Sunday, November 19, 2017

695 – Cat Stevens – Here comes my babe (1967)

Escrita por Cat Stevens, foi gravada inicialmente pelos Tremeloes e lançada por eles em Janeiro de 1967. Mas a versão que escolhemos foi a do próprio Cat Stevens, gravada em primeiro de fevereiro de 1967 e lançada em 10 de março de 1967, no disco Matthew and Son.

A letra:


In the midnight moonlight I'll be walking a long and lonely mile.
And every time I do, I keep seeing this picture of you.

Here's comes my baby, here she comes now,
And it comes as no surprise to me, with another guy.
Here's comes my baby, here she comes now,
Walking with a love, with a love that's all so fine,
Never could be mine, no matter how I try.

You never walk alone, and you're forever talking on the phone.
I've tried to call you names, but every time it comes out the same.

Here's comes my baby, here she comes now,
And it comes as no surprise to me, with another guy.
Here's comes my baby, here she comes now,
Walking with a love, with a love that's all so fine,
Never could be mine, no matter how I try.

I'm still waiting for your heart, cuz I'm sure that some day it's gonna start.
You'll be mine to hold each day, but 'til then this is all that I can say.

Here's comes my baby, here she comes now,
And it comes as no surprise to me, with another guy.
Here's comes my baby, here she comes now,
Walking with a love, with a love that's all so fine,
Never could be mine, no matter how I try.

A versão de Cat Stevens:


A versão dos Tremeloes:


A versão dos Mavericks:

Saturday, November 18, 2017

694 – Tommy James and The Shondells – I think we're alone now (1967)

Escrita por Ritchie Cordell, foi lançada por Tommy James and The Shondells em 5 de janeiro de 1967, num compacto que tinha Gone, gone, gone como Lado B. Chegou ao número 4 dos charts pop americanos. Foi regravada por vários artistas. Em 1987, Tiffany chegou ao número 1 em vários países, incluindo Estados Unidos, Reino Unido, Canadá e Nova Zelândia.

Apenas Tommy James e Eddie Gray, da banda, participaram da gravação. O resto dos membros fizeram backing vocals. O resto dos músicos na gravação foram músicos de estúdio. Al Gorgoni tocou guitarra e Paul Griffin tocou piano, entre outros músicos.

A letra fala de fazer coisas proibidas.

Foi regravada por Lene Lovich em 1978, por Tiffany, em 1987, como dito anteriormente, Snuff gravou-a em 1989 e novamente em 1998, foi também regravada pelas Girls Aloud, em 2006. Além dessas versões, ainda foi regravada pelos Turtles, por Gary Lewis and The Playboys, entre outros artistas.

A letra:

"Children, behave"
That's what they say when we're together
"And watch how you play"
They don't understand

And so we're running just as fast as we can
Holding on to one another's hand
Trying to get away into the night
And then you put your arms around me
As we tumble to the ground and then you say

I think we're alone now
There doesn't seem to be anyone around
I think we're alone now
The beating of our hearts is the only sound

Look at the way
We gotta hide what we're doing
'Cause what would they say
If they ever knew

And so we're running just as fast as we can
Holding on to one another's hand
Trying to get away into the night
And then you put your arms around me
As we tumble to the ground and then you say

I think we're alone now
There doesn't seem to be anyone around
I think we're alone now
The beating of our hearts is the only sound

I think we're alone now
There doesn't seem to be anyone around
I think we're alone now
The beating of our hearts is the only sound
I think we're alone now
There doesn't seem to be anyone around
I think we're alone now

A versão de Tommy James and The Shondells:


A versão de Tiffany:


A versão de Gary Lewis and The Playboys:

Wednesday, November 15, 2017

693 – Leonard Cohen – One of us cannot be wrong (1967)

Escrita por Leonard Cohen, foi gravada em outubro e novembro de 1967, nos estúdios da Columbia, em New York City e lançada em 27 de dezembro de 1967, no disco Songs of Leonard Cohen. Ele disse que a escreveu enquanto estava sob o efeito de anfetamina e perseguindo uma loira que ele havia visto num poster nazista.

A letra:

I lit a thin green candle, to make you jealous of me.
But the room just filled up with mosquitos,
they heard that my body was free.
Then I took the dust of a long sleepless night
and I put it in your little shoe.
And then I confess that I tortured the dress
that you wore for the world to look through.
I showed my heart to the doctor: he said I just have to quit.
Then he wrote himself a prescription,
and your name was mentioned in it!
Then he locked himself in a library shelf
with the details of our honeymoon,
and I hear from the nurse that he's gotten much worse
and his practice is all in a ruin.

