The Killers, Sort Sol, Leonard Nimoy and the German band Wolfsheim. Several foreign-language versions have been recorded: Greek singer Nana Mouskouri recorded a French version entitled "Ruby, garde ton cœur ici" for her 1970 album Dans le soleil et dans le vent; Gerhard Wendland recorded a German version "Ruby, schau einmal über'n Zaun" in 1970; Pavel Bobek, Czech country singer, recorded "Oh Ruby, nechtěj mi lásku brát" in 1970; Gary Holton and Casino Steel's English-language version was a number one hit in Norway at the beginning of 1982. French singer Eddy Mitchell recorded a French version entitled "Ruby tu reviens au pays" for his 1974 album Rocking in Nashville. Answer songs An answer song to "Ruby," entitled "Billy, I've Got to Go to Town," was released in 1969 by Geraldine Stevens, who had previously recorded successfully under the name Dodie Stevens. Sung to the same melody with an arrangement quite similar to the First Edition version, "Billy" peaked at number 117 pop, number 57 country. It reached number 83 in Canada. In Stevens's song, Ruby affirms her love for her disabled husband, who is named "Billy" in her song whereas in "Ruby," he is not named. She pleads in turn for her man to have faith in her fidelity and her commitment to him even in his paralyzed condition. In 1972, Bobby Womack released the album Understanding, which included the song "Ruby Dean." The lyrics and melody are similar to "Ruby, Don't Take Your Love to Town" but the story is told from the perspective of Ruby's son. The son urges his mother to respect his father and to stop seeing other men. In the original song, no children between the couple are ever mentioned. In culture The song is featured prominently in the 1971 West German film Rio das Mortes directed by Rainer Werner Fassbinder. The song is also quoted repeatedly by Sully, the protagonist of Richard Russo's 1993 novel Nobody's Fool. "Ruby, Don't Take Your Love to Town " is mentioned in series 1 episode 6 of Victoria Wood's comedy television series dinnerladies. Video A "social commentary" video consisting solely of a camera panning back and forth in a bedroom while the song played was shown at the end of a Huntley-Brinkley Report during 1969. Chet Huntley set up the video by linking it to the controversial Vietnam War and the sacrifices made by U.S. servicemen and their