"Food For Thought" was the first single released by British reggae band UB40.
Food For Thought was an attempt to publicize and condemn the Ethiopian famine in Africa, comparing it with the Western over-indulgent celebration of Christmas, a full five years before Band Aid brought the subject to widespread attention. It reached No.4 in the UK singles chart early in 1980 - the first Top 10 hit for a single without a major distributor - and No.1 in New Zealand in September 1980.
Lyrics
Ivory madonna dying in the dust, Waiting for the manna coming from the west. Barren is her bosom, empty as her eyes, Death a certain harvest scattered from the skies.
Skin and bones is creeping, does`nt know he`s dead. Ancient eyes are peeping, from his infant head. Politician`s argue sharpening their knives. Drawing up their Bargains, trading baby lives.
(Chorus)
Ivory madonna dying in the dust, Waiting for the manna coming from the west.
Hear the bells are ringing, Christmas on it`s way. Hear the angels singing, what is that they say? Eat and drink rejoicing, joy is here to stay. Jesus son of mary is born again today.
(Chorus)
Ivory madonna dying in the dust, Waiting for the manna coming from the west. Ivory madonna dying in the dust, Waiting for the manna coming from the west.
If there were no tomorrows If there was just one more chance I'd take it again You know I'd take it again You turn and it's gone forever In time you forget You know that's love It's only love
And no matter where the days have left you Every day ends at the street cafe The street cafe
And no matter where the road may take you Every time it brings you back to the street cafe
It's where you have to be Well the people may come and go but Here the street and the scene is just The way that it was The way that it was No nothing will ever change here Maybe a smile reminds you Now and again You wonder now and again When another night will take you nowhere You go down to the street cafe And any time you know the crowd can hide you The days end at the street cafe Yeah the street cafe You turn and it's gone forever In time you forget You know that's love You know it's only love
But no matter where the days have left you Every day ends at the street cafe The street cafe
And no matter where the road may take you Every time it brings you back to the street cafe Yeah the street cafe Oh no no no
No matter where the road may take you We'll meet again someday You know we'll meet someday Someday at the street cafe
Trouble" is a song by Lindsey Buckingham. It was the biggest hit off the album Law and Order, which was released in 1981. It was also Buckingham's first hit as a solo artist.
"Trouble" was the only song on the album that Buckingham didn't play bass or drums on; his Fleetwood Mac bandmate Mick Fleetwood was brought in to do the drums. Things didn't work out very well in the recording session, and a taped loop of the drum track, about four-seconds long, was used over and over for the song.
The single would become a #9 hit in the US in early 1982. It topped the charts in Australia for 3 weeks.
Beds Are Burning" is a 1987 hit single by Australian rock band Midnight Oil, the first track from their album Diesel and Dust. This song was not the first song from the album to be released as a single; the first to be released was "The Dead Heart."
It reached #1 in the South African charts, #3 in the Netherlands Top 40, #5 in the France Top 50, #6 in the UK charts, #11 in Ireland, #17 in the U.S. Billboard Hot 10 and in Sweden.
This is a political song about giving native Australian lands back to the the Pintupi, who were among the very last people to come in from the desert. These 'last contact' people began moving from the Gibson Desert to settlements and missions in the 1930s. More were forcibly moved during the 1950s and 1960's to the Papunya settlement. In 1981 they left to return to their own country and established the Kintore community which is nestled in the picturesque Kintore Ranges, surrounded by Mulga and Spinifex country. It is now a thriving little community with a population of about 400.
Midnight Oil performed this in front of a world audience of billions, (including Prime Minister John Howard who has claimed this is his favorite Midnight Oil song) at the closing ceremony of the 2000 Sydney Olympics. The whole band were dressed in black, with the words "sorry" printed conspicuously on their clothes. This was a reference to the Prime Minister's refusal to apologize, on behalf of Australia, to the Aboriginal Australians for the way they have been treated over the last 200 years.
Lyrics
Out where the river broke The bloodwood and the desert oak Holden wrecks and boiling diesels Steam in forty five degrees
The time has come To say fair’s fair To pay the rent To pay our share The time has come A fact’s a fact It belongs to them Let’s give it back
How can we dance when our earth is turning How do we sleep when our beds are burning
Four wheels scare the cockatoos From kintore east to yuendemu The western desert lives and breathes In forty five degrees
(live - on scream in blue The time has come A fact’s a fact It belongs to us all Let’s give it back)
Sister Christian is a power ballad by the hard rock band Night Ranger, which was first released on their album Midnight Madness.
It was written and sung by the band's drummer, Kelly Keagy, for his sister. It was the band's biggest hit, peaking at #5 on the Billboard Hot 100, and #2 on the Hot Mainstream Rock Tracks chart.
The song is about Keagy's little sister, Christy. Keagy wrote the song at his apartment, near Divisadero and California streets in San Francisco, after he had just returned from a visit to his hometown in Eugene, Oregon. He had been struck at how fast his teenage sister, 10 years younger than him, was growing up.
"After we started playing it a lot, Jack turned to me and said, 'What exactly are you saying?' " Keagy recalled. "He thought the words were Sister Christian, instead of Sister Christy, so it just stuck." He added that the real Christy was so mortified when the song came out she nearly changed her name.
The lyric, "You're motoring. What's your price for flight? In finding Mr. Right?" is the subject of much debate. The band stated in a VH-1 Behind the Music interview that the term "motoring" was synonymous with the term "cruising." The term is most often used to describe driving around in a car slowly as a social experience, but can also be used to describe picking up people for casual sex. When Keagy visited his family he heard second hand about his sister cruising for a man to casually sleep with. After verifying this with her he was shocked and lamented how fast she was growing up. He then went back home and wrote "Sister Christian" about the experience. This song is sometimes incorrectly called, "Motorin".
Lyrics
Sister Christian
Oh the time has come
And you know that you're the only one
To say O.K.
Where you going
What you looking for
You know those boys
Don't want to play no more with you
It's true
You're motoring
What's your price for flight
In finding mister right
You'll be alright tonight
Babe you know
You're growing up so fast
And mama's worrying
That you won't last
To say let's play
Sister Christian
There's so much in life Don't you give it up
Before your time is due
It's true
It's true yeah
Motoring
What's your price for flight
You've got him in your sight
And driving thru the night
Motoring
What's your price for flight
In finding mister right
You'll be alright tonight
Motoring
What's your price for flight
In finding mister right
You'll be alright tonight
(repeat)
Sister Christian
Oh the time has come
And you know that you're the only one
To say O.K.
But you're motoring
You're motoring
"Golden Brown" is a song by the English rock band The Stranglers. It was released as a 7" single in January 1982, on Liberty.
It reached #2 in the official UK singles chart in February 1982, behind "Town Called Malice" by The Jam.
The comparatively conservative BBC Radio Two, at that time a middle-of-the-road (MOR) music radio station, decided to make the record the single of the week, a surprising step considering the band was almost as notorious as Sex Pistols only a few short years before. The fourth line of the song, "With my mind she runs," is a common source of mondegreens. The band claimed that the song's lyrics were akin to an aural Rorschach test and that people only heard in it what they wanted to hear, although this did not prevent persistent allegations that the lyrics alluded to the narcotic heroin (although in an interview with Channel 4, Drummer Jet Black quipped it was a song about Marmite)
The single was a hit around the world, scaling the Top 10 as far away as Australia. Its commercial success was probably the single factor that secured The Stranglers their continuing life in pop mainstream for the remainder of the 1980s.
There has been much controversy surrounding the lyrics. In his 2001 book The Stranglers Song By Song, Hugh Cornwell clearly states "'Golden Brown' works on two levels. It's about heroin and also about a girl". Essentially the lyrics describe how "both provided me with pleasurable times."