I heard of a saint who had loved you,
so I studied all night in his school.
He taught that the duty of lovers
is to tarnish the golden rule.
And just when I was sure that his teachings were pure
he drowned himself in the pool.
His body is gone but back here on the lawn
his spirit continues to drool.

An Eskimo showed me a movie
he'd recently taken of you:
the poor man could hardly stop shivering,
his lips and his fingers were blue.
I suppose that he froze when the wind took your clothes
and I guess he just never got warm.
But you stand there so nice, in your blizzard of ice,
oh please let me come into the storm.

A versão de Leonard Cohen:


A versão de Beck:


A versão de Gregory Alan Isakov:

Monday, November 13, 2017

692 – The Rolling Stones – Back street girl (1967)

Escrita por Mick Jagger e Keith Richards, foi gravada entre agosto e novembro de 1966 e lançada em 20 de janeiro de 1967, no disco Between the buttons.

É uma valsa que tem Brian Jones tocando vibraphone e Jack Nitzsche tocando harpsichord. Nick de Caro tocou sanfona.

Mick Jagger cantou e estalou os dedos. Keith Richards tocou violão. Bill Wyman no baixo. Charlie Watts tocou pandeiro e claves.

Foi regravada por Don Nix com George Harrison, em 1976, Bobby Darin e Jennifer Warnes, entre outros.

A letra:

I don't want you to be high
I don't want you to be down
Don't want to tell you no lie
Just want you to be around
Please come right up to my ears
You will be able to hear what I say
Don't want you out in my world
Just you be my backstreet girl
Please don't be part of my life
Please keep yourself to yourself
Please don't you bother my wife
That way you won't get no help
Don't try to ride on my horse
You're rather common and coarse anyway
Don't want you out in my world
Just you be my backstreet girl
Please don't you call me at home
Please don't come knocking at night
Please never ring on the phone
Your manners are never quite right
Please take the favors I grant
Curtsy and look nonchalant, just for me
Don't want you part of my world
Just you be my backstreet girl

A versão dos Rolling Stones:


A versão de Bobby Darin:


A versão de Marianne Faithfull e Fernando Saunders:


Sunday, November 12, 2017

691 – Procol Harum – Homburg (1967)

Escrita por Gary Brooker and Keith Reid, foi lançada pelo Procol Harum em 22 de setembro de 1967, no compacto que tinha Good captain Clack como Lado B.

Foi o compacto que veio logo após o hit gigante deles, A whiter shade of pale. Homburg chegou ao número 6 nos charts britânicos, número 15 no Canadá e número 34 nos Estados Unidos. Foi número 1 em vários países, incluindo Austrália, África do Sul e Holanda. Uma versão em italiano chegou ao número da Itália e ficou nessa posição por 10 semanas.

A letra:

Your multilingual business friend
has packed her bags and fled
Leaving only ash-filled ashtrays
and the lipsticked unmade bed
The mirror on reflection
has climbed back upon the wall
for the floor she found descended
and the ceiling was too tall
Your trouser cuffs are dirty
and your shoes are laced up wrong
you'd better take off your homburg
'cos your overcoat is too long
The town clock in the market square
stands waiting for the hour
when its hands they both turn backwards
and on meeting will devour
both themselves and also any fool
who dares to tell the time
And the sun and moon will shatter
and the signposts cease to sign

A versão do Procol Harum:


Procol Harum com orquestra, em 2006:


A versão de Mike Evans:

Saturday, November 11, 2017

690 – The Mamas and The Papas – Creeque Alley (1967)

Escrita por John Phillips and Michelle Phillips, foi lançada pelos The Mamas and The Papas em abril de 1967, em um compacto que tinha Did you ever want to cry como Lado B.

É uma canção autobiográfica, que conta como o grupo foi formado, anos antes. Chegou ao número 5 dos charts pop americanos, número 9 no Reino Unido e número 4 no Canadá.

O nome se deu ao nome de um e nas Ilhas Virgens, aonde alguns membros do grupo passavam suas férias.

