Escrita por
Roger Hodgson, foi gravada entre novembro de 1981 e meio de 1982, na
California, e lançado em 29 de outubro de 1982 no disco Famous last
words, o sétimo disco do Supertramp. Sairia também em compacto, em
maio de 1983. Foi produzida por Peter Henderson, Russell Pope e
Supertramp. Rick Davies fez backing vocals, tocou órgão e gaita.
Roger Hodgson cantou e fez backing vocals e tocou guitarra e piano.
John Helliwell tocou sax e sintetizador. Dougie Thomson tocou baixo e
Bob Siebenberg tocou bateria. Claire Diament fez backing vocals.
A letra:
Don't leave me
now Leave me out in the pouring rain With my back against the
wall Don't leave me now Don't leave me now Leave me out with
nowhere to go And the shadows start to fall Don't leave me
now Don't leave me now Leave me out on this lonely road As
the wind begins to howl Don't leave me now Don't leave me
now All alone on this darkest night Feeling old and cold and
grey Don't leave me now
Don't leave me now Leave me
holding an empty heart As the curtain starts to fall Don't
leave me now Don't leave me now All alone in this crazy
world When I'm old and cold and grey and time is gone...
Escrita por
Paul McCartney, foi gravada em 1981, no High Park, Campbeltown, na
Escócia e lançada em 26 de abril de 1982, no disco Tug of war, o
terceiro disco solo de Paul (sem contar os gravados com os Wings).
Foi produzida por George Martin. É um tributo ao relacionamento que
Paul teve com John Lennon, que havia sido assassinado em dezembro de
1980. Foi composta na forma de uma conversa imaginária que os dois
amigos poderiam ter tido. Paul disse que escreveu a canção
chorando. Um verso descreve o dia em que eles ficaram presos em Key
West na Flórida por causa de um furacão, no meio da turnê dos
Beatles na America em 1964. Paul disse que pararam no meio daquele
tumulto e começaram a chorar, sem dizer nada. Paul cantou e tocou
violão. Jack Rothstein tocou violino. Bernard Partridge tocou
violino. Ian Jewel tocou viola e Keith Harvey tocou cello.
A letra:
And if I said I
really knew you well What would your answer be If you were here
today? Ooh Here today
Well, knowing you, you'd probably
laugh And say that we were worlds apart If you were here today,
ooh Here today
But as for me I still remember how
it was before And I am holding back the tears no more Ooh, I
love you, ooh
What about the time we met? (What about
the time we met?) Well, I suppose that you could say that we were
playing hard to get Didn't understand a thing But we could
always sing
What about the night we cried? (What
about the night we cried?) Because there wasn't any reason left to
keep it all inside? Never understood a word But you were always
there with a smile
And if I say I really loved you And
was glad you came along Then you were here today, ooh For you
were in my song, ooh Here today
Escrita por
Michael Jackson, foi gravada em outubro de 1982 e lançada em 29 de
novembro de 1982, no disco Thriller, o sexto disco de Michael. Saiu
tambem em compacto, em 21 de fevereiro de 1983, com Get on the floor
como Lado B. Foi produzida por Michael Jackson e Quincy Jones. Quincy
pediu a Michael pra incluir um rock no disco. Michael então compôs
Beat it pra ser esse rock. Ele disse que queria um rock que ele fosse
capaz de comprar, de que as crianças gostassem, assim como os
adolescentes. O solo de guitarra foi feito por nada mais nada menos
do que Eddie Van Halen. Chegou ao número 1 do Billboard Hot100,
vendendo mais de 10 milhões de cópias no mundo todo. É uma das
maiores vendas de todos os tempos. Foi também número 1 na Bélgica,
Canadá, Holanda e Nova Zelandia. Número 2 na Austrália, França,
Alemanha, Irlanda e Suíça. Número 3 no Reino Unido, número 5 no
México, número 6 na Áustria, número 8 na Noruega, Peru e África
do Sul. Número 10 na Finlandia. Número 16 na Itália e número 19
na Suécia. O vídeo da canção trouxe grande impacto na geracão
dos anos 80, com as danças de Michael Jackson. Beat ganhou dois
Grammy em 1984, como Record of the year e como Best Male Rock Vocal
Performance. Ganhou também 2 American Music Awards. Entrou pro Music
Video Producers Hall of Fame. É uma das 500 songs that shaped rock
and roll, do Rock and roll hall of fame. A bateria foi tocada por
Jeff Porcaro, do Toto. Steve Porcaro, também do Toto, tocou os
sintetizadores. Steve Lukather, também do Toto, tocou guitarra solo
e baixo. Michael Jackson cantou e fez backing vocals. Paul Jackson
Jr. Tocou guitarra base. Eddie Van Halen fez e tocou o solo de
guitarra. Greg Phillinganes tocou piano rhodes e sintetizador. Bill
Wolfer tocou teclado. Tom Bahler tocou sinclavier. Greg Smith tocou
sintetizador e Chris Shepard tocou vibraslap.