The music was largely written by keyboardist Dave Greenfield, with lyrics by Hugh Cornwell.
Two shots from Golden Brown: the band performing the song in Leighton House with Baroque instruments, and as explorers.The video for "Golden Brown" depicts the group both as explorers in an Arabic country (images of the Pyramids in the sequence allude to the Giza area of Egypt) in the 1920s and performers for a fictional "Radio Cairo". In addition to the Pyramids the video is intercut with stock footage of a madrassa in Uzbekistan, and Great Sphinx, dhows sailing, and Bedouins riding and camel racing in the United Arab Emirates. The performance scenes were filmed in the Leighton House Museum in Holland Park, London.
Lyrics
Golden brown texture like sun Lays me down with my mind she runs Throughout the night No need to fight Never a frown with golden brown
Every time just like the last On her ship tied to the mast To distant lands Takes both my hands Never a frown with golden brown
Golden brown finer temptress Through the ages she's heading
West From far away Stays for a day Never a frown with golden brown
Never a frown With golden brown Never a frown With golden brown
I'll do anything For my sweet sixteen, And I'll do anything For little run away child
Gave my heart an engagement ring. She took ev'rything. Ev'rything I gave her, Oh sweet sixteen.
Built a moon For a rocking chair. I never guessed it would Rock her far from here Oh, oh, oh, oh.
Someone's built a candy castle For my sweet sixteen. Someone's built a candy brain And filled it in.
Well I'll do anything For my sweet sixteen Oh I'll do anything For little runaway child
Well, memories will burn you. Memories grow older as people can They just get colder Like sweet sixteen
Oh, I see it's clear Baby, that you are All through here Oh, oh, oh, oh.
Someone's built a candy castle For my sweet sixteen, Someone's built a candy house To house her in. Someone's built a candy castle For my sweet sixteen. Someone's built a candy brain And filled it in.
And I do anything For my sweet sixteen Oh, I do anything For little run away girl.
Yeah, sad and lonely and blue. Yeah, gettin' over you. How, how do you think it feels Yeah to get up in the morning, get over you. Up in the morning, get over you. Wipe away the tears, get over you, get over, get over...
My sweet sixteen Oh runaway child Oh sweet sixteen Little runaway girl.
Gave my heart an engagement ring She left everything Everything I gave her Sweet sixteen Built a moon For a rocking chair, Never guessed it would Rock her far from here Oh, oh, oh
Someone's built a candy castle For my sweet sixteen. Someone's built a candy house To house her in. Someone's built a candy castle For my sweet sixteen Someone's built a candy house To house her in.
And I'll do anything For my sweet sixteen Oh, I'll do anything For little runaway child.
Do anything For my sweet sixteen I'll do anything For little runaway girl Little runaway girl Oh sweet sixteen Oh sweet sixteen Oh
"Tonight, Tonight, Tonight" is the second track on the 1986 album Invisible Touch by Genesis. It peaked at #3 in the US and #18 in the UK as the fourth single from the album.
In the music video for the song, the atmosphere is reminiscent of the film Blade Runner, which was purportedly a source of inspiration for the video.
Lyrics
Im coming down, coming down like a monkey, but its alright Like a load on your back that you cant see, ooh but its alright Try to shake it loose, cut it free, just let it go, get it away from me.
Cos tonight, tonight, tonight - oh, Im gonna make it right Tonight, tonight, tonight - oh.
Im going down, going down, like a monkey, ooh but its alright Try to pick yourself up, carry that weight that you cant see, Dont you know its alright Its like a helter skelter, going down and down, round and round But just get it away from me - oh.
Because tonight, tonight, tonight - oh Were gonna make it right Tonight, tonight, tonight - oh.
I got some money in my pocket, about ready to burn I dont remember where I got it, I gotta get it to you So please answer the phone, cos I keep calling, but youre never home What am I gonna do Tonight, tonight, tonight - oh Im gonna make it right Tonight, tonight, tonight - oh.
You keep telling me Ive got everything, you say Ive got everything i Want You keep telling me youre gonna help me, youre gonna help me, but you Dont But now Im in too deep You see its got me so that I just cant sleep Oh get me out of here, please get me out of here Just help me Ill do anything, anything If youll just help me get out of here.
Im coming down, coming down like a monkey, ooh but its alright Its like a load on your back that you cant see, Ooh dont you know that its alright Just try to shake it loose, cut it free, let it go But just get it away from me Cos tonight, tonight, tonight - oh Maybe well make it right Tonight, tonight, tonight - oh.
Please get me out of here Someone get me out of here Just help me Ill do anything, anything If youll just help get me out of here Tonight - oh, Im gonna make it right Tonight, tonight, tonight - oh.
Yes tonight, tonight, tonight - oh, Yes Im gonna make it right, tonight, tonight, tonight - oh...
He's just a local boy Modelling for magazines Nun-Chukka Things are never quite as they seem He's got throwing stars He's got silver tops Mama's grabbed her jewellery Hidden in the bathroom Calling the cops
Bridge Give me somewhere to go Don't give me train rides When the shops are all closed Don't give me train rides
Chorus Never gave anyone the slightest notion Never showed us that the call was cast Mama don't want you Daddy don't want you Your Motor's running way too fast
Now the Mallway's shuttered Hanging in the afternoon Drink a little Vodka Picking up the old man Rolling him 'round in her room
"Moonlight Shadow" is a pop song written by British multi-instrumentalist Mike Oldfield and released as a single in May 1983 and included on the album Crises in the same year. The vocals were performed by the Scottish vocalist Maggie Reilly, who had joined Mike Oldfield in 1980.
The single peaked at number 4 in the British charts, making it Oldfield's second highest ranked single after "Portsmouth" which reached number 3 in 1976. "Moonlight Shadow" was successful throughout Europe, It reached number 1 in countries including Italy, Austria, Switzerland for four weeks and Norway for six weeks. It spent four weeks at number 2 in Germany and also hit number 6 in Australia.
It was long believed that the lyrics are a reference to the murder of John Lennon, although when asked about this in a 1995 interview, Oldfield responded:
[It's] not really [about Lennon]... well, perhaps, when I look back on it, maybe it was. I actually arrived in New York that awful evening when he was shot and I was staying at the Virgin Records house in Perry Street, which was just a few blocks down the road from the Dakota Building where it happened, so it probably sank into my subconscious. It was originally inspired by a film I loved - Houdini, starring Tony Curtis, which was about attempts to contact Houdini after he'd died, through spiritualism... it was originally a song influenced by that, but a lot of other things must have crept in there without me realising it.
Lyrics
The last that ever she saw him Carried away by a moonlight shadow He passed on worried and warning Carried away by a moonlight shadow.
Lost in a river last saturday night Far away on the other side. He was caught in the middle of a desperate fight And she couldn't find how to push through
The trees that whisper in the evening Carried away by a moonlight shadow Sing a song of sorrow and grieving Carried away by a moonlight shadow
All she saw was a silhouette of a gun Far away on the other side. He was shot six times by a man on the run And she couldn't find how to push through
I stay I pray I see you in heaven far away I stay I pray I see you in heaven one day
Four am in the morning Carried away by a moonlight shadow I watched your vision forming Carried away by a moonlight shadow
Star was light in a silvery night Far away on the other side Will you come to talk to me this night But she couldn't find how to push through
I stay I pray I see you in heaven far away I stay I pray I see you in heaven one day Far away on the other side.
Caught in the middle of a hundred and five The night was heavy but the air was alive But she couldn't find how to push through Carried away by a moonlight shadow Carried away by a moonlight shadow
"Pass the Dutchie" was a song recorded by the British group Musical Youth from their 1982 album The Youth of Today. It was a major hit, holding the number one position on the UK singles charts for three weeks in September and October 1982.