A letra:

John and Mitchie were gettin' kind of itchy
Just to leave the folk music behind;
Zal and Denny workin' for a penny
Tryin' to get a fish on the line.
In a coffee house Sebastian sat,
And after every number they'd pass the hat.
McGuinn and McGuire just a-gettin' higher in L.A.,
You know where that's at.
And no one's gettin' fat except Mama Cass.
Zallie said, "Denny, you know there aren't many
Who can sing a song the way that you do; let's go south."
Denny said, Zallie, golly, don't you think that I wish
I could play guitar like you."
Zal, Denny, and Sebastian sat (at the Night Owl)
And after every number they'd pass the hat.
McGuinn and McGuire still a-gettin higher in L.A.,
You know where that's at.
And no one's gettin' fat except Mama Cass.

When Cass was a sophomore, planned to go to Swathmore
But she changed her mind one day.
Standin' on the turnpike, thumb out to hitchhike,
"Take me to New York right away."
When Denny met Cass he gave her love bumps;
Called John and Zal and that was the Mugwumps.
McGuinn and McGuire couldn't get no higher
But that's what they were aimin' at.
And no one's gettin' fat except Mama Cass.

Mugwumps, high jumps, low slumps, big bumps -
Don't you work as hard as you play.
Make up, break up, everything is shake up;
Guess it had to be that way.
Sebastian and Zal formed the 'Spoonful;
Michelle, John, and Denny gettin' very tuneful.
McGuinn and McGuire just a-catchin' fire in L.A.,
You know where that's at.
And everybody's gettin' fat except Mama Cass.

Broke, busted, disgusted, agents can't be trusted,
And Mitchie wants to go to the sea.
Cass can't make it; she says we'll have to fake it -
We knew she'd come eventually.
Greasin' on American Express cards;
Tents low rent, but keeping out the heat's hard.
Duffy's good vibrations and our imaginations
Can't go on indefinitely.
And California dreamin' is becomin' a reality...

A versão dos Mamas and Papas:


A versão dos Rebels:


A versão de Melody 101:

Tuesday, November 7, 2017

689 – The Buckinghams – Don't you care (1967)

Escrita por Gsry Beisber e Jim Holvay, foi lançada pelos Buckinghams em março de 1967, em um compacto que tinha Why don't you love me como Lado B.

Chegou ao número 6 nos Estados Unidos e número 4 no Canadá.

A letra:

If you don't love me
Why don't you tell me
Instead of running around
With all the other guys in town
Can't you see
You're hurting me
Don't you care
Don't you care
If you don't want me
Why don't you tell me
Instead of telling lies
And making me cry
Can't you see
You're hurting me
Don't you care
Don't you care
Whatever happened
To all the good times we used to have
The times we cried and laughed
I want to know, I want to know
Will you ever love me again
Or will I find out that this is the end
Don't you care
My my my my baby
You said that you'd believe me
Then why'd you ever leave me
I'm standing here all alone
Without a girl of my own
Can't you see
You're hurting me
Don't you care
Don't you care
Don't you care
Don't you care
Don't you care
Don't you care
Don't you care
Don't you care

A versão dos Buckinghams:


A versão do Vinyl Highway Band:


A versão dos Miller Brothers:


Monday, November 6, 2017

688 – The Hollies – Carrie Anne (1967)

Escrita por Alan Clarke, Graham Nash e Tony Hicks, foi gravada pelos Hollies em primeiro de maio de 1967, nos estúdios da EMI em Londres. Foi lançada em 26 de maio de 1967 num compacto que tinha Signs that will never change como Lado B.

Chegou ao número 3 dos charts pop ingleses. Chegou ao número 9 nos Estados Unidos e Canadá. Chegou ao número 4 nos charts irlandeses.

Foi feita durante um show que o grupo fez com Tom Jones. Nash disse que a canção foi escrita para Marianne Faithfull, mas que ele era muito tímido pra dizer o nome dela.

A letra:

Doo doo doo-doo doo doo doo-doo doo
Doo doo doo-doo doo doo doo-doo doo
Hey, Carrie Anne
Hey, Carrie Anne

When we were at school our games were simple
I played the janitor, you played the monitor
Then you played with older boys and prefects
What's the attraction in what they're doing

[Chorus:]
Hey Carrie Anne
What's your game now, can anybody play
Hey Carrie Anne
What's your game now, can anybody play

You were always something special to me
Quite independent, never caring
You lost your charm as you were aging
Where is your magic disappearing

[Chorus]

You're so, so like a woman to me
Oh like a woman to me
So, so like a woman to me
Like a woman to me

[Chorus]

People live and learn but you're still learning
You use my mind and I'll be your teacher
When the lesson's over you'll be with me
Then I'll hear the other people saying

[Chorus]

Carrie Anne, Carrie Anne, Carrie Anne, Carrie Anne

A versão dos Hollies:


A versão de Ali Campbell:


A versão de Flat Five:

Friday, November 3, 2017

687 – Leonard Cohen – Master Song (1967)

Escrita por Leonard Cohen, foi gravada em outubro e novembro de 1967, nos estúdios da Columbia, em New York City e lançada em 27 de dezembro de 1967, no disco Songs of Leonard Cohen.

