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
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.
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
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
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 54th Academy Awars e ganhou
também um globo de ouro na mesma categoia, no 39th 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
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
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
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
Escrita por
Clint Conley, foi gravada entre janeiro e março de 1981 e lançada
em agosto de 1981 no EP de lançamento da banda, chamado Signals,
calls and marches. Foi produzida por Richard W. Harte. Clint Conley
tocou baixo, cantou e tocou percussão. Martin Swope tocou percussão
e loops. Roger Miller tocou guitarra, fez backing vocals, tocou
piano, trompet e percussão. Peter Prescott tocou bateria, fez
backing vocals, e tocou percussão.
A letra:
Once I had my
heroes Once I had my dreams But all of that has changed
now They've turned things inside out The truth is not that
comfortable, no
And Mother taught us patience The
virtues of restraint And Father taught us boundaries Beyond
which we must go To find the secrets promised us, yeah
That's when I reach for my
revolver That's when it all gets blown away That's when I reach
for my revolver The spirit fights to find its way
A friend of mine once told me His
one and only aim To build a giant castle And live inside his
name Cry and whispers sing in muted pain Yeah
That's when I reach for my
revolver That's when it all gets blown away That's when I reach
for my revolver The spirit fights to find its way
Tonight the sky is empty But that is
nothing new Its dead eyes look upon us And they tell me we're
nothing but slaves
That's when I reach for my revolver
(just slaves) That's when I reach for my revolver That's when I
reach for my revolver That's when I reach for my revolver That's
when I reach for my revolver That's when I reach for my revolver
Escrita por
Dickey Betts e Johnny Cobb, foi gravada em março de 1981 e lançada
em julho de 1981, no compacto que tinha Leavin' como Lado B. Sairia
também no disco Brothers on the road, o oitavo disco da banda. Foi
produzida por John Ryan. Foi o primeiro top40 deles desde o auge e o
último. Chegou ao número 39 no Billboard Hot100.
A letra:
You've heard
every line before My life's a revolving door With no way out
and no way in You know just what's on my mind Could you take a
chance one more time Maybe we could start all over again Straight
from the heart Baby my love
Your eyes can't tell a lie I can see
what you're feeling inside Don't give up before we start 'Cause
this time love is Straight from the heart
I know what they're telling you I
wish I could say that it's not true Love is so hard to find But
I never took the time I never let you in Please let me try
again Straight from the heart
Your eyes can't tell a lie I can see
what you're feeling inside Don't give up before we start 'Cause
this time love is Straight from the heart
I thought I knew about love But I
didn't know at all Didn't take the time to see Until I started
to fall Straight from the heart
Escrita por
Rick Buckler, Bruce Foxton e Paul Weller, foi gravada em 1981 e
lançada como compacto em 29 de maio de 1981, com Disguises como Lado
B. Foi produzida pela banda e Peter Wilson. Disguises é um cover da
banda Who. Chegou ao número 4 no Reino Unido. A canção não
aparece em nenhum disco original da banda.
A letra:
Down in amongst
the streets tonight Books will burn, people laugh and cry in their
turmoil (Turmoil turns rejoiceful) Shed your fears and lose
your guilt Tonight we burn responsibility in the fire We'll
watch the flames grow higher But if you get too burnt, you can't
come back home
And as I was standing by the edge I
could see the faces of those who led Pissing theirselves laughing
(and the flames grew) Their mad eyes bulged, their flushed faces
said The weak get crushed as the strong grow stronger
We feast on flesh and drink on
blood Live by fear and despise love in a crisis (What with
today's high prices) Bring some paper and bring some wood Bring
what's left of all your love for the fire We'll watch the flames
grow higher But if you get too burnt, you can't come back home
And as I was standing by the edge I
could see the faces of those who led Pissing theirselves laughing
(and the flames grew) Their mad eyes bulged, their flushed faces
said The weak get crushed as the strong grow stronger
In the funeral pyre We'll watch the
flames grow higher But if you get too burnt, you can't come back
home In the funeral pyre We'll watch the flames grow higher But
if you get too burnt, you can't come back home In the funeral
pyre (Well I feel so old, when I feel so young Well, I just
can't grow up to meet the demands) We'll watch the flames grow
higher But if you get too burnt, you can't come back home (Well
I feel so old, when I feel so young Well, I just can't grow up to
meet the demands) (Well I feel so old, when I feel so young Well,
I just can't grow up to meet the demands)
Escrita por
Billy Gibbons, Dusty Hill e Frank Beard, foi gravada em 1981 e
lançada no disco El loco, o décimo primeiro da banda, em 15 de
julho de 1981. Saiu também no compacto que tinha Don't tease me como
Lado B, na mesma data. Foi produzida por Bill Ham. Chegou ao número
77 no Billboard Hot100. Billy Gibbons tocou guitarra, steel guitar e
cantou. Dusty Hill tocou baixo. Frank Beard tocou bateria. Mark
Erlewine tocou pedal steel.