It was a cover version of the song "Pass the Kouchie" by The Mighty Diamonds, written by Leroy Sibbles and Jackie Mittoo. The song was changed from "Kouchie," a slang term for a cannabis smoking pipe, to "Dutchie" due to the age of the artists and their target audience. A "Dutchie" was slang for the cooking pot used by poor Jamaicans to prepare stews and rice. More recently the term "dutchie" refers to marijuana rolled in a cigar paper (specifically "Dutch Masters" cigars, hence the name "dutchie". See Cannabis smoking).
The song was first championed by DJ John Peel and became an instant hit when it was picked up by MCA Records in September 1982. It debuted at #26 on the chart and rose to #1 the following week, one of a handful of records to have risen to the top spot from outside the top 20. In February of the following year, it reached #10 on the Billboard Hot 100 singles chart in the USA. The song also scored a top 5 success in the Norwegian Fantastik 50 chart, eventually selling over 4 million copies worldwide.
Lyrics
This generation Rules the nation With version
Music happen to be the food of love Sounds to really make you rub and scrub
I say: Pass the Dutchie on the left hand side Pass the Dutchie on the left hand side It a gonna burn, give me music make me jump and prance It a go done, give me the music make me rock in the dance
It was a cool and lovely breezy afternoon (How does it feel when you've got no food ?) You could feel it 'cause it was the month of June (How does it feel when you've got no food ?) So I left my gate and went out for a walk (How does it feel when you've got no food ?) As I pass the dreadlocks' camp I heard them say (How does it feel when you've got no food ?)
Pass the Dutchie on the left hand side Pass the Dutchie on the left hand side It a gonna burn, give me music make me jump and prance It a go done, give me the music make me rock in the dance
So I stopped to find out what was going on. (How does it feel when you've got no food ?) 'Cause the spirit of Jah, you know he leads you on (How does it feel when you've got no food ?) There was a ring of dreads and a session was there in swing (How does it feel when you've got no food ?) You could feel the chill as I seen and heard them say (How does it feel when you've got no food ?)
Pass the Dutchie on the left hand side Pass the Dutchie on the left hand side It a gonna burn, give me music make me jump and prance It a go done, give me the music make me rock in the dance
'Cause me say listen to the drummer, me say listen to the bass Give me little music make me wind up me waist Me say listen to the drummer, me say listen to the bass Give me little music make me wind up me waist, I say
Pass the Dutchie on the left hand side Pass the Dutchie on the left hand side It a gonna burn, give me music make me jump and prance It a go done, give me the music make me rock in the dance
You play it on the radio, a so me say, we a go hear it on the stereo A so me know you a go play it on the disco A so me say we a go hear it on the stereo
Pass the Dutchie on the left hand side Pass the Dutchie on the left hand side It a gonna burn, give me music make me jump and prance It a go done, give me the music make me rock in the dance
I say east, say west, say north and south (on the left hand side) This is gonna make us jump and shout (on the left hand side)
Promised you a miracle Belief is a beauty thing Promises promises As golden days break wondering Chance as love takes a train Summer breeze and brilliant light One love she sees He controls on love Love sails to a new life
Promised you a miracle Belief is a beauty thing Promises promises As golden days break wondering Only love she sees He controls on love Life mirrors a cure Everything is possible With promises Everything is possible Oh no
I promised you a miracle Belief is a beauty thing Promises promises As golden days break wondering Chance reflects on them a while Love screams so quietly Slipping back on golden times Breathing with sweet memories
Promised you a miracle Belief is a beauty thing Promises promises As golden days break wondering
Only love she sees He controls on love Life mirrors a cure Everything is possible in the game of life Everything is possible Oh no
Chance lost pearls of great price Take care of family Only aches for love Love waits for fame In chance in chance theyll see
I promised you a miracle Belief is a beauty thing Promises promises As golden days break wondering
Only love she sees He controls on love Life throws a cure Everything is possible in the game of life A burning dream You can be queen Everything is possible
"Six Months in a Leaky Boat" engendered some controversy when some thought the song was a veiled attack on the British acting against the invasion by the Argentineans of the Falkland Islands and was removed from radio play lists in the UK. The band denied these allegations: it had actually been recorded in January 1982, months before the Falklands conflict.
Lyrics
When I was a young boy I wanted to sail 'round the world That's the life for me, living on the sea Spirit of a sailor circumnavigates the globe The lust of a pioneer will acknowledge no frontier
I remember you by thunderclap in the sky Lightning flash, tempers flare, 'round the horn if you dare I just spent six months in a leaky boat Lucky just to keep afloat
Aotearoa, rugged individual glisten like a pearl At the bottom of the world The tyrany of distance didn't stop the cavalier So why should it stop me? I'll conquer and stay free
Ah come on all you lads, let's forget and forgive There's a world to explore Tales to tell back on shore I just spent six months in a leaky boat Six months in a leaky boat
Shipwrecked love can be cruel Don't be fooled by her kind There's a wind in my sails, will protect and prevail I just spent six months in a leaky boat Nothing to leaky boat
Last time she jumped out the window, well, she only turned and smiled. You might think she would say something, but you'd have to wait a while.
Well the lady don't mind. No, no, no, the lady don't mind She just turns her head and disappears and I kinda like that style
Little boat that floats on a river, it's drifting through a haze She floats by whenever she wants to, well, there she goes again
Well, it's no trouble at all. No, no, no trouble at all Well, what she does is all right with me, and I kinda like that style
Come on. come on. I go up and down. I like this curious feeling. I know, I see. It's like make believe. Cover your ears so you can't hear what I'm saying. I'm not lost but I don't know Where I am. I got a question. All right. All right. This is what we like. Who knows, who knows, What I am thinking
She says love is not what she's after, but everybody knows. Each time she looks in the mirror well, she lets her feelings show.
Well, the lady don't mind No, no, no, the lady don't mind. she just turns around and dissappears, I kinda like that style
Uh-oh. Uh-oh. Here we go again I don't know, I don't know, What I'm sayin'. Hey man. Hey man. I sure don't feel the same She likes to say what she's feeling Hey. Did I get a big surprise. I know you think so. Come on. Come on. She says anything. Who knows, who knows, what she's thinking.
From Peter Schilling's first English album comes "Major Tom (Coming Home)" also known as "Major Tom" (Völlig losgelöst) in Germany. With character relation of David Bowie's "Major Tom", this song is about Major Tom faking his death so that he can stay in space where he truly belongs. David Bowie first released Space Oddity in 1969 telling about the liftoff to space and the communication malfunction that Major Tom witnessed first-hand. In 1980, Bowie released "Ashes to Ashes" which returned to the theme of Major Tom and his life in space. The events in "Major Tom (Coming Home)" happen after "Ashes to Ashes".
Lyrics
Standing there alone the ship is waiting all systems are go are you sure? control is not convinced but the computer has the evidence "no need to abort" the countdown starts
watching in a trance the crew is certain nothing left to chance all is working trying to relax up in the capsule "send me up a drink" jokes Major Tom the count goes on
second stage is cut we're now in orbit stabilizers up runnning perfect starting to collect requested data what will it effect when all is done thinks Major Tom
back at ground control there is a problem go to rockets full not responding "hello Major Tom are you receiving turn the thrusters on we're standing by" there's no reply
across the stratosphere a final message "give my wife my love" then nothing more
far beneath the ship the world is mourning they don't realize he's alive no one understands but Major Tom sees now the life commands this is my home I'm coming home
Earth below us drifting falling floating weightless coming home... Earth below us drifting falling floating weightless coming home... Earth below us drifting falling floating weightless coming coming home... home.....