Master song foi escrita num banco de pedra, que tem situado entre as ruas Guy e Burnside.

I believe that you heard your master sing
when I was sick in bed.
I suppose that he told you everything
that I keep locked away in my head.
Your master took you travelling,
well at least that's what you said.
And now do you come back to bring
your prisoner wine and bread?
You met him at some temple, where
they take your clothes at the door.
He was just a numberless man in a chair
who'd just come back from the war.
And you wrap up his tired face in your hair
and he hands you the apple core.
Then he touches your lips now so suddenly bare
of all the kisses we put on some time before.
And he gave you a German Shepherd to walk
with a collar of leather and nails,
and he never once made you explain or talk
about all of the little details,
such as who had a word and who had a rock,
and who had you through the mails.
Now your love is a secret all over the block,
and it never stops not even when your master fails.
And he took you up in his aeroplane,
which he flew without any hands,
and you cruised above the ribbons of rain
that drove the crowd from the stands.
Then he killed the lights in a lonely Lane
and, an ape with angel glands,
erased the final wisps of pain
with the music of rubber bands.
And now I hear your master sing,
you kneel for him to come.
His body is a golden string
that your body is hanging from.
His body is a golden string,
my body has grown numb.
Oh now you hear your master sing,
your shirt is all undone.
And will you kneel beside this bed
that we polished so long ago,
before your master chose instead
to make my bed of snow?
Your eyes are wild and your knuckles are red
and you're speaking far too low.
No I can't make out what your master said
before he made you go.
Then I think you're playing far too rough
for a lady who's been to the moon;
I've lain by this window long enough
to get used to an empty room.
And your love is some dust in an old man's cough
who is tapping his foot to a tune,
and your thighs are a ruin, you want too much,
let's say you came back some time too soon.
I loved your master perfectly
I taught him all that he knew.
He was starving in some deep mystery
like a man who is sure what is true.
And I sent you to him with my guarantee
I could teach him something new,
and I taught him how you would long for me
no matter what he said no matter what you'd do.
I believe that you heard your master sing
while I was sick in bed,
I'm sure that he told you everything
I must keep locked away in my head.
Your master took you travelling,
well at least that's what you said,
And now do you come back to bring
your prisoner wine and bread?

A versão de Leonard Cohen:


A versão de Michael Bradley:


A versão de James Eure:

686 – The Herman's Hermits – There's a kind of hush all over the world (1967)

Escrita por Geoff Stephens e Les Reed, foi gravada em Londres, em 7 de dezembro de 1966, nos estúdios De Lane Lea. Foi lançada em janeiro de 1967 no compacto que tinha No Milk Today nos Estados Unidos e Gaslight street no Reino Unido.

Foi gravada em disco inicialmente pelo New Vaudeville Band, banda de Geoff Stephens. O primeiro compacto, no entanto, veio com Gary and The Hornets, de Franklin, Ohio, que se tornou um sucesso regional.

A versão dos Herman's Hermits, no entanto, chegou ao número 4 dos charts pop americanos e foi o último hit deles a ser TOP TEN. Venderam mais de um milhão de cópias nos Estados Unidos. No Reino Unido, eles chegaram ao número 7. Número 5 na Austrália e número 9 na África do Sul.

Foi também regravada pelos Carpenters em 1976.