A letra:
They told him,
"Don't you ever come around here" "Don't wanna see
your face, you better disappear" The fire's in their eyes and
their words are really clear So beat it, just beat it You
better run, you better do what you can Don't wanna see no blood,
don't be a macho man You wanna be tough, better do what you can So
beat it, but you wanna be bad Just beat it (beat it), beat it
(beat it) No one wants to be defeated Showin' how funky and
strong is your fight It doesn't matter who's wrong or right Just
beat it (beat it) Just beat it (beat it) Just beat it (beat
it) Just beat it (beat it, uh) They're out to get you, better
leave while you can Don't wanna be a boy, you wanna be a man You
wanna stay alive, better do what you can So beat it, just beat
it You have to show them that you're really not scared You're
playin' with your life, this ain't no truth or dare They'll kick
you, then they'll beat you Then they'll tell you it's fair So
beat it, but you wanna be bad Just beat it (beat it), beat it
(beat it) No one wants to be defeated Showin' how funky and
strong is your fight It doesn't matter who's wrong or right Just
beat it (beat it), beat it (beat it) No one wants to be
defeated Showin' how funky and strong is your fight It doesn't
matter who's wrong or right Just beat it (beat it, beat it, beat
it) Beat it (beat it, beat it) Beat it (beat it, beat it) Beat
it (beat it, beat it) Beat it (beat it, beat it) Beat it (beat
it), beat it (beat it) No one wants to be defeated Showin' how
funky and strong is your fight It doesn't matter who's wrong or
right (who's right) Just beat it (beat it), beat it (beat it) No
one wants to be defeated (no one) Showin' how funky and strong is
your fight It doesn't matter who's wrong or right Just beat it
(beat it), beat it (beat it) No one wants to be defeated (oh,
no) Showin' how funky and strong is your fight It doesn't
matter who's wrong or right Just beat it (beat it), beat it (beat
it) No one wants to be defeated Showin' how funky and strong is
your fight It doesn't matter who's wrong or right Just beat it
(beat it), beat it (beat it)
Escrita por
Mark Knopfler, foi gravada entre março e junho de 1982 e lançada em
24 de setembro de 1982, no disco Love over gold, o quarto disco da
banda. Foi produzida por Mark Knopfler. Telegraph Road é uma rodovia
norte-sul no estado de Michigan, com 110 kms de extensão. Mark
Knopfler se inspirou nela enquanto em uma turnê. Foi a última
canção gravada por Pick Withers na bateria. Depois ele foi
substituído por Terry Williams. Mark Knopfler cantou, tocou guitarra
e uma resonator guitar. John Illsley tocou baixo. Hal Lindes tocou
guitarra. Alan Clark tocou piano, órgão e sintetizadores. Pick
Withers tocou bateria.