A letra:
She had a look
in her eye That could make you melt Made me feel better than I
ever felt But bless her heart, she couldn't stay I begged her
not to go away
She left my ex best friend out in old
Tucson Told me she was leaving And would be rolling on Now
the days just pass on by Losing her is the reason why
Leila,
Leila, your mind will be flying high And everything will be
alright
You know I love you girl more than I can say I
still think about you each and every day My lonesome old heart
still feels the same So Leila won't you steal away
Leila,
Leila, your mind will be flying high And everything will be
alright
Leila, Leila, your mind will be flying high And
everything will be alright
Escrita por
Joey Ramone, foi gravada entre março e abril de 1981, em New York
City e na Inglaterra, foi lançada em 20 de julho de 1981 no disco
Pleasant dreams, o sexto disco da banda. Sairia também em compacto,
com We want the airwaves como Lado A. Foi produzida por Graham
Gouldman. O protagonista da canção canta que sua namorada foi
raptada pela Ku Klux Klan quando estava indo pra Los Angeles pro
feriado e pede que o ouvinte ligue pras autoridades pra saber onde
ela está e se está viva. Na verdade ainda era resquício de Joey
puto com Johnny por ter roubado sua namorada Linda e por Johnny ser
racista porque Joey era judeu. Depois que isso aconteceu, Joey e
Johnny nunca mais se falaram. Johnny Ramone no entanto, disse que
essa era sua música favorita desse disco.
A letra:
She went away for the holidays Said
she's going to l.a. But she never got there She never got
there She never got there, they say
She went away for the holidays Said she's going to l.a. But
she never got there She never got there She never got there,
they say
The kkk took my baby away They took her away Away from
me The kkk took my baby away They took her away Away from me
Hey, ho, hey, ho,
I don't know Where my baby can be They took her from me They
took her from me
I don't know Where my baby can be They took her from me They
took her from me
Ring me, ring me, ring me At the president And find
out Where my baby went Ring me, ring me, ring me At the
fbi And find out if My baby's alive
Escrita por
Damian O'Neill e Michael Bradley, foi gravada em janeiro de 1981 no
Wisseloord Studios, na Holanda, e lançada em 21 de abril de 1981, no
compacto que tinha Fairly in the money now como Lado B. Saiu também
no disco Positive touch, o terceiro da banda, em 5 de maio de 1981.
Foi produzida por Roger Bechirian. Até então a maioria das músicas
da banda tinha sido sobre angústia adolescente e romance, essa foi a
primeira canção que rompeu isso. Aqui eles falam das greves de fome
que aconteceram na Irlanda do Norte nesse período. Também tem a
inclusão de “brass instruments” na gravação como novidade.
Chegou ao número 18 no Reino Unido e número 10 na Irlanda.
A letra:
Happens all the
time Its going to happen - happen - till your change your mind Its
going to happen - happen - happens all the time Its going to
happen - happen - till your change your mind
Best story I ever heard The truth
about fat Mr X and the young girl See how far he'll let you
go Before he persuades you when you're walking home
Happens all the time ...