A letra:

There's a kind of hush all over the world tonight
All over the world you can hear the sounds of lovers in love
You know what I mean
Just the two of us and nobody else in sight
There's nobody else and I'm feelin' good just holdin' you tight

So listen very carefully
Closer now and you will see what I mean
It isn't a dream
The only sound that you will hear
Is when I whisper in your ear
"I love you forever and ever"

There's a kind of hush all over the world tonight
All over the world you can hear the sound of lovers in love
La la-la la-la la-la
La-la la-la la-la la-la
La-la-la-la-la la-la la-la-la
La la-la la-la

So listen very carefully
Closer now and you will see what I mean
It isn't a dream
The only sound that you will hear
Is when I whisper in your ear
"I love you forever and ever"

There's a kind of hush all over the world tonight
All over the world, people just like us are falling in love
Yeah, they're falling in love
They're falling in love

A versão dos Herman's Hermits:


A versão de Carpenters:


A versão de Engelbert Humperdinck:

Thursday, November 2, 2017

685 – The Doors – Soul Kitchen (1967)

Escrita por Jim Morrison, Ray Manzarek, Robby Krieger e John Densmore, foi gravada entre 19 e 24 de agosto de 1966 e lançada em 4 de janeiro de 1967, no disco chamado The Doors. Foi gravada no Sunset Sound Studios, em Hollywood, California e produzida por Paul Rothchild.

Jim Morrison cantou, Ray Manzareck tocou orgao Vox Continental, Robby Krieger tocou guitarra solo, baixo e John Densmore tocou bateria e percussão. Larry Knechtel também tocou baixo.

A letra:

Well, the clock says it's time to close now
I guess I'd better go now
I'd really like to stay here all night
The cars crawl past all stuffed with eyes
Street lights share their hollow glow
Your brain seems bruised with numb surprise
Still one place to go
Still one place to go

Let me sleep all night in your soul kitchen
Warm my mind near your gentle stove
Turn me out and I'll wander baby
Stumblin' in the neon groves

Well, your fingers weave quick minarets
Speak in secret alphabets
I light another cigarette
Learn to forget, learn to forget
Learn to forget, learn to forget

Let me sleep all night in your soul kitchen
Warm my mind near your gentle stove
Turn me out and I'll wander baby
Stumblin' in the neon groves

Well the clock says it's time to close now
I know I have to go now
I really want to stay here
All night, all night, all night

A versão dos Doors:


A versão de Echo and The Bunnymen:


A versão de Patti Smith:



Tuesday, October 24, 2017

684 – Grateful Dead – (Walk me out in the) Morning dew (1967)

Escrita por Bonnie Dobson, foi lançado inicialmente por ela em 1962, mas a versão que escolhemos e a que ficou mais famosa, foi do Grateful Dead, de 1967.

A canção é um diálogo entre o último homem e a última mulher que ficaram vivos na terra após uma catástrofe apocaliptica. Foi escrita em 1961 enquanto Dobson estava em Lo Angeles na casa de uma amiga. Todos falavam sobre o dia seguinte da uma guerra nuclear e ela foi pra cama e escreveu essa canção. Ela nunca havia escrito nenhuma canção até aquele momento.

Fred Neil então gravou-a em 1964. Tim Rose gravou-a então em 1967. A nossa versão, do Grateful Dead, chegou ao número 17 na Irlanda. Lulu gravaria sua versão em 1967 também.

Foi regravada também por Jeff Beck, Duane and Greg Allman, Nazareth, Robert Plant, entre outros artistas.

A letra:

Walk me out in the morning dew my honey,
Walk me out in the morning dew today.
I can't walk you out in the morning dew my honey,
I can't walk you out in the morning dew today.

I thought I heard a baby cry this morning,
I thought I heard a baby cry this today.
You didn't hear no baby cry this morning,
You didn't hear no baby cry today.

Where have all the people gone my honey,
Where have all the people gone today.
There's no need for you to be worrying about all those people,
You never see those people anyway.

I thought I heard a young man morn this morning,
I thought I heard a young man morn today.
I thought I heard a young man morn this morning,
I can't walk you out in the morning dew today.

Walk me out in the morning dew my honey,
Walk me out in the morning dew today.
I'll walk you out in the morning dew my honey,
I guess it doesn't really matter anyway,
I guess it doesn't matter anyway,
I guess it doesn't matter anyway,
Guess it doesn't matter anyway.

A versão do Grateful Dead:


A versão de Lulu:


A versão de Bonjie Dobson com Robert Plant:

Monday, October 16, 2017

683 – Johnny Cash and June Carter – Jackson (1967)

Escrita por Billy Edd Wheeler e Jerry Leiber em 1963, foi primeiramente gravada por Wheeler. A gravação mais famosa no entanto é que a escolhemos, feita por Johnny Cash e June Carter e lançada em 6 de fevereiro de 1967, num compacto que tinha Pack up your sorrows como Lado B. A versão de Cash e Carter chegou ao número 2 dos charts country americanos.