A letra:
A long time ago
came a man on a track Walking thirty miles with a sack on his
back And he put down his load where he thought it was the best He
made a home in the wilderness
He built a cabin and a winter store And
he ploughed up the ground by the cold lake shore And the other
travellers came walking down the track And they never went
further, no, they never went back
Then came the churches, then came the
schools Then came the lawyers, then came the rules Then came
the trains and the trucks with their loads And the dirty old track
was the Telegraph Road
Then came the mines, then came the
ore Then there was the hard times, then there was a war Telegraph
sang a song about the world outside Telegraph Road got so deep and
so wide Like a rolling river
And my radio says tonight it's gonna
freeze People driving home from the factories There's six lanes
of traffic Three lanes moving slow
I used to like to go to work, but they
shut it down I've got a right to go to work, but there's no work
here to be found Yes, and they say we're gonna have to pay what's
owed We're gonna have to reap from some seed that's been sowed
And the birds up on the wires and the
telegraph poles They can always fly away from this rain and this
cold You can hear them singing out their telegraph code All the
way down the Telegraph Road
Well, I'd sooner forget, but I remember
those nights Yeah, life was just a bet on a race between the
lights You had your head on my shoulder, you had your hand in my
hair Now you act a little colder like you don't seem to care
But just believe in me, baby, and I'll
take you away From out of this darkness and into the day From
these rivers of headlights, these rivers of rain From the anger
that lives on the streets with these names 'Cause I've run every
red light on memory lane I've seen desperation explode into
flames And I don't want to see it again
From all of these signs saying, "Sorry,
but we're closed" All the way
Escrita por
Bruce Springsteen, foi gravada em janeiro de 1982 e lançada em 30 de
setembro de 1982, no disco Nebraska, o sexto disco de Bruce. Foi
produzida por Bruce Springsteen. Fala da história de Joe Roberts e
seu irmão Frankie. Se passa nos anos 60s. Frankie era um causador de
problema e Joe o irmão que sempre aparecia pra tirá-lo dos
problemas. Em 1965 Frankie entra no exército e Joe compra uma granja
e casou com Maria, que aparentemetne tinha a atenção dos dois
irmãos. Três anos depois, o preço do trigo caiu e Joe perdeu a
granja e pegou um trabalho como Patrulheiro de Estrada. Em 1968,
Frankie deixa o exército e volta pra casa. Uma noite, Joe recebe um
telefonema dizendo que um garto havia sido atacado em um bar e estava
entre a vida e a morte e a garçonete disse que tinha sido Frankie
que tinha batido no rapaz. Joe começa a caçar Frankie nas estradas
rurais de Michigan e finalmente Frankie atravessa a fronteira pro
Canadá. Joe deixou seu irmão fugir. Sean Penn escreveu o screenplay
pra um filme baseado nessa canção. Se chama The Indian Runner, de
1991. Foi regravada por Johnny Cash, entre outros artistas. Bruce
cantou, tocou violão, gaita e bandolim.
A letra:
My name is Joe Roberts I work for the state I'm a sergeant out
of Perrineville Barracks number 8 I always done an honest
job As honest as I could I got a brother named Franky And
Franky ain't no good
Now ever since we was young
kids It's been the same come down I get a call on the
short-wave Franky's in trouble downtown Well if it was any
other man I'd put him straight away But when it's your
brother Sometimes you look the other way
Me and Franky laughin' and
drinkin' Nothin' feels better than blood on blood Takin' turns
dancin' with Maria As the band played "Night of the Johnstown
Flood" I catch him when he's strayin' Like any brother
would Man turns his back on his family Well he just ain't no
good
Well Franky went in the army, back in
1965 I got a farm deferment Settled down, took Maria for my
wife But them wheat prices kept on droppin' 'Til it was like we
were gettin' robbed Franky came home in '68 And me, I took this
job
Yeah we're laughin' and
drinkin' Nothin' feels better than blood on blood Takin' turns
dancin' with Maria As the band played "Night of the Johnstown
Flood" I catch him when he's strayin' Teach him how to
walk that line Man turns his back on his family He ain't no
friend of mine
Well the night was like any other I
got a call 'bout quarter to nine There was trouble in a
roadhouse Out on the Michigan line There was a kid lyin' on the
floor lookin' bad Bleedin' hard from his head There was a girl
cryin' at a table And it was Frank, they said
Well I went out and I jumped in my
car And I hit the lights Well I must of done a hundred and
ten Through Michigan county that night It was out at the
crossroads Down round Willow bank Seen a Buick with Ohio
plates Behind the wheel was Frank Well I chased him through
them county roads 'Til a sign said Canadian border five miles from
here I pulled over the side of the highway And watched his tail
lights disappear
Me and Franky laughin' and
drinkin' Nothin' feels better than blood on blood Takin' turns
dancin' with Maria As the band played "Night of the Johnstown
Flood" I catch him when he's strayin' Like any brother
would Man turns his back on his family Well he just ain't no
good
Escrita por
Tom Petty e Mike Campbell, foi gravada em 1982 e lançada em 22 de
outubro de 1982 no compacto que tinha Between two worlds como Lado B.
Sairia também no disco Long after dark, o quinto disco da banda, em
2 de novembro de 1982. Foi produzida por Tom Petty and Jimmy Iovine.