All my life I wanted to fly Like the birds that you see way up in the sky Making circles in the morning sun Flying high in the sky 'till the day is done (I can't break away) Like a child in his fantacy Punching holes in the walls of reality All my life I wanted to fly But I don't have the wings and I wonder why (I can't breakaway)
Woha, well moma told me, When I was young, Stand tall girl Your numer one (she said) But you can't be what you wanna be But you can shake the course of your destiny I can't break away (omina, doke doe, onimea) Well no, no ,no ,no, no I can't break away (omina, doke doe, ominea) Oh yeah, I share, I share you, who? One is one (one) And two is two (two) You want me And I hang you Black is Black (black is black) And white is white (whit is white) So come out in the middle 'Till midnight I cant break away (omina, doke doe, ominea) Well no, no ,no ,no, no I can't break away (omina, doke doe, ominea) Oh yeah, yeah, yeah-heh-heh
Well moma told me, When I was young, Stand tall girl (stand tall girl) Your number one (your number one) (she said) You can't be what you wanna be But you can change the course of your destiny I can't break away (omina, doke doe, ominea) No, no, no ,no, no I can't break away (omina, doke doe, ominea) I can't, I can't, I can't break away (omina, doke doe, ominea) No, no, no., no, no I can't breakaway (omina, doke doe, ominea) Woo ooo ooo oh oh I can't break away (I can't break away)
"Song to the Siren" is a song written by Tim Buckley and his writing partner Larry Beckett and was first released on Buckley's 1970 album Starsailor.
The songs reference to the siren tempting sailors at sea stems from greek mythology, notably used in Homer's epic Odyssey. The siren is a mythical half-woman-half-bird creature which uses its beautiful voice to distract seamen and scupper their ships. This lyrical style is an example of Larry Beckett's literary inspirations, and stands in direct contrast to Buckley's own writing style.
The song has become perhaps Buckley's most famous song due to a number of artists covering the song after his death in 1975. It has featured as a cover on studio albums by Robert Plant on 2002 release Dreamland, by Geoff Smith on 1997 album Black Flowers, and by This Mortal Coil on 1984 album It'll End in Tears, where it was also released as a single. The single had moderate success, spending 13 weeks in the UK charts and peaking at #66 on October 23, 1983. This Mortal Coil was a collective name for artists on the 4AD Records label and Elizabeth Fraser and Robin Guthrie of the Cocteau Twins performed the song.
Lyrics
On the floating, shipless, oceans I did all my best to smile til your singing eyes and fingers drew me loving into your eyes. And you sang "Sail to me, sail to me, Let me enfold you." Here I am, here I am waiting to hold you.
Did I dream you dreamed about me? Were you here when I was full sail? Now my foolish boat is leaning, broken lovelorn on your rocks. For you sang "Touch me not, touch me not, Come back tomorrow." Oh my heart, oh my heart shies from the sorrow.
I'm as puzzled as a newborn child. I'm as riddled as the tide. Should I stand amid the breakers? Or shall I lie with death my bride? Here me sing: "Swim to me, swim to me, Let me enfold you."
"In a Lifetime" is a pop song performed by Irish artists Clannad and Bono. It was written by brothers Pól Brennan and Ciarán Brennan and produced by Steve Nye. The song was released in 1986, and was the first single to be released from Clannad's 8th studio album Macalla (1985). It charted well in many countries including USA, Ireland, UK, Italy and Brazil. It is one of Clannad's most successful songs and it remains as Bono's most successful solo effort.
The video was shot in Clannad's hometown of Gweedore, Co. Donegal, Ireland. It is set in 1930's Ireland and it is based on the lives of local folk around this time. It shows young children walking along a narrow road in the countryside, followed by a hearse. It also shows old men drinking in a pub. The video, which was directed by Meiert Avis, was praised for its haunting portrayal of the Irish countryside and old Irish traditions.
Lyrics
Hard to tell Or recognise a sign To see me through A warning sign
First the thunder Satisfied, if the past will not lie Then the storm Torn asunder The future you and I got blown away In the storm
And as the rain it falls Begin again, as the storm breaks through Heavy in my heart Believe the light in you So the light shines in you Without colour, faded and worn Torn asunder in the storm
Unless the sound has faded from your soul Unless it disappears
First the thunder Selfish storm Then the storm Hold on the inside Torn asunder One life
"Walls" is the third single released by Australian rock band Flowers, later known as Icehouse. It was released in January 1981, on independent label Regular Records from their debut album Icehouse, it peaked at #20 on the Australian singles charts.
Lyrics
Listen if you listen you will hear an endless heartbeat on the inside through the walls the sound is crawling down the corridors and halls it cracks the ceiling the windows and the doors all the rest won't listen though the walls have ears but they never really look they just stand and stare they're all standing staring at the walls
who put the writing on the walls? will no-one ever know? Oh, well I don't mind the walls
Tell me why don't you tell me? have you got nothing to say? tell me where in hell this place is tell me why I get no answers am I talking, taking to the walls? so it's running, jumping, standing still well I think I've had enough of it all get your hands up up against the wall well, I'm never going back to the factory no I'll never be a part of the machinery
who put the writing on the wall? who fights and runs away? the minutes and the hours pass him tracing out the days the days and nights drag into years and no-one ever knows Oh, well I don't mind the walls Oh, well I don't mind the walls I don't mind the walls
One night in Iowa, he and I in a borrowed car
Went driving in the summer, promises in every star
Out in the distance I could hear some people laughing
I felt my heart beat back a weekends worth of sadness
There was a farmhouse that had long since been deserted
We stopped and carved our hearts into the wooden surface
We thought just for an instant we could see the future
We thought for once we knew what really was important
Coming up close
Everything sounds like welcome home
Come home and oh, by the way
Dont you know that I could make
A dream thats barely half-awake come true
I wanted to say -
But anything I could have said
I felt somehow that you already knew
We got back in the car and listened to a dylan tape
We drove around the fields until it started getting late
And I went back to my hotel room on the highway
And he just got back in his car and drove away
Coming up close
Everything sounds like welcome home
Come home and oh, by the way
Dont you know that I could make
A dream thats barely half-awake come true
I wanted to say - but anything I could have said
I felt somehow that you already knew
Coming up close
Everything sounds like welcome home
Come home
Coming up close
Everything sounds like welcome home
Come home come on home
"Oh Sherrie" is a song written by American singer Steve Perry, Randy Goodrum, Craig Krampf, and Bill Cuomo. It was recorded and released on Perry's Street Talk album, his first solo album which he released while still a member of Journey.
The song was Perry's biggest hit as a solo artist and written for his then-girlfriend Sherrie Swafford. The song hit #3 on the Billboard charts. A video released to promote the song aided in its success, receiving heavy airplay on MTV.
Lyrics
You should've been gone Knowing how I made you feel And I should've been gone After all your words of steel Oh, I must've been a dreamer And I must've been someone else And we should've been over
Oh, Sherrie, our love Holds on, holds on Oh, Sherrie, our love Holds on, holds on
Oh, I want to let go You'll go on hurtin' me You'd be better off alone If I'm not who you thought I'd be
But you know that there's a fever Oh, that you'll never find nowhere else Can't you feel it burnin' On-and-on
Oh, Sherrie, our love Holds on, holds on Oh, Sherrie, our love Holds on, holds on Oh, Sherrie
Oh, Sherrie
But I should've been gone Long ago, far away And you should've been gone Now I know you'd lie You'll stay
Oh, Sherrie, our love Holds on, holds on Oh, Sherrie, our love Holds on, holds on
"All You Zombies" is a song by The Hooters on their second album Nervous Night released in 1985. The song failed to reach the top 40 in the US in 1985, reaching #58
The song stems from the stories of Moses receiving the Ten Commandments and Noah's Ark in the Old Testament of the Bible, and the fact that in both stories the people had rejected higher guidance. Some suggest that the song is a religious allegory on the unenlightened, warning them of what is to come if they do not accept the word of God, while others believe that the tune was written first and the lyrics only added because they fit. The song was written in one night by bandmembers Rob Hyman and Eric Bazilian.