Nancy Sinatra também gravou-a em 1967, com Lee Hazlewood, chegando ao número 14 dos charts pop americanos. A canção fala sobre um casal que descobre que o fogo da relação acabou. Então a canção fala do desejo dos dois de irem até Jackson, onde esperam que sejam bem vindos.

Foi também regravada pelo Kingston Trio, Joaquin Phoenix com Resse Witherspoon, INXS, entre outros artistas.

A letra:

We got married in a fever, hotter than a pepper sprout,
We've been talkin' 'bout Jackson, ever since the fire went out.
I'm goin' to Jackson, I'm gonna mess around,
Yeah, I'm goin' to Jackson,
Look out Jackson town.

Well, go on down to Jackson; go ahead and wreck your health.
Go play your hand you big-talkin' man, make a big fool of yourself,
You're goin' to Jackson; go comb your hair!
Honey, I'm gonna snowball Jackson.
See if I care.

When I breeze into that city, people gonna stoop and bow. (Hah!)
All them women gonna make me, teach 'em what they don't know how,
I'm goin' to Jackson, you turn-a loose-a my coat.
'Cos I'm goin' to Jackson.
"Goodbye," that's all she wrote.

But they'll laugh at you in Jackson, and I'll be dancin' on a Pony Keg.
They'll lead you 'round town like a scalded hound,
With your tail tucked between your legs,
You're goin' to Jackson, you big-talkin' man.
And I'll be waitin' in Jackson, behind my Jaypan Fan,

Well now, we got married in a fever, hotter than a pepper Sprout,
We've been talkin' 'bout Jackson, ever since the fire went out.
I'm goin' to Jackson, and that's a fact.
Yeah, we're goin' to Jackson, ain't never comin' back.

Well, we got married in a fever, hotter than a pepper sprout'
And we've been talkin' 'bout Jackson, ever since the fire went...

[To Fade]

A versão de Johnny Cash e June Carter:


A versão de Joaquin Phoenix e Reese Witherspoon:


A versão de Nancy Sinatra e Lee Hazlewood:

Sunday, October 15, 2017

682 – Peter, Paul and Mary – I dig rock and roll music (1967)

Escrita por Paul Stoockey, James Mason e Dave Dixon, foi lançada por Peter, Paul and Mary em 1967, em um compacto que tinha The great Mandella (The wheel of life), como Lado B.

A letra fala de artistas de rock da época, como The Mamas and The Papas, Donovan e os Beatles. Chegou ao número 9 dos charts pop americanos.

A letra:

I dig rock and roll music
And I love to get the chance to play (And sing it)
I figure it's about the happiest sound goin' down today
The message may not move me
Or mean a great deal to me
But hey! It feels so groovy to say

I dig The Mamas & The Papas at the trip Sunset Strip in L.A.
And they got a good thing goin' when the words don't get in the way
And when they're really wailing
Michelle and Cass are sailin'
Hey! They really nail me to the wall

I dig Donovan in a dream-like, tripped out way
His crystal images, hey, they tell you 'bout a brighter day
And when The Beatles tell you
They've got a word "love" to sell you
They mean exactly what they say

I dig rock and roll music
I could really get it on in that scene
I think I could say somethin' if you know what I mean
But if I really say it
The radio won't play it
Unless I lay it between the lines

A versão de Peter, Paul and Mary:


A versão de Jim Mason, um dos autores:


A versão de Michael Monroe, somente áudio:

Friday, October 13, 2017

681 – Leonard Cohen – Hey, that's no way to say goodbye (1967)

Escrita por Leonard Cohen, foi lançada por Judy Collins em novembro de 1967, no disco Wildflowers. Mas a versão que escolhemos é a do própio autor, Leonard Cohen, lançada em dezembro de 1967, no seu disco Songs of Leonard Cohen.

Leonard Cohen escreveu essa música enquanto estava hospedado no Penn Terminal Hotel, em New York City, na 34th street. Ele disse que estava num quarto muito quente e não podia abrir a janela. Estava no meio de uma briga com uma mulher loira. A canção foi escrita em lápis e protegia eles em cada manobra da briga, em direção à uma vitória incondicional. Ele disse que estava no quarto errado e com a mulher errada. Esse foi o nascimento dessa canção.

Foi regravada também por Roberta Flack, no disco de estréia dela, First Take e foi regravada também por muitos artistas.