Chegou ao número 20 no Billboard Hot100. Chegou ao número 30 no
Canadá. Raro em uma canção da banda, os sintetizadores tomaram os
lugares das guitarras. Tom Petty cantou. Mike Campbell tocou guitarra
base e solo. Benmont Tench tocou piano acústico e sintetizadores.
Stand Lynch tocou bateria. Howie Epstein tocou baixo e fez backing
vocals. Phil Jones tocou percussão.
A letra:
One, two
You better watch what you say You
better watch what you do to me Don't get carried away Girl, if
you can do better than me
Go Yeah, go But remember
Good love is hard to find Good love
is hard to find You got lucky, babe You got lucky, babe When
I found you
You put a hand on my cheek And then
you turned your eyes away And you don't feel complete If I
don't take you all of the way
Then go Yeah, go But remember
Good love is hard to find Good love
is hard to find You got lucky, babe You got lucky, babe When
I found you
Yeah, go Just go But remember
Good love is hard to find Good love
is hard to find You got lucky, babe You got lucky, babe When
I found you
Escrita por
Roger Hodgson, foi gravada entre novembro de 1981 e metade de 1982,
foi lançada em 22 de outubro de 1982, no compacto que tinha Bonnie
como Lado B. Sairia tambem no disco Famous last words, o sétimo
disco da banda, em 29 de outubro de 1982. Foi produzida por Peter
Henderson e Supertramp. Ela tem no final a canção de ninar It's
raining, it's pouring. Roger a escreveu num dia que ele estava triste
porque havia perdido um amigo. E estava chovendo muito forte. E a
canção saiu. Chegou ao número 11 do Billboard Hot100, número 26
no Reino Unido, número 1 no Canadá e França, número 2 na Suíça,
número 3 na Alemanha, número 6 na Holanda, Noruega e Africa do Sul.
Número 7 na Áustria. Número 11 na Austrália, número 16 a Irlanda
e número 19 na Nova Zelandia. Hogson acha uma de suas 10 melhores
composições. Roger Hodgson cantou e fez backing vocals, tocou piano
e glockenspiel. Rick Davis tocou sintetizadorese melodica. John
Helliwell tocou sax baritono e sax tenor. Dougie Thomson tocou baixo
e Bob Siebenberg tocou bateria.
A letra:
Oh, it's
raining again Oh no, my love's at an end Oh no, it's raining
again And you know it's hard to pretend
Oh no, it's raining again Too bad
I'm losing a friend Oh no, it's raining again Oh will my heart
ever mend
You're old enough some people say To
read the signs and walk away It's only time that heals the
pain And makes the sun come out again
It's raining again Oh no, my love's
at an end Oh no, it's raining again Too bad I'm losing a friend
Na na na na na na Na na Na na na
na na na na na Na na na na na na Na na na
Come on you little fighter No need
to get uptighter Come on you little fighter And get back up
again
It's raining again Oh no, my love's
at an end Oh no, it's raining again Too bad I'm losing a friend
Na na na na na na Na na Na na na
na na na na na Na na na na na na Na na na
Come on you little fighter No need
to get uptighter Come on you little fighter And get back up
again Oh, get back up again Oh, fill your heart again
It's raining, it's pouring The old
man is snoring He went to bed and bumped his head And he
couldn't get up in the morning
Escrita por
Paul McCartney, foi gravada no verão de 1981 e lançada em 26 de
abril de 1982 no disco de mesmo nome. Sairia também em compacto em 6
de setembro de 1982, com Get it como Lado B. Foi produzida por George
Martin. Foi comparada com Imagine, de John Lennon, no que se refere a
ter uma clara divisão entre os versos, que fala da tristeza de ter
que lutar pra sobreviver, a necessidade do conflito e o refrão cheio
de esperança, no qual Paul olha pra um futuro onde essa luta pra
viver não será mais necessário. Chegou ao número 11 na Polonia,
número 53 no Reino Unido e número 53 nos Estados Unidos. Paul
McCartney cantou e fez backing vocals. Tocou violão, guitarra,
baixo, sintetizador, bateria e mellotron. Linda McCartney fez backing
vocals. Eric Stewart tocou guitarra e fez backing vocals. Denny Laine
tocou guitarra. Campbell Maloney tocou os military snares.