The song has the same title as a science fiction story by Robert A. Heinlein. Although a member of the group had read the story as a teenager, the connection appears to be essentially a coincidence.
Lyrics
Holy Moses met the Pharaoh Yeah, he tried to set him straight Looked him in the eye "Let my people go"
Holy Moses on the mountain High above the golden calf Went to get the Ten Commandments Yeah, he's just gonna break them in half!
All you zombies hide your faces All you people in the street All you sittin' in high places The pieces gonna fall on you
No one ever spoke to Noah They all laughed at him instead Working on his ark Working all by himself
Only Noah saw it coming Forty days and forty nights Took his sons and daughters with him Yeah, they were the Israelites
All you zombies hide your faces All you people in the street All you sittin' in high places The pieces gonna fall on you
The rain's gonna fall on you
Holy Father, what's the matter Where have all your children gone Sitting in the dark Living all by themselves You don't have to hide any more
All you zombies show your faces... ...The pieces gonna fall on you
All you zombies show your faces (I know you're out there) All you people in the street (Let's see you) All you sittin' in high places It's all gonna fall on you
"Jeopardy" is a hit song released in 1983 by The Greg Kihn Band on their album Kihnspiracy. It is the band's first and only Top 10 hit on the Billboard Hot 100 singles chart, reaching #2 in March 1983.
A parody of the song titled "I Lost on Jeopardy" was released by "Weird Al" Yankovic in 1984. Kihn appeared in a cameo in the music video for Yankovic's parody, driving the car into which Yankovic is thrown after being kicked out of the NBC studios.
Lyrics
Oh Oh Oh Oh
Where were you when I needed you Well you could not be found What can I do, oh I believed in you You're running me around Well you can take it as a warning Or take it anyway you like It's the lightning, not the thunder You never know where it's gonna strike
Our love's in jeopardy, baby, ooh Our love's in jeopardy, baby, ooh
Don't be cute, don't be funny now It's later than you think Oh what's the use, save your money now It's hanging on the brink Don't let go while I'm hanging on 'Cause I've been hanging on so long It's so hard to be all alone I know you're not that strong, yeah, yeah
Our love's in jeopardy, baby, ooh Our love's in jeopardy, baby, ooh
Don't let go while I'm hanging on 'Cause I've been hanging on so long It's so hard to be all alone I know you're not that strong, yeah, yeah
Our love's in jeopardy, baby, ooh Our love's in jeopardy, baby, ooh Our love's in jeopardy, jeopardy, baby, ooh Our love's in jeopardy, jeopardy, baby, ooh
Were not scared to lose it all Security throw through the wall Future dreams we have to realize A thousand sceptic hands Wont keep us from the things we plan Unless were clinging to the things we prize
And do you feel scared - I do But I wont stop and falter And if we threw it all away Things can only get better Wow wow wow oh, wow wow wow oh oh oh oh
Treating today as though it was The last, the final show Get to sixty and feel no regret It may take a little time A lonely path, an uphill climb Success or failure will not alter it
A-E-A-E-I-O-U-U, I sometimes cry A-E-A-E-I-O-U-U, I sometimes cry
You tell me that you love me every day When we're alone I really feel in love But when we're out with friends I see a change You treat me bad, I feel like second best
I want your love (I want your love) Give me your love, girl (give me your love) That's how I feel, I want it to be real I want your love (I want your love) Give me your love, girl (give me your love) I need your touch and I, I owe you so much
A-E-A-E-I-O-U-U, I sometimes cry (Oh) A-E (I really care) A-E-I (I really care) O-U-U (I really care, care, care) I sometimes lie
Do you realize some things you say I know you do, it makes me so confused I'm sure this ain't the way that love should be Let's get it right, it's much too good to lose
I want your love (I want your love) Give me your love, girl (give me your love) That's how I feel but I want it to be real I want your love (I want your love) Give me your love, girl (give me your love) I need your touch and I owe you so much
A-E-A-E-I-O-U-U, I sometimes lie (Girl) A-E (I really care) A-E-I (I really care) O-U-U (I really care, care, care) I sometimes lie (Girl) A-E (I really care) A-E-I (I really care) O-U-U (I really care, care, care...) I sometimes lie
I need your love, I want your love, give me your love (give me your love) I need your love, I want your love, give me your love
Girl (girl), I know I owe you so much But can't I pay you With just, with just one touch And girl, I know you care I'll never love another To that, to that I swear
A-E-A-E (I owe you girl) I-O-U-U, I sometimes lie (yeah) A-E-A-E (I owe you girl) I-O-U-U, (owe you girl) I sometimes cry (oh) A-E-A-E-I-O-U-U, I sometimes lie
Gonna make a move that knocks you over Watch this turn one's gonna put you away But I'm doing my very best dancing Every time you're looking the other way I could move out to the left for a while I could slide to the right for a while I could get up and back Right on track But is right on track Is that gonna get you back
I've been trying to get your attention And I'm very, very close to thinking of a way I could be big and tough and other funny stuff But you just keep looking the other way
How far away can you go And still be dancing with me Would you mind staying in the vicinity I've not been faring badly But I would gladly take you back
There must be some kind of bad connection 'Cause this music does not sound the way it did I got to get up and back 'cause I've been off track And that may be just why you disappeared But now I've got you in the corner
And I've got one more move I can try of my eye And I've got one more move I can try
"Live to Tell" is the first single by American singer-songwriter Madonna from her third studio album, True Blue, and it was released on March 26, 1986 by Sire Records. It is the title song to the 1986 motion picture At Close Range.
Written and produced by Madonna and Patrick Leonard, this was also the fourth Madonna single within two years which was affiliated with a motion picture soundtrack, and the first commercially available collaboration with Leonard, who would go on to become one of Madonna's most consistent and critically acclaimed collaborators.
It topped the Billboard Hot 100 chart for the week of June 7, 1986, and reached number two on the UK singles chart (being blocked by Falco's "Rock Me Amadeus"). The song also became Madonna's first #1 hit on the US adult contemporary chart, where it stayed at the top for three weeks.
Lyrics
I have a tale to tell Sometimes it gets so hard to hide it well I was not ready for the fall Too blind to see the writing on the wall
A man can tell a thousand lies I've learned my lesson well Hope I live to tell The secret I have learned, 'till then It will burn inside of me
I know where beauty lives I've seen it once, I know the warm she gives The light that you could never see It shines inside, you can't take that from me
A man can tell a thousand lies I've learned my lesson well Hope I live to tell The secret I have learned, 'till then It will burn inside of me
The truth is never far behind You kept it hidden well If I live to tell The secret I knew then Will I ever have the chance again
If I ran away, I'd never have the strength To go very far How would they hear the beating of my heart Will it grow cold The secret that I hide, will I grow old How will they hear When will they learn How will they know
Between the eyes of love I call your name Behind the guarded walls I used to go Upon a summer wind theres a certain melody Takes me back to the place that I know Down on the beach
The secrets of the summer I will keep The sands of time will blow a mystery No-one but you and i Underneath that moonlit sky Take me back to the place that I know On the beach
Forever in my dreams my heart will be Hanging on to this sweet memory A day of strange desire And a night that burned like fire Take me back to the place that I know On the beach
"Come On Eileen" by Dexys Midnight Runners was a British single released in 1982. The song was written by Kevin Rowland, "Big" Jim Paterson, and Billy Adams; it was produced by Clive Langer and Alan Winstanley. It originally appeared on the album Too-Rye-Ay.
The song begins with Celtic-style fiddle played over a drum beat, with the bass guitar and piano providing accompaniment. An extended version has an additional intro of a Celtic fiddle solo, playing the Irish song "Believe Me If All Those Endearing Young Charms", by Matthew Locke.
The chorus was loosely inspired by the song "A Man Like Me" by the 1960s British soul group Jimmy James and the Vagabonds.
The bridge of "Come On Eileen" features an improvised counter-melody which begins in a slow tempo and gets faster and faster over an accelerando vocal backing. The chord sequence of the bridge is actually the same as the verses but transposed up by a whole tone.
The "Eileen" as featured in the video (and on the record sleeve) is Maire Fahey, sister of Siobhan Fahey, former singer with Bananarama and Shakespear's Sister. The American singer Johnnie Ray, an early rock-and-roll crooner, is also featured in the video using old film footage, and mentioned in the opening lyrics.
In the British charts, the song spent four weeks at number one in August 1982. This success was repeated around the globe; spending five weeks as the Kent Report's number one in Australia and reaching number one in April 1983 on the Billboard Hot 100 in the United States. The song was also successful in Ireland, where it reached number one on the charts and spent a total of eleven weeks in the charts.
It is a common example of a one-hit wonder in the U.S., as the band failed to reach similar popularity with any of their future songs, though in the UK they had already reached number one two years earlier with "Geno", and went on to have further hits.
Lyrics
Poor old Johnny Ray Sounded sad upon the radio, he moved a million hearts in mono. Our mothers cried and sang along and who'd blame them. Now you're grown, so grown, now I must say more than ever. Go Toora Loora Toora Loo-Rye-Aye and we can sing just like our fathers.
Come on Eileen, I swear (well he means) At this moment you mean everything, With you in that dress my thoughts I confess verge on dirty Ah come on Eileen.
These people round here wear beaten down eyes Sunk in smoke dried faces they're so resigned to what their fate is, But not us, no not us we are far too young and clever. Remember Toora Loora Toora Loo-Rye-Aye Eileen I'll hum this tune forever.
Come on Eileen, I swear, well he means Ah come on let's take off everything, That pretty red dress Eileen (Tell him yes) Ah come on let's, ah come on Eileen, please.
Mama says truth is all that matters Lying ´n´ deceiving is a sin Drifting through a world that´s torn and tattered Every thought I have don´t mean a thing Mama says love is all that matters Beauty should be deeper than your skin Living for the moment - lips and lashes Will I ever find my way again Mama says only stormy weather Don´t know why there´s no sun in the sky Footsteps in the dark come together Got to keep on moving or I´ll die
"Gypsy" is a song by the rock group Fleetwood Mac. Stevie Nicks wrote the song originally circa 1979, and the earliest demo recordings were recorded in early 1980 with Tom Moncrieff for possible inclusion on her solo debut Bella Donna. However, when Nicks' friend Robin Anderson died of leukemia, the song took on a new inspiration and Nicks held it over for Fleetwood Mac. "Gypsy" was the second single release and second biggest hit from the Mirage album following "Hold Me." "Gypsy" reached a healthy #12 on the Billboard Hot 100. The video for this song,which is directed by Russell Mulcahy, was the very first "World Premiere Video" on MTV in 1982
The song was featured in the "Silent Knight" episode of the television series Knight Rider.
Lyrics
So Im back, to the velvet underground Back to the floor, that I love To a room with some lace and paper flowers Back to the gypsy that I was To the gypsy... that I was
And it all comes down to you Well, you know that it does Well, lightning strikes, maybe once, maybe twice Ah, and it lights up the night And you see your gypsy You see your gypsy
To the gypsy that remains faces freedom with a little fear I have no fear, I have only love And if I was a child And the child was enough Enough for me to love Enough to love
She is dancing away from me now She was just a wish She was just a wish And a memory is all that is left for you now You see your gypsy You see your gypsy
Lightning strikes, maybe once, maybe twice And it all comes down to you
And it all comes down to you
Lightning strikes, maybe once, maybe twice And it all comes down to you
I still see your bright eyes, bright eyes And it all comes down to you I still see your bright eyes, bright eyes And it all comes down to you
I still see your bright eyes, bright eyes (she was just a wish) (she was just a wish) And it all comes down to you
Lightning strikes, maybe once, maybe twice And it all comes down to you
"Reckless" was a 1983 song by iconic Australian surf rock band Australian Crawl. It was written by lead singer and guitarist James Reyne.Listeners of Triple M voted "Reckless" the 39th best song of all time in 2007, it was the highest placed Australian Crawl song.
Lyrics
Meet me down by the jetty landing Where the the pontoons bump and spray I see the others reading, standing As the Manly Ferry cuts its way to Circular Quay Hear the Captain blow his whistle So long shes been away
I miss our early morning wrestle Not a very Happy way to start the day She don't like That kind of behaviour She don't like That kind of behaviour
So, throw down your guns Don't be so reckless Throw down your guns Don't be so
Feel like Scott of the Antarctic Base camp too far away A Russian sub beneath the Arctic Burke and Wills and camels Initials in the tree She don't like That kind of behaviour
So, throw down your guns Don't be so reckless Throw down your guns Don't be so
"Ticket To The Moon" is a song written and performed by Electric Light Orchestra.
It was track four on the album Time (1981) and was released as a Double A along with "Here Is The News" in January 1982 , reaching #24 in the UK charts. The song is somewhat reminiscent of their earlier output, featuring grand piano and more strings than their past few singles.
Lyrics
Remember the good old 1980s? When things were so uncomplicated? I wish I could go back there again And everything could be the same.
Ive got a ticket to the moon Ill be leaving here any day soon Yeah, Ive got a ticket to the moon But Id rather see the sunrise in your eyes.
Got a ticket to the moon Ill be rising high above the earth so soon And the tears I cry might turn into the rain That gently falls upon your window Youll never know.
Chorus: Ticket to the moon (ticket to the moon) Ticket to the moon (ticket to the moon) Ticket to the moon (ticket to the moon).
Fly, fly through a troubled sky Up to a new world shining bright, oh, oh.
Flying high above Soaring madly through the mysteries that come Wondering sadly if the ways that led me here Could turn around and I would see you there Standing there (and I would see you there, waiting...)
Ticket to the moon Flight leaves here today from satellite two As the minutes go by, what should I do? I paid the fare, what more can I say? Its just one way (only one way)...
"Head over Heels" is a song by the British pop/rock band Tears for Fears. It was the band's tenth single release in the United Kingdom (the fourth taken from their second LP Songs from the Big Chair) and eighth UK Top 40 hit, peaking at #12 in July 1985. In the USA, it was the third single from the album and continued the band's run of hits there, peaking at #3 on the Billboard Hot 100. A limited edition four-leaf clover shaped picture disc was issued for the single's release in the UK.
"Head over Heels" had been developed nearly two years prior as part of a segue with the song "Broken", which was previously a stand alone B-side to the 1983 "Pale Shelter" single. As the two songs share the same piano/synth motif, "Head over Heels" eventually came to be sandwiched in between two bookend parts of "Broken" in live performances. This placement carried over to the final track listing of the Big Chair LP, with a studio recording of "Broken" preceding "Head Over Heels" and a live reprise of "Broken" following it.
Lyrics
I wanted to be with you alone And talk about the weather But traditions I can trace against the child in your face Wont escape my attention You keep your distance with a system of touch And gentle persuasion Im lost in admiration could I need you this much Oh, youre wasting my time Youre just wasting time
Something happens and Im head over heels I never find out till Im head over heels Something happens and Im head over heels Ah dont take my heart Dont break my heart Dont throw it away
I made a fire and watching burn Thought of your future With one foot in the past now just how long will it last No no no have you no ambition My mother and my brothers used to breathe in clean in air And dreaming Im a doctor Its hard to be a man when theres a gun in your hand Oh I feel so...
