
apart
Oh, my baby You know I'll love you
all the way When times get hard, we'll smile and sing I'm so
glad I met you I'll love you more and more each day We're
making plans and holding hands just like before We'll try again,
we'll make amends along the road It's feelin' good just like it
should, this time we know We'll share each other's happiness for
now and evermore!
Escrita por
Paul McCartney, foi gravada entre dezembro de 1980 e dezembro de 1981
e lançada no disco Tug of war, o terceiro disco solo de Paul, sem
contar os com os Wings, em 26 de abril de 1982. Foi produzida por
George Martin. Paul cantou e fez backing vocals, tocou violão e
violão espanhol. Denny Laine tocou sintetizador de guitarra. Eric
Stewart fez backing vocals. Stanley Clarke tocou baixo. Steve Gadd
tocou bateria e percussão. Linda McCartney fez backing vocals.
A letra:
When your body
is coming apart at the seams And the whole thing's feeling
low You're convincing yourself That there's nobody there, I
know I know how you feel
Like somebody has taken the wheels off
your car When you had somewhere to go Well, it's annoying Not
going to get very far, I know But somebody cares
There's always someone, somewhere, you
should know by now Always somebody who cares It's happening day
in, day out Well, you know by now Always somebody who cares
And if you don't know it, how will it
find you? How will we know your whereabouts? But I know how you
feel
I know how you feel
Like somebody has taken the wheels off
your car When you had somewhere to go Well, it's
frustrating Not going to get very far, I know But somebody
cares
There's always someone, somewhere, you
should know by now Always somebody who cares It's happening day
in, day out Well, you know by now Always somebody who cares
And if you don't know it, how will it
find you? How will we know your whereabouts? But I know how you
feel
Escrita por
Rod Temperton, foi gravada entre abril e novembro de 1982 no Westlake
Recording Studios na Santa Monica Boulevard em Los Angeles,
California e lançada em 29 de novembro de 1982 no disco de mesmo
nome, o sexto disco de Michael. Sairia também em compacto, em 11 de
novembro de 1983. Foi produzida por Quincy Jones. É uma canção de
discoteca, com um sintetizador repetindo a linha de baixo e efeitos
sonoros de um filme de terror. O ator Vincent Price fez a voz maligna
da gravação. No video clip, Michael se transforma em um zumbi e sai
dançando com uma cambada de zumbis. É considerado o melhor vídeo
clip de todos os tempos. Chegou ao número 4 no Billboard Hot100,
número 10 no Reino Unido, número 1 na Argentina, Bélgica, França,
Portugal e Espanha. Número 2 no Chile e Peru. Númeo 3 no Canadá,
Finlandia e Holanda. Número 4 na Austrália e Irlanda. Número 6 na
Nova Zelandia. Número 9 na Alemanha Ocidental. Número 26 na África
do Sul. Michael Jackson cantou e fez backing vocals. Vincent Price
falou a voz de terror. Rod Temperton e Brian Banks tocaram
sintetizadores. Greg Phillinganes tocou piano Rhodes e Sintetizador.
David Williams tocou guitarra. Jerry Hey e Gary Grant tocaram
trompete e flugehorns. Larry Williams tocou sax e flauta. Bill
Reichnbach tocou trombone. Michael Boddicker tocou drum machine e
sintetizador. Leon Chncler tocou bateria.
A letra:
It's close to
midnight Something evil's lurking in the dark Under the
moonlight You see a sight that almost stops your heart
You try to scream But terror takes
the sound before you make it You start to freeze As horror
looks you right between the eyes You're paralyzed
'Cause this is thriller, thriller
night And no one's gonna save you From the beast about to
strike You know it's thriller, thriller night You're fighting
for your life inside a killer, thriller, ow
I'm gonna thrill you tonight Darkness
falls across the land The midnight hour is close at hand Creatures
crawl in search of blood To terrorize y'all's neighborhood (I'm
gonna thrill you tonight)
And whosoever shall be found Without
the soul for getting down Must stand and face the hounds of
hell And rot inside a corpse's shell I'm gonna thrill you
tonight (thriller night, babe)
The foulest stench's in the air The
funk of forty thousand years And grizzly ghouls from every tomb
(I'm gonna thrill you tonight) Are closing in to seal your doom
(oh, yeah) And though you fight to stay alive Your body starts
to shiver For no mere mortal can resist The evil of the
thriller
'Cause this is thriller, thriller
night There ain't no second chance against the thing with 40 eyes,
girl Thriller, thriller night You're fighting for your life
inside a killer, thriller
'Cause this is thriller, thriller
night 'Cause I can thrill you more than any ghoul would ever dare
try Thriller (ooh-ooh), thriller night So let me hold you tight
and share a Killer, thriller, killer, thriller here tonight
'Cause this is thriller, thriller
night Girl, I can thrill you more than any ghoul would ever dare
try Thriller (ooh-ooh), thriller night So let me hold you tight
and share a killer, thriller, ow