A letra:

I loved you in the morning, our kisses deep and warm,
your hair upon the pillow like a sleepy golden storm,
yes, many loved before us, I know that we are not new,
in city and in forest they smiled like me and you,
but now it's come to distances and both of us must try,
your eyes are soft with sorrow,
Hey, that's no way to say goodbye.

I'm not looking for another as I wander in my time,
walk me to the corner, our steps will always rhyme
you know my love goes with you as your love stays with me,
it's just the way it changes, like the shoreline and the sea,
but let's not talk of love or chains and things we can't untie,
your eyes are soft with sorrow,
Hey, that's no way to say goodbye.

I loved you in the morning, our kisses deep and warm,
your hair upon the pillow like a sleepy golden storm,
yes many loved before us, I know that we are not new,
in city and in forest they smiled like me and you,
but let's not talk of love or chains and things we can't untie,
your eyes are soft with sorrow,
Hey, that's no way to say goodbye.

A versão de Leonard Cohen:


A versão de Judy Collins:


A versão de Roberta Flack:

Thursday, October 12, 2017

680 – Eric Burdon and The Animals – When I was young (1967)

Escrita por Eric Burdon, Vic Riggs, John Weider, Bary Jenkins e Danny McCulloch, foi lançada em 8 de abril de 1967, num compacto que tinha A girl named Sandoz como Lado B.

Chegou ao número 2 na Austrália, número 10 no Canadá, número 15 nos Estados Unidos e número 7 na Holanda. O solo é estilo indiano, tocado por guitarra elétrica e violino. Tem também um forte tremolo de guitarra distorcido.

É autobiográfica de Eric Burdon. O pai dele era de fato um soldado, ele fumou seu primeiro cigarro com dez anos de idade encontrou seu primeiro amor aos 13 anos de idade.

O verso final fala da desilusão dele com a sociedade da época. Ele diz: “Minha fé era maior, eu acreditava nos homens e eu muito mais velho, quando eu era jovem”.

Foi regravada por Tina Turner e Ramones, entre outros artistas.

A letra:

The rooms were so much colder then
My father was a soldier then
And times were very hard
When I was young, when I was young
I smoked my first cigarette at ten
And for girls I had a bad yen
And I had quite a gall
When I was young
When I was young it was more important
They'd more pain but they laughed much louder yeah
When I was young, when I was young
I met my first love at thirteen
She was brown and I was pretty green
And I learned quite a lot
When I was young, when I was young
When I was young it was more important
They'd more pain but they laughed much louder yeah
When I was young, when I was young
My faith was so much stronger then
I believed in fellow man
And I was so much older then
When I was young, when I was young
When I was young, when I was young
When I was young, when I was young

A versão de Eric Burdon and The Animals:


A versão de Tina Turner:


A versão dos Ramones:

Wednesday, October 11, 2017

679 – Frank Sinatra and Tom Jobim – Once I loved (1967)

Escrita por Antonio Carlos Jobim e Vinicius de Moraes, com letra em ingles de Ray Gilbert, foi gravada em 30 de janeiro e 1 de fevereiro de 1967, no United Western Recorders, em Hollywood, Los Angeles, California.

Foi composta em 1960 e gravada pela primeira vez por João Gilberto em 1961. Jobim gravou-a instrumental em 1963.

A letra:

Once, once I loved
And I gave so much love to this love you were the world to me
Once I cried
At the thought I was foolish and proud and let you say goodbye

And then one day
From my infinite sadness you came and brought me love again
Now I know
That no matter what ever befalls I'll never let you go
I will hold you close, make you stay
Because love is the saddest thing when it goes away
Love is the saddest thing when it goes away

A versão de Sinatra e Jobim:


A versão de Astrud Gilberto:


A versão de Ella Fitzgerald e Joe Pass:

Sunday, October 8, 2017

678 – The Association – Never my love (1967)

Escrita por Donald e Richard Addrisi, foi lançada pelo Association em 9 de agosto de 1967, em um compacto que tinha Requiem for the masses como Lado B. Never my love foi a segunda música mais tocada em rádio e televisão no século 20. A número 1 foi You've lost that loving feeling e a número 3 foi Yesterday.

The Association era um grupo californiano de pop rock. Eles chegaram ao número 3 dos charts pop americanos e número 1 no Canadá. Venderam um milhão de cópias já em dezembro de 1967.