Watching your friends passing by Going
to sleep without blinking a blue eye Too slow to notice what's
wrong Two faced to you when you're taking them on
Happens all the time ...
Everything goes when you're
dead Everything empties from what was in your head No point in
waiting today Stupid revenge is what's making you stay
Its going to happen - happen - till
your change your mind
Escrita
por Maurice White e Wayne Vaughn, foi gravada entre maio e setembro
de 1981 e lançada em setembro de 1981 no compacto que tinha a mesma
música na sua versão instrumental como Lado B. Sairia também no
disco Raise!, o décimo primeiro da banda, em 14 de novembro de 1981.
Foi produzida por Maurice White. Foi um enorme sucesso comercial,
sendo a melhor performance da banda em vários charts do mundo.
Chegou ao número 3 do Billboard Hot100 (sétimo e último TOP10),
número 1 do Billboard Hot Soul Singles, número 3 do Billboard Dance
Club Songs. Também número 3 no Reino Unido, número 2 na Nova
Zelandia e França, número 5 na Irlanda e Holanda, número 6 na
Finlandia, número 7 no Canadá, número 8 na Africa do Sul, número
9 na Bélgica, número 10 na Espanha e número 15 na Austrália. Tom
Saviano tocou sax, Don Myrick tocou sax alto, Andrew Woolfolk e Don
Myrick tocaram sax tenor. Verdine White tocou baixo. Frederick
Seykora, Jerome Kessler, Larry Corbett, Marie Louise Zeyen, Paula
Hochhalter e Selene Burford tocou cello. Fred White tocou bateria. As
guitarras foram tocadas por Beloyd Taylor, Johnny Graham e Roland
Bautista. Teclados foram tocados por Billy Meyers, David Foster e
Wayne Vaughn. Fred White, Maurice White, Phillip Bailey e Ralph
Johnson tocaram percussão. Larry Dunn tocou piano. Larry Dunn e
Michael Boddiker tocaram sintetizadores. Bill Reichnbach, Charles
Loper, Dick Hyde, George Bohanon, Lew McCreary e Louis Satterfield
tocaram trombone. Chuck Findley, Gary Grant, Jerry Hey, Larry Hall,
Michal Harris, Oscar Brasheat e Rahmlee Michael Davis tocaram
trompete. Alan Deveritch, Virginia Majewski, Allan Harshman, Gareth
Nuttycombe e Pamela Hochhalter tocaram viola. Anton Sen,
Arkady Shindelman, Arnold Belnick, Betty Lamagna, Brian Leonard,
Denyse Buffum, Endre Granat, Haim Shtrum, Henry Ferber, Irving
Geller, Jerome Reisler, John Wittenbert, Mari Tsumura Botnick, Marvin
Limonick, Myra Kestenbaum, Nathan Ross, Norman Leonard, Reginald
Hill, Ronald Folsom, Sheldon Sanov, Thomas Buffum, William Hymanson e
William Kurasch tocaram violino. Os vocais principais foram feitos
por Beloyd Taylor, Maurice White, Ms. Pluto, Phillip Bailey e Ralph
Johnson. Os backing vocals foram feitos por Maurice White e Philip
Bailey.
A letra:
Let this groove, get you to
move, it's alright, alright let this groove, set in your
shoes, stand up, alright
Gonna tell you what you can do, with
my love, alright Let you know girl you're looking good you're
out of sight and alright
Move yourself and glide like a
747 loose yourself in the sky among the clouds in the heavens
Let this groove, light up your fuse,
alright Let this groove, set in your shoes
stand up, alright Let me tell you
what you can do with my love, alright
Gotta let you know girl you're looking
good you're out of sight, you're alright
Tell the DJ to play your favorite
tune then you know it's okay What you found is happiness, now
Let this groove, get you to move,
alright Let this groove set in your shoes stand up, alright
You will find peace of mind on the
floor Take a little time, come and see, you and me make a
little sign, I'll be there after a while if you want my love
We can boogie on down, down, down,
down Let's groove tonight share the spice of life baby slice
it right we're gonna groove tonight