Something happens and Im head over heels
And this my four leaf clover Im on the line, one open mind This is my four leaf clover
"Great Southern Land" is a single released by Australian rock band Icehouse. It was released in August 1982, before the album Primitive Man. Peaking at #5 on the Australian Singles Charts, it was later featured in the 1988 Yahoo Serious film Young Einstein.
It was re-released in the U.S. on Chrysalis Records in 1989 as both a 7" and CD single, to co-incide with the U.S. release of the compilation album, Great Southern Land.
Lyrics
Standing at the limit of an endless ocean stranded like a runaway, lost at sea city on a rainy day down in the harbour watching as the grey clouds shadow the bay looking everywhere 'cause I had to find you this is not the way that i remember it here anyone will tell you its a prisoner island hidden in the summer for a million years
Great Southern Land, burned you black
so you look into the land and it will tell you a story story 'bout a journey ended long ago if you listen to the motion of the wind in the mountains maybe you can hear them talking like I do ". . they're gonna betray, they're gonna forget you are you gonna let them take you over this way . ."
Great Southern Land, Great Southern Land you walk alone like a primitive man and they make it work with sticks and bones see their hungry eyes, its a hungry home I hear the sound of the stranger's voices I see their hungry eyes, their hungry eyes Great Southern Land, Great Southern Land they burned you black, black against the ground
Great Southern Land, in the sleeping sun you walk alone with the ghost of time they burned you black, black against the ground and they make it work with rocks and sand I hear the sound of the stanger's voices I see their hungry eyes, their hungry eyes Great Southern Land, Great Southern Land you walk alone, like a primitive man you walk alone with the ghost of time and they burned you black yeah, they burned you black Great Southern Land
Oh it's a happenin' thing, and it's happenin' to you Full moon and thunder, ribbons of blue Ice on the window, ice in my heart Foolin' with thunder, every time we start It's been rainin' for so long It's been rainin' for so long
Oh is it any wonder, the streets are dark Is it any wonder, we fall apart Day after day strange rain falls down All over town Rain comin' It's been rainin' for so long It's been rainin' for so long
Don't you go out in the rain Don't go out in the pourin' rain If you go out in the rain We'll never have that time again
Is it any wonder, the streets are dark Is it any wonder, we fall apart All these feeelin's that seem so wrong Remember we were so strong But it's been rainin' for so long It's been rainin', I can't go on
Don't you go out in the rain Don't go out in the pourin' rain If you go out in the rain We'll never have that time again Don't you go out in the rain Don't go out in the pourin' rain If you go out in the rain We'll never have that time again Don't you go out (fade)
Taking her seat at the bar She don't talk to anyone Plane leaving soon for afar Where she don't know anyone She thinks of her precious time There's no-one she leaves behind Who could change her mind
Is this the way it's gonna be forever Is this the way it's gonna be forever Is this the way it's gonna be Forever now
Take a whole life's lonliness Wrap it up in some tenderness Send it off to some emptiness With all my love Cos it's only you and me There'll be nothing we need to see Only one thing can set you free Is all my love
Making his way down the stairs He can't help but looking back Thinks of the things that they shared There'll be no more turning back He thinks of the day they met The words that she said of love He just can't forget
Just the way they wanna be forever Just the way they wanna be forever Tell me it will always be Forever now
Take a whole life's lonliness Wrap it up in some tenderness Send it off to some emptiness With all my love It's only you and me There'll be nothing we need to see Only one thing can set you free Is all my love It's only you and me There'll be nothing we need to see Only one thing can set you free Is all our love, oh yeah
Big Love" is a song by Fleetwood Mac, that appeared on their 1987 album Tango in the Night. The song was the first single to be released from the album, reaching #5 on the US charts and #9 in the UK.
"Big Love" was written by Lindsey Buckingham, and was originally going to be part of his third solo album which he began working on in 1985, but the project became a Fleetwood Mac album instead. The song epitomised the stylised production techniques used on the album, with its provocative "oh - ahh" male/female vocal exchange. Though many assumed the female "ahh" to be Stevie Nicks, it was actually Lindsey Buckingham performing both, created by way of his voice being sampled and altered in the studio to mimic that of a woman.
Lyrics
Looking out for love In the night so still Oh I'll build you a kingdom In that house on the hill Looking out for love Big, big love
You said that you love me And that you always will Oh you begged me to keep you In that house on the hill Looking out for love Big, big love
I wake up alone With it all I wake up But only to fall
Looking out for love Big, big love Just looking out for love Big, big love
"I Got You" is a 1980 song by New Zealand art rock group Split Enz from their studio album True Colours. Split Enz's most successful song ever, "I Got You" was written by Neil Finn and released as a single in January 1980, topping both New Zealand and Australia's charts at #1, and reached #12 in the United Kingdom, #13 in Canada and #53 in the United States.
Lyrics
I got you - that's all I want I won't forget - that's a whole lot I don't go out - now that you're in Sometimes we shout - but that's no problem
I don't know why sometimes I get frightened You can see my eyes, you can tell that I'm not lyin'
Look at you - you're a pageant You're everything - that I've imagined Something's wrong - I feel uneasy You show me - tell me you're not teasin'
I don't know why sometimes I get frightened You can see my eyes, you can tell that I'm not lyin'
There's no doubt - not when I'm with you When I'm without - I stay in my room Where do you go - I get no answer You're always out - it gets on my nerves
I don't know why sometimes I get frightened You can see my eyes you can tell that I'm not lying I don't know why sometimes I get frightened You can see my eyes, you can tell that I'm not lyin' I don't know why sometimes I get frightened You can see my eyes, you can tell that I'm not lying
Under the waterline no place to retire to another time the eyes of the world now turn
And if we think about it and if we talk about it and if the skies go dark with rain can you tell me does our freedom remain
Put down that weapon or we'll all be gone you can't hide nowhere with the torchlight on and it happens to be an emergency some things aren't meant to be some things don't come for free
Above the waterline point the finger yeah point the bone it's the harbour towns that the grey battleships call home and if we think about it and if we talk about it and if the sea goes boiling black can you tell me what we'll do about that
Put down that weapon or we'll all be gone I must know something to know it's so wrong and it happens to be an emergency some things aren't meant to be some things don't come for free
They keep talking about it they keep talking
Put down that weapon or we'll all be gone you must be crazy if you think you're strong and it happens to be an emergency some things aren't meant to be and some things don't come for free
"Vienna" is Ultravox's third single from their fourth album of the same name (and the first under Midge Ure's leadership). The single was released on Chrysalis Records on January 15, 1981, peaking for 4 weeks at #2 in the UK singles chart. It was kept off the #1 spot by the novelty single "Shaddap You Face" by Joe Dolce Music Theatre as well as by John Lennon's Woman.
The song takes inspiration from the 1948 film The Third Man, which is based around the Austrian capital Vienna.
The black-and-white music video, directed by Russell Mulcahy, is particularly evocative of The Third Man. It was Ultravox' second video, after Passing Strangers (also with Mulcahy), and cost £6000–£7000, footed by the band after Chrysalis refused to fund it.
It may come as a surprise to know that approximately half of it was shot on locations in central London, mainly at Covent Garden and also in the old Kilburn Gaumont Theatre in North London (sadly, now a Bingo hall). The embassy party scene was in some house we’d rented in town. Can’t remember where, but I do remember that it took the crew a long time to set up the lights to prepare for filming. So long that we all got impatient with waiting and dipped into the many cases of wine we’d laid on for refreshment after the shoot. By the time the crew was ready to film, we were all well partying for real.
The other half was in Vienna. We did it on the cheap. There was just us and Nick, our trusty camera man. We took an early morning flight to Vienna, ran round like loonies in and out of taxis as we filmed, and soon discovered that, due to it being the winter off-season, many of the splendid places we’d been counting upon filming were either shut for redecorating or covered with webs of scaffolding. “What do you mean it’s ‘closed for repairs’?!” We finished up in the cemetery for the shots with the statue which had been used for the single’s cover (a gentleman who made pianos for the rich and famous of his time, I believe), did the sunset shot, and then dashed back to London to start editing.
Lyrics
We walked in the cold air Freezing breath on the window pain Lying waiting
A man in the dark in the picture frame So mystic and soulful. A voice reaching out and a piercing cry
It stays with you until The feeling is gone only you and I This means nothing to me This means nothing to me
Oh Vienna
The music is weaving Haunting notes pizzicato strings The rhythm is calling Alone in the night as the daylight brings a cold empty silence The warmth of your hand and a cold grey sky
It fades to the distance.
The image is gone only you and I This means nothing to me This means nothing to me
There's an army on the dance floor It's a fashion with a gun my love In a room without a door A kiss is not enough in
Love my way, It's a new road I follow where my mind goes
They'd put us on a railroad They'd dearly make us pay For laughing in their faces And making it our way There's emptiness behind their eyes There's dust in all their hearts They just want to steal us all And take us all apart But not in
Love my way, it's a new road I follow where my mind goes I follow where my mind goes I follow where my mind goes
Swallow all your tears my love And put on your new face You can never win or lose If you don't run the race
"Counting the Beat" is a single by New Zealand rock band The Swingers released in 1981 from their album of the same name, Counting the Beat.
The single was performed by a New Zealand band, The Swingers with frontman Phil Judd from Split Enz. The group is considered a one hit wonder as this was their only real charting single. It is well known for its catchy beat and memorable music video. The music track was also featured in advertisements for Kmart during the 90s. It was included on an episode of the Australian TV program 20 to 1, the topic was "One hit wonders", where it rated number 13, and was wrongly identified as Australian in origin.
Lyrics
Look at the sunrise I look at it burn I look into your eyes Don't know where to turn I'm gonna drift into that void I'm flying through space, I'm an asteroid Time doesn't take place when you're paranoid I'm thinking about you, and nothing else Thinking about you, you're thinking about me Thinking about you, I'm counting the beat
Thinking about you Thinking about me Thinking about just you and me, la da de de, there ain't no place I'd rather be
La da de da, la da de da, la da de da, la da de da La da de da, la da de da, la da de da, la da de da La da de da, la da de da, la da de da, la da de da Oh, oh, oh, oh, oh, oh, oh!
I'm bleeding to death On a cloudless day A three, a four heartbeat A waltzin' away... Oooh ooh, oo oo Oooh ooh, oo oo Oooh ooh, oo oo Oooh ooh, oo oo I'm counting the beat 2 3 4 5, I'm feeling the heat to be alive I'm counting the beat 6 7 8 9, I'm wishing that you, That you were mine Thinking about you, you're thinking about me Thinking about you and counting the beat Thinking about you Thinking about me Thinking about you... Thinking about me... Thinking about you..... Thinking about, Just you and me, la da de de, there ain't no place I'd rather be La da de da, la da de da, la da de da, la da de da (repeat)
"Synchronicity II" is a song by The Police recorded in 1983 and was included on their hit album Synchronicity. It was released as a single in the UK by A&M Records. The third UK single from the album, it reached #17 in the charts in October 1983. It featured non-album track "Once Upon A Daydream" on the b-side.
Sting explained the theme of the song to Time magazine:
"Jung believed there was a large pattern to life, that it wasn't just chaos. Our song Synchronicity II is about two parallel events that aren't connected logically or causally, but symbolically."
The memorable music video for the song was directed by Godley & Creme.
Lyrics
Another suburban family morning Grandmother screaming at the wall We have to shout above the din of our Rice Crispies We can't hear anything at all Mother chants her litany of boredom and frustration But we know all her suicides are fake Daddy only stares into the distance There's only so much more that he can take Many miles away Something crawls from the slime At the bottom of a dark Scottish lake
Another industrial ugly morning The factory belches filth into the sky He walks unhindered through the picket lines today He doesn't think to wonder why The secretaries pout and preen like cheap tarts in a red light street But all he ever thinks to do is watch And every single meeting with his so-called superior Is a humiliating kick in the crotch Many miles away Something crawls to the surface Of a dark Scottish loch
Another working day has ended Only the rush hour hell to face Packed like lemmings into shiny metal boxes Contestants in a suicidal race Daddy grips the wheel and stares alone into the distance He knows that something somewhere has to break He sees the family home now looming in his headlights The pain upstairs that makes his eyeballs ache Many miles away There's a shadow on the door Of a cottage on the shore Of a dark Scottish lake Many miles away, many miles away
The song talks about a prostitute named Maxine who ends up being murdered.
Lyrics
Creases in your white dress, Bruises on your bare skin Looks like another fine mess youve got yourself into Whats the matter with you, Has the cat got your tongue Well, if you dont like the beat then dont play with the drum
Maxine, youre not the only one to take the whole world on But no ones ever won Maxine, Case one-three-five-two, A red and green tattoo Eyes cold steel blue
On a rain slicked avenue, Long shadows in the night Take off your spike heeled shoes Youve got to run for your life (run for your life) Razor blade in your pocket, From an ex-marine Makes you speed like a rocket, Ooh, it cuts so clean
Maxine, (Whos that walking, walking behind you) Youre not the only one (Whos that talking, talking about you) To take the whole world on, (Whos that walking, walking with you, Maxine) But no ones ever won Maxine, (Whos that walking, walking behind you) Case one-three-five-two (Whos that talking, talking about you) A red and green tattoo, (Whos that walking, walking with you, Maxine) Eyes cold as steel blue
How come you're playing for borrowed time, staring out into space Bad boys and cold comfort, And a smacked-up face
Maxine, (Whos that walking, walking behind you) Youre not the only one, (Whos that talking, talking about you) To take the whole world on, (Whos that walking, walking with you, Maxine) But no ones ever won Maxine, (Whos that walking, walking behind you) Case one-three-five-two (Whos that talking, talking about you) A red and green tattoo, (Whos that walking, walking with you, Maxine) Eyes cold as steel Maxine, (Whos that walking, walking behind you) Youre not the only one, (Whos that talking, talking about you) To take the whole world on, (Whos that walking, walking)
"The Unforgettable Fire" is the fourth track on U2's 1984 album of the same name and was released as the album's second single. The song was inspired by an art exhibition of the same name by victims of the atomic bombings of Hiroshima and Nagasaki. The song became the band's third Top 10 hit in the UK, reaching #6 on the UK Singles Chart and #8 on the Dutch singles chart, but it was yet to break them into the U.S. The track's string arrangement was by Irish jazz musician Noel Kelehan.
Lyrics
Ice Your only rivers run cold These city lights They shine as silver and gold Dug from the night Your eyes as black as coal Walk on by Walk on through Walk 'til you run And don't look back For here I am
Carnival The wheels fly and the colors spin Through alcohol, Red wine that punctures the skin Face to face In a dry and waterless place
Walk on by Walk on through So sad to beseige your love so head on Stay in this time Stay tonight in a lie I'm only asking but I I think you know Come on take me away Come on take me away Come on take me home Home again
And if the mountain should crumble Or disappear into the sea Not a tear, no not I Stay in this time Stay tonight in a lie Ever after This love in time And if you save your love Save it all
Don't push me too far Don't push me too far Tonight Tonight
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