Foi regravada pelo 5th Dimenson, pelos compositores, Addrisi Brothers, Barry Manilow, Booker T and The Mgs, The Four Tops, Astrud Gilberto, Etta James, Henry Mancini, Johnny Mathis, Smokey Robinson, The Ventures, Andy Williams, Sarah Vaughan, Bryan Adams, entre outros.

A letra:

You ask me if there'll come a time
When I grow tired of you
Never my love
Never my love

You wonder if this heart of mine
Will lose its desire for you
Never my love
Never my love

What makes you think love will end
When you know that my whole life depends
On you (on you)

Never my love
Never my love

You say you fear I'll change my mind
And I won't require you
Never my love
Never my love

How can you think love will end
When I've asked you to spend your whole life
With me (with me, with me)

A versão do Association:


A versão de Astrud Gilberto:


A versão de Bryan Adams:

Friday, October 6, 2017

677 – The Everly Brothers – Bowling green (1967)

Escrita por Terry Slater e Jacqueline Ertel, foi gravada em 22 de março de 1967 pelos Everly Brothers e lançada em um compacto que tinha I don't want to love you como Lado B.

Chegou ao número 40 dos charts pop americanos e número 1 no Canadá. Foi a ultima vez que os Everly Brothers chegariam ao top 100 nos Estados Unidos até 1984. A canção fala de Bowling Green, em Kentucky, uma cidade aproxidamente 6o milhas de Brownie, a cidade natal dos irmãos Everly.

Terry Slater era o baixista deles. Foi também regravada por Glen Campbell, entre outros.

No último show da banda norueguesa A-ha, em 4 de dezembro de 2010, eles tocaram Bowling green no violão acústico. Terry Slater estava na platéia e eles fizeram essa homenagem.

A letra:

Way down in Bowling Green
Prettiest girls I've ever seen
A man in Kentucky
Sure is lucky
To love down in Bowling Green

Bowling Green folks treat you kind
They let you think your own mind
A man in Kentucky
Sure is lucky
In Bowling Green you walk your own line

Kentucky sunshine makes the heart unfold
It warms the body
And I know it touches the soul
Bluegrass is fine
Kentucky owns my mind

The fields down in Bowling Green
Have the softest grass I've ever seen
A man in Kentucky
Sure is lucky
To lie down in Bowling Green

Bowling Green girls treat you right
They wear dresses cut country tight
A man in Kentucky
Sure is lucky
If he's seen a Bowling Green night

Kentucky sunshine makes the heart unfold
It warms the body
And I know it touches the soul
Bluegrass is fine
Kentucky owns my mind

Bowling Green, Bowling Green
Bowling Green, Bowling Green

Bowling Green, Bowling Green
Bowling Green, Bowling Green

A versão dos Everly Brothers:


A versão de Glen Campbell:


A versão do A-ha, no show mencionado acima:

Thursday, October 5, 2017

676 – Pink Floyd – See Emily play (1967)

Escrita por Syd Barrett, foi gravada em 21 de maio de 1967 em Londres, e lançada em 16 de junho de 1967 num compacto que tinha Scarecrow como Lado B. É uma das 500 canções que deram forma ao rock and roll. Chegou ao número 6 dos charts ingleses.

Emily foi uma garota que Syd viu enquanto dormia na floresta após ter tomado LSD. Barrett foi contra o resultado final pois achou muito comercial. Foi durante as gravações dessa música que David Gilmour visitou o estúdio à pedido de Barrett, que quando Gilmour chegou lá, Barrett não o reconheceu, doidão que estava.

Foi regravada por David Bowie, entre outros artistas.

Syd Barrett cantou, toucou guitarra e fez guitarra slide. Richard Wright tocou orgao, piano, harpsichord eletrico e fez backing vocals. Roger Waters tocou baixo e fez backing vocals. Nick Mason tocou bateria.

A letra:

Emily tries but misunderstands, ah ooh
She often inclined to borrow somebody's dreams till tomorrow
There is no other day
Let's try it another way
You'll lose your mind and play
Free games for may
See Emily play
Soon after dark Emily cries, ah ooh
Gazing through trees in sorrow hardly a sound till tomorrow
There is no other day
Let's try it another way
You'll lose your mind and play
Free games for may
See Emily play
Put on a gown that touches the ground, ah ooh
Float on a river forever and ever, Emily
There is no other day
Let's try it another way
You'll lose your mind and play
Free games for may
See Emily play

A versão do Pink Floyd:


A versão de David Bowie:


A versão de Josh Turner: