659 – Aretha Franklin – Respect (1967)

Escrita por Otis Redding e gravada por ele em 1965. A nossa versão no entanto é a de Aretha Franklin, de 1967. A versão dela foi gravada em 14 de fevereiro de 1967, nos estúdios da Atlantic Records, em New York City e lançada em 29 de abril de 1967 num compacto que tinha Dr. Feelgood como Lado B.

As duas versões são diferentes, até mesmo na letra. A de Redding é vem de um homem desesperado, disposto a dar a mulher tudo que ela quer. Ele só quer respeito quando chega em casa com o dinheiro. A de Franklin é uma declaração de uma mulher forte, confiante que sabe que tem tudo o que o homem dela quer. Ela nunca o trata mal, mas quer seu respeito.

A versão de Franklin se tornou um marco para o movimento feminista e é considerada uma das melhores canções da era de Rhythm and Blues. Gahou dois Grammies em 1968 e entrou pro Grammy Hall of Fame em 1987. Em 2002, entrou pra Biblioteca do Congresso Americano no National Recoding Registry. É o numero 35 da lista das 500 maiores canções de todos os tempos da revista Rolling Stone. É tambem inclusa nas Songs of the Century, da Recording Industry of America and The National Endowment of the Arts.

Foi tambem regravada por Diana Ross and The Supremes e por Joss Stone, além de Stevie Wonder, Elton John, entre outros.

A letra:

(oo) What you want
(oo) Baby, I got
(oo) What you need
(oo) Do you know I got it?
(oo) All I'm askin'
(oo) Is for a little respect when you come home (just a little bit)
Hey baby (just a little bit) when you get home
(just a little bit) mister (just a little bit)

I ain't gonna do you wrong while you're gone
Ain't gonna do you wrong (oo) 'cause I don't wanna (oo)
All I'm askin' (oo)
Is for a little respect when you come home (just a little bit)
Baby (just a little bit) when you get home (just a little bit)
Yeah (just a little bit)

I'm about to give you all of my money
And all I'm askin' in return, honey
Is to give me my propers
When you get home (just a, just a, just a, just a)
Yeah baby (just a, just a, just a, just a)
When you get home (just a little bit)
Yeah (just a little bit)

[instrumental break]

Ooo, your kisses (oo)
Sweeter than honey (oo)
And guess what? (oo)
So is my money (oo)
All I want you to do (oo) for me
Is give it to me when you get home (re, re, re ,re)
Yeah baby (re, re, re ,re)
Whip it to me (respect, just a little bit)
When you get home, now (just a little bit)

R-E-S-P-E-C-T
Find out what it means to me
R-E-S-P-E-C-T
Take care, TCB

Oh (sock it to me, sock it to me,
sock it to me, sock it to me)
A little respect (sock it to me, sock it to me,
sock it to me, sock it to me)
Whoa, babe (just a little bit)
A little respect (just a little bit)
I get tired (just a little bit)
Keep on tryin' (just a little bit)
You're runnin' out of foolin' (just a little bit)
And I ain't lyin' (just a little bit)
(re, re, re, re) 'spect
When you come home (re, re, re ,re)
Or you might walk in (respect, just a little bit)
And find out I'm gone (just a little bit)
I got to have (just a little bit)
A little respect (just a little bit)

A versão de Aretha Franklin:

A versão de Otis Redding:

A versão de Diana Ross and The Supremes:

658 – The Beatles – Good morning, good morning (1967)

Escrita por John Lennon mas creditada à dupla Lennon/McCartney, foi gravada em 8 e 16 de fevereiro e 13, 28 e 29 de março de 1967. Foi lançada no disco Sgt. Pepper's Lonely Hearts Club Band em 26 de maio de 1967.

A inspiração para esta canção veio de um comercial de televisão dos corn flakes da Kellogg. Ele fala também It's time for tea and Meet the wife. Meet the wife era um programa da BBC. A guitarra solo foi tocada por Paul.

Foram adicionados barulhos de animais, que foi inspirada em Caroline, No, do disco Pet Sounds, dos Beach Boys, que foram a inspiração completa do Sgt. Pepper's.

A canção tem 117 bits por minuto, tem um ritmo diferente e tem também time signatures diferentes. É dividida em sete seções.

John cantou, tocou guitarra base e fez backing vocal. Paul tocou baixo, guitarra solo, bass drum e fez backing vocal.George Harrison tocou guitarra ritmica e fez backing vocals. Ringo tocou bateria e pandeiro.

A letra:

Good morning, good morning
Good morning, good morning
Good morning ah

Nothing to do to save his life call his wife in
Nothing to say but what a day how's your boy been
Nothing to do it's up to you
I've got nothing to say but it's OK

Good morning, good morning
Good morning ah

Going to work don't want to go feeling low down
Heading for home you start to roam then you're in town
Everybody knows there's nothing doing
Everything is closed it's like a ruin
Everyone you see is half asleep
And you're on your own you're in the street

After a while you start to smile now you feel cool
Then you decide to take a walk by the old school
Nothing is changed it's still the same
I've got nothing to say but it's OK

Good morning, good morning
Good morning ah

People running round it's five o'clock
Everywhere in town is getting dark
Everyone you see is full of life
It's time for tea and meet the wife

Somebody needs to know the time, glad that I'm here
Watching the skirts you start to flirt now you're in gear
Go to a show you hope she goes
I've got nothing to say but it's OK

Good morning, good morning, good
Good morning, good morning, good
Good morning, good morning, good
Good morning, good morning, good
Good morning, good morning, good
Good morning, good morning, good
Good morning, good morning, good
Good morning, good morning, good
Good morning, good morning, good
Good morning, good morning, good

A versão de Micky Dolenz:

A versão dos Zutons:

A versão de Easy star all stars:

657 – Neil Diamond – Girl, you'll be a woman soon (1967)

Escrita por Neil Diamond, foi lançada em 25 de março de 1967 pela mesma Bang Records de Brown Eyed Girl. Saiu num compacto que tinha You'l forget no lado B. Chegou ao número 10 nos charts pop americanos.

Foi regravada por Cliff Richard, em 1968, pelo Urge Overkill, em 1992, cuja versão saiu no clássico Pulp Fiction, em 1994.

A letra:

Love you so much
Can't count all the ways
I'd die for you girl
And all they can say is
"He's not your kind"

They never get tired
Of puttin' me down
And I never know
When I come around
What I'm gonna find
Don't let them make up your mind

Don't you know
Girl, you'll be a woman soon
Please, come take my hand
Girl, you'll be a woman soon
Soon you'll need a man

I've been misunderstood
For all of my life
But what they're sayin',
Girl, just cuts like a knife
"The boy's no good"

Well, I finally found
What I've been looking for
But if they get the chance,
They'll end it for sure
Sure they would
Baby, I've done all I could

It's up to you
Girl, you'll be a woman soon
Please, come take my hand
Girl, you'll be a woman soon
Soon you'll need a man
Soon you'll need a man.....

A versão de Neil Diamond:

A versão de Urge Overkill:

A versão de Cliff Richard:

0091 – Brown eyed girl - Van Morrison - (1967)

Escrita por Van Morrison, foi gravada em 28 de março de 1967, no A & R Studios, em New York City e lançada em junho de 1967 no compacto que tinha Goodbye baby como Lado B e depois em setembro de 1967 no disco Blowin' your mind. Foi produzida por Bert Berns. Chegou ao número 10 do Billboard HOT100. The Sweet Inspirations fizeram os backing vocals. Com o fim de sua banda Them e do contrato com a Decca, Van voltou pra Belfast. Uma vez lá, Bert telefonou pra ele chamando pra NYC pra gravar umas musicas e assinar com ele um novo contrato. Montou uma banda pra gravar. Na guitarra chamou Eric Gale, Hugh McCraken e Al Gorgoni. No baixo, Russ Savakus, Paul Griffin no piano e Gary Chester na bateria. A canção fala de um antigo amor. Paul Williams a colocou no seu livro: : Rock and roll: the 100 best singles”. No livro de 1989, The Heart of Rock and Soul, The 1001 Greatest Singles Ever, Dave Marsh colocou-a como número 386. Em 1999, Broadcast Music Inc. Colocou-a como uma das top 100 songs of the century. Em 2000, foi listada como número 21 da 100 greatest pop songs by Rolling Stone/MTV. Também em 2000, VH1, disse que era número 49 das 100 Greatest Rock Songs. Em 2001, RIAA disse que era número 131 das canções do século, uma lista de 365 canções do século 20, escolhidas com significancia histórica em mente. Em 2010, foi escolhida número 110 da lista da Rolling Stone das 500 greatest songs of all time. Também foi escolhida número 79 das All time 885 greatest songs da rádio WXPN. Em 2007, foi colocada no Grammy Hall of Fame. Acclaimed Music colocou-a como número 205 como greatest song of all time e 11^th best song of 1967. É uma das 500 songs that shaped rock and roll, do The Rock and Roll Hall of Fame.