A letra:
It's a tug of
war What with one thing and another It's a tug of war We
expected more But with one thing and another We were trying to
outdo each other In a tug of war
In another world In another world We
could Stand on top of the mountain With our flag unfurled In a
time to come In a time to come We will be dancing to the beat
played On a different drum
It's a tug of war Though I know I
mustn't grumble It s a tug of war But I can't let go If I do
you'll take a tumble And the whole thing is going to crumble It's
a tug of war
In years to come they may discover What
the air we breathe and the life we lead Are all about But it
won't be soon enough Soon enough for me No it won't be soon
enough Soon enough for me
In another world We could stand on
top of the mountain With our flag unfurled In a time to come we
will be dancing to the beat played On a different drum
We will be dancing to the beat Played
on a different drum We will be dancing to the beat Played on a
different drum
It's a tug of war, (a tug of war, a tug
of war) What with one thing and another It's a tug of war We
expected more But with one thing and another We were trying to
outscore each other In a tug of war
Escrita por
Michael Jackson, foi gravada em 1982 e lançada em 29 de novembro de
1982, no disco Thriller, o sexto disco de Michael Jackson. Sairia
também em compacto em 3 de janeiro de 1983, com Can't get outta the
rain como Lado B. Foi produzida por Quincy Jones e Michael Jackson.
Fala sobre uma jovem mulher, que alega que o narrador é o pai da
criança que ela acabou de ter. E o narrador nega o fato. Foi número
1 do Billboard Hot 100, também no Reino Unido, Austrália, Canadá,
Espanha, França, Irlanda, Itália, Suíça e Bélgica. Foi número 2
na Austria, Finlandia, Alemanha, Holanda, Nova Zelandia, Africa do
Sul e Suécia. Número 6 na Noruega. Billie Jean é um dos compactos
mais vendidos da história da humanidade. Ganhou 2 Grammies e um
American Music Award. É uma das 500 songs that shaped rock and roll.
É considerada por muitos uma das melhores canções já feitas. Michael
Jackson cantou, fez backing vocals e tocou sintetizador Yamaha CS-80.
Michael Boddicker tocou um E-mu Emulator. Leon Chancler tocou
bateria. Louis Johnson tocou baixo. Greg Phillinganes tocou
sintetizador e Rhodes Piano. Tom Scott tocou lyricon. Greg Smith
tocou sintetizador. David Williams tocou guitarra. Bill Wolfer tocou
sintetizador.
A letra:
She was more
like a beauty queen from a movie scene I said, "Don't mind,
but what do you mean, I am the one Who will dance on the floor in
the round?" She said I am the one Who will dance on the
floor in the round She told me her name was Billie Jean as she
caused a scene Then every head turned with eyes that dreamed of
bein' the one Who will dance on the floor in the round
People always told me, "Be careful
of what you do Don't go around breakin' young girls' hearts"
(hee-hee) And mother always told me, "Be careful of who you
love And be careful of what you do (oh-oh) 'Cause the lie
becomes the truth" (oh-oh), hey-ey
Billie Jean is not my lover She's
just a girl who claims that I am the one (oh, baby) But the kid is
not my son (hoo) She says I am the one (oh, baby) But the kid
is not my son (hee-hee-hee, no-no, hee-hee-hee, hoo)
For forty days and for forty nights,
law was on her side But who can stand when she's in demand? Her
schemes and plans 'Cause we danced on the floor in the round
(hee) So take my strong advice Just remember to always think
twice (Do think twice) do think twice (ah-hoo) She told my baby
we'd danced 'til three, then she looked at me Then showed a photo
of a baby cryin', his eyes were like mine (oh, no) Go and dance on
the floor in the round, baby (ooh, hee-hee-hee)
People always told me, "Be careful
of what you do And don't go around breakin' young girls' hearts"
(don't break no hearts, hee-hee) But she came and stood right by
me Just the smell of sweet perfume This happened much too
soon She called me to her room, hey-ey
Billie Jean is not my lover (hoo) She's
just a girl who claims that I am the one But the kid is not my
son No-no-no, no-no, no-no-no (hoo) Billie Jean is not my
lover She's just a girl who claims that I am the one (oh,
baby) But the kid is not my son (no, no) She says I am the one
(oh, baby) But the kid is not my son (no, hee-hee-ho, hee-hee-hee)
Hee, hoo
She says I am the one But the kid is
not my son (no-no-no, hoo, oh) Billie Jean is not my lover She's
just a girl who claims that I am the one (you know what you did to
me, baby) But the kid is not my son No-no-no (no-no-no, ah),
no-no-no-no (no-no-no) She says I am the one (no) But the kid
is not my son (no-no-no-no)
She says I am the one (you know what
you did) She says he is my son (breakin' my heart, babe) She
says I am the one Billie Jean is not my lover Billie Jean is
not my lover Billie Jean is not my lover Billie Jean is not my
lover (don't call me Billie Jean, hoo) Billie Jean is not my
lover Billie Jean is not- (hee)
Escrita por
Mark Knopfler, foi gravada entre março e junho de 1982 e lançada em
27 de agosto de 1982, no compacto que tinha Badges, posters, stickers
e T-Shirts como Lado B. Saiu também no disco Love over gold, o
quarto disco da banda, em 24 de setembro de 1982. Foi produzida por
Mark Knopfler. Chegou ao número 2 no Reino Unido e também na
Irlanda, apesar do seu tamanho longo. Chegou ao número 1 na Holanda
e Bélgica. Número 4 na França e Suíça. Número 16 na Nova
Zelandia, número 19 na Austria, número 20 na Finlandia e numero 21
na Austrália.
A letra:
It's a mystery
to me, the game commences For the usual fee plus
expenses Confidential information, it's in a diary This is my
investigation, it's not a public inquiry
I go checking out the reports, digging
up the dirt You get to meet all sorts in this line of
work Treachery and treason, there's always an excuse for it And
when I find the reason, I still can't get used to it
And what have you got at the end of the
day? What have you got to take away? A bottle of whiskey and a
new set of lies Blinds on the windows and a pain behind the eyes
Scarred for life, no
compensation Private investigations
Escrita por
Bruce Springsteen, foi gravada em 3 de janeiro de 1982 e lançada em
30 de setembro de 1982, no disco Nebraska, o sexto disco de Bruce.
Sairia também no compacto que tinha Mansion on the hill como Lado B.
Foi produzida por Bruce Springsteen. Bruce gravou-a em seu quarto,
com um violão Gibson em uma Beat Box. Ele canta, toca violão, gaita
e bandolim. Tentaram gravar com a banda, mas não conseguiram que
ficasse tão boa quanto essa demo, que na verdade, virou oficial. A
letra fala de um jovem casal que foge pra Atlantic City, no estado de
New Jersey, mas fala também de renascimento e da inevitabilidade da
morte. O cara tem a intenção de arrumar um emprego na máfia,
quando chegasse em Atlantic City, muito em parte pelo tamanho de suas
dívidas. A frase inicial faz referencia ao assassinato do chefe da
máfia italiana em Philadelphia, chamado Phil : The Chicken man”
Testa. Ele foi assassinado em março de 1981, com uma bomba de
pregos, na casa dele. Foi regravada pela Band em 1993 e pelo Munford
and Sons, em 2012, entre outros artistas.
A letra:
Well, they blew
up the chicken man in Philly last night And they blew up his
house, too Down on the boardwalk, they're getting ready for a
fight Gonna see what them racket boys can do Now there's
trouble busing in from out of state And the D.A. can't get no
relief Gonna be a rumble out on the promenade And the gambling
commission's hanging on by the skin of its teeth
Well, now,
everything dies, baby, that's a fact But maybe everything that
dies someday comes back Put your makeup on, fix your hair up
pretty And meet me tonight in Atlantic City
Well, I got a
job and tried to put my money away But I got debts that no honest
man can pay So I drew what I had from the Central Trust And I
bought us two tickets on that Coast City bus
Well, now,
everything dies, baby, that's a fact But maybe everything that
dies someday comes back Put your makeup on, fix your hair up
pretty And meet me tonight in Atlantic City
Now, our luck
may have died, and our love may be cold But with you, forever,
I'll stay We're going out where the sand's turning to gold So
put on your stockings, baby, 'cause the night's getting cold
And
everything dies, baby, that's a fact But maybe everything that
dies someday comes back
Now I been looking for a job, but it's
hard to find Down here, it's just winners and losers and "Don't
get caught on the wrong side of that line" Well, I'm tired of
coming out on the losing end So, honey, last night, I met this
guy, and I'm gonna do a little favor for him
Well, now,
everything dies, baby, that's a fact But maybe everything that
dies someday comes back Put your makeup on, fix your hair up
pretty And meet me tonight in Atlantic City
Escrita por
Bill Berry, Peter Buck, Mike Mills e Michael Stipe, foi gravada em 15
de abril de 1981 e lançada em 8 de julho de 1981, no compacto que
tinha Sitting still como Lado B. Foi produzida por Mitch Easter. Esse
foi o compacto de estréia da banda. Já em Radio Free Europe a banda
imprimiu sua marca registrada: letras que ninguém entende. Ela seria
regravada pro seu disco de estréia, em 1983, chamado Murmur. Quando
foi relançada em 1983, chegou ao número 78 no Billboard Hot100. E
tinha There she goes again, de Lou Reed, como Lado B. Em 2009 foi
adicionada a National Recording registry, da Library of Congress, por
“Setting the pattern for later indie rock releases by breaking
through on college radio in the face of mainstream radio's general
indifference”. A letra nunca foi completada e publicada pela banda,
mas foi publicada pela Song hits, em 1983 e New sounds magazine, em
janeiro de 1984. Como ninguém entendia as letras, ninguém fazia
cover. Mas uma banda de San Francisco chamada Game Theory, que era
produzida tambem por Mitch Easter, pegou a letra com Stipe ou com
Buck e gravou-a em setembro de 1985. Bill Berry tocou bateria e
triangulo. Peter Buck tocou guitarra. Mike Mills tocou baixo e piano.
Michael Stipe cantou. Mitch Easter colocou additional snare drum.
A letra:
Decide yourself
if radio's gonna stay Reason it could polish up the gray Put
that, put that, put that up your wall That this isn't country at
all Radio station decide yourself
Keep me out of country and the
word Wheel of fortune's leading us absurd Push that, push that,
push that to the floor That this isn't nothing at all Straight
off the boat, where to go
Calling out in transit Calling out
in transit Radio Free Europe (Radio)
Decide defy the media too fast Instead
of pushing palaces to fall Put that, put that, put that up your
wall That this isn't fortunate at all Radio station decide
yourself
We're calling out in transit Calling
out in transit Radio Free Europe (Radio)
Decide yourself come in on a
boat Media's too fast Keep me out of country and the
word Disappointment into us absurd Straight off the boat, where
to go
Calling out in transit Calling out
in transit Radio Free Europe Radio Free Europe
Calling out in transit Calling out
in transit Radio Free Europe Radio Free Europe
Escrita por
Jo Callis, Philip Oakey e Philip Adrian Wright, foi gravada em 1981 e
lançada em 16 de outubro de 1981, no disco Dare, o terceiro disco do
grupo. Sairia também em 27 de novembro de 1981, no compacto que
tinha Seconds como Lado B. Foi produzida por Martin Rushent. Se trata
da música mais conhecida e de maior sucesso comercial da banda. Foi
o compacto que mais vender no Reino Unido em 1981. É o vigésimo
terceiro compacto mais bem sucedido nos charts do Reino Unido em toda
a história. A letra foi inspirada após Philip Oakey ter lido a uma
revista de adolescentes. Chegou ao número 1 do Billboard Hot100, no
Reino Unido, na Bélgica, no Canadá, na Irlanda, Israel, Nova
Zelandia e Noruega. Número 2 na África do Sul e número 3 na
Suécia. Número 4 na Austrália, Espanha e Suíça. Número 5 na
Holanda e Alemanha Ocidental. Número 7 na Itália e numero 13 na
França.
A letra:
You were
working as a waitress in a cocktail bar When I met you I picked
you out, I shook up and turned you around Turned you into someone
new
Now five years later on, you've got the
world at your feet Success has been so easy for you But don't
forget, it's me who put you where you are now And I can put you
back down too
Don't, don't you want me? You know I
can't believe it when I hear that you won't see me Don't, don't
you want me? You know I don't believe you when you say that you
don't need me It's much too late to find You think you've
changed your mind You'd better change it back, or we will both be
sorry
Don't you want me, baby? Don't you
want me? Oh Don't you want me, baby? Don't you want me? Oh
I was working as a waitress in a
cocktail bar That much is true But even then, I knew I'd find a
much better place Either with or without you
The five years we have had have been
such good times I still love you But now, I think it's time I
live my life on my own I guess it's just what I must do
Don't, don't you want me? You know I
can't believe it when I hear that you won't see me Don't, don't
you want me? You know I don't believe you When you say that you
don't need me It's much too late to find You think you've
changed your mind You'd better change it back, or we will both be
sorry
Don't you want me, baby? Don't you
want me? Oh Don't you want me, baby? Don't you want me? Oh
Don't you want me, baby? Don't you
want me? Oh Don't you want me, baby? Don't you want me? Oh
Don't you want me, baby? Don't you
want me? Oh Don't you want me, baby? Don't you want me? Oh
Don't you want me, baby? Don't you
want me? Oh Don't you want me, baby? Don't you want me?
Oh Don't you want me, baby?
Escrita por
Edward Cobb, foi gravada inicialmente em 1964 e lançada em 1965 por
Gloria Jones. Mas a versão que escolhemos, do Soft Cell, foi gravada
entre 1980 e 1981 e lançada em julho de 1980, com Where did our love
go como Lado A. Foi produzida por Mike Thorne. Foi regravada também
por Marilyn Manson, entre outros artistas. Chegou ao número 8 no
Billboard Hot 100, número 1 no Reino Unido, Austrália, Bélgica,
Canadá, Africa do Sul e Alemanha Ocidental. Número 2 na Áustria,
Nova Zelandia e Suíça. Número 4 na França, Irlanda, Espanha e
Suécia. Número 5 na Holanda. É o 59th compacto que mais
vendeu na história do Reino Unido. Foi o número 5 da lista da VH1
das 100 greatest one hit wonders of the 1980s.
A letra:
Sometimes I
feel I've got to Run away, I've got to Get away from the pain
you drive into the heart of me The love we share Seems to go
nowhere And I've lost my light For I toss and turn, I can't
sleep at night
Once I ran to you (I ran) Now I'll run from
you This tainted love you've given I give you all a boy could
give you Take my tears and that's not nearly all Tainted love
(oh) Tainted love
Now I know I've got to Run away, I've
got to Get away, you don't really want any more from me To make
things right You need someone to hold you tight And you think
love is to pray But I'm sorry, I don't pray that way
Once I
ran to you (I ran) Now I'll run from you This tainted love
you've given I give you all a boy could give you Take my tears
and that's not nearly all Tainted love (oh) Tainted love
Don't
touch me, please I cannot stand the way you tease I love you
though you hurt me so Now I'm gonna pack my things and go
Tainted
love (oh) Tainted love (oh) Tainted love (oh) Tainted love
(oh)
Touch me, baby, tainted love Touch me, baby, tainted
love Tainted love (oh) Tainted love (oh)
Escrita por
Jerry Dammers, foi gravada em abril de 1981, na Inglaterra e lançada
em 12 de junho de 1981, no compacto que tinha Why como Lado B. Foi
produzida por John Collins. Chegou ao número 1 no Reino Unido,
número 3 na Irlanda, número 7 na Noruega, número 12 na Holanda,
número 15 na Bélgica, número 20 na Nova Zelandia e número 68 na
Austrália. Invocando temas como decadencia urbana,
desindustrialização, desemprego e violência urbana, essa canção
é lembrada por ser um hit quando protestos aconteciam nas cidades
britânicas. A banda também ruiu e esse foi o único compacto
gravado pelos sete fundadores originais. Foi uma época dificil no
Reino Unido. As pessoas vendiam seus objetos pra terem dinheiro pra
comida. Uma visão apocaliptica. Foi regravada pelo Duran Duran,
entre outros artistas. John Bradbury tocou bateria. Roddy Radiation
tocou guitarra. Jerry Dammers tocou teclado, org~ao Hammond e fez
backing vocals. Lynval Golding tocou guitarra e fez backing vocals.
Terry Hall fez os vocais principais e tamb'em backing vocals. Horace
Panter tocou baixo. Neville Staple cantou. Dick Cuthell tocou
flugelhorn. Paul Heskett tocou flauta. Rico Rodrigues tocou trombone.
A letra:
This town, is
coming like a ghost town All the clubs have been closed down This
place, is coming like a ghost town Bands won't play no more Too
much fighting on the dance floor
Do you remember the good old
days before the ghost town? We danced and sang, and the music
played in a de boomtown
This town, is coming like a ghost
town Why must the youth fight against themselves? Government
leaving the youth on the shelf This place, is coming like a ghost
town No job to be found in this country Can't go on no more The
people getting angry
This town, is coming like a ghost
town This town, is coming like a ghost town This town, is
coming like a ghost town This town, is coming like a ghost
town
This town, is coming like a ghost town This town, is
coming like a ghost town This town, is coming like a ghost
town This town, is coming like a ghost town