A letra:

Hey, where did we go?
Days when the rains came
Down in the hollow
Playin' a new game
Laughin' and a-runnin', hey, hey
Skippin' and a-jumpin'
In the misty morning fog with
Our, our hearts a-thumping and you

My brown-eyed girl
And you, my brown-eyed girl

And whatever happened
To Tuesday and so slow?
Going down the old mine with a
Transistor radio
Standing in the sunlight laughing
Hiding 'hind a rainbow's wall
Slipping and sliding
All along the waterfall with you

My brown-eyed girl
You, my brown-eyed girl

Do you remember when we used to sing?
Sha-la-la, la-la, la-la, la-la, la-la tee-da
Just like that
Sha-la-la, la-la, la-la, la-la, la-la tee-da, la-tee-da

So hard to find my way
Now that I'm all on my own
I saw you just the other day
My, how you have grown
Cast my memory back there, Lord
Sometimes I'm overcome thinking 'bout it
Laughin' and a-runnin', hey, hey
Behind the stadium with you

My brown-eyed girl
You, my brown-eyed girl

Do you remember when we used to sing?
Sha-la-la, la-la, la-la, la-la, la-la tee-da
Sha-la-la, la-la, la-la, la-la, la-la tee-da

A versão de Van Morrison:

A versão de Bruce Sptingsteen:

A versão de Jimmy Buffett

0060 – Being for the benefit of Mr. Kite - The Beatles (1967)

Compositores: John Lennon e Paul McCartney

• Foi gravada em fevereiro e março de 1967 e lançada em 26 de maio de 1967 no disco Sgt. Pepper's Lonely Hearts Club Band.

• John cantou e tocou orgao Hammond, gaita e tape loops. Paul tocou baixo, backing vocal e guitarra solo. George Harrison tocou gaita, pandeiro e fez backing vocals. George Martin tocou piano, harmonium, orgao Lowrey, orgao Wurlitzer, Melllotron, orgao Hammond, Glockenspiel e tape loops. Mal Evans tocou gaita. Neil Aspinals tocou gaita e Geoff Emerick tocou tape loops.

A letra:

For the benefit of Mr. Kite
There will be a show tonight on trampoline
The Hendersons will all be there
Late of Pablo Fanques Fair, what a scene
Over men and horses, hoops and garters
Lastly through a hogshead of real fire
In this way Mr. K. will challenge the world

The celebrated Mr. K.
Performs his feat on Saturday at Bishops Gate
The Hendersons will dance and sing
As Mr. Kite flies through the ring, don't be late
Messrs. K and H. assure the public
Their production will be second to none
And of course Henry The Horse dances the waltz

The band begins at ten to six
When Mr. K. performs his tricks without a sound
And Mr. H. will demonstrate
Ten summer sets he'll undertake on solid ground
Having been some days in preparation
A splendid time is guaranteed for all
And tonight Mr. Kite is topping the bill

A versão de Paul McCartney ao vivo:

A versão de Bee Gees com Peter Frampton:

A versão de Jennifer Ann:

654 – Frank Sinatra and Tom Jobim – Quiet night of quiet stars (1967)

Escrita por Antonio Carlos Jobim e Vinicius de Moraes, com letra em ingles de Gene Lees, foi gravada por Frank Sinatra e Tm Jobim em 30 de janeiro e 1 de fevereiro de 1967, no United Western Recorders, em Hollywood, California e lançada em março de 1967. Trata-se da versão em inglês de Corcovado.

Já havia sido regravada em inglês ou instrumental apenas por Miles Davis, Stan Getz, Tom Jobim, Joao Gilberto e Astrud Gilberto, Charlie Byrd, Sergio Mendes, Doris Day, Henry Mancini, Cliff Richard, Ella Fitzgerald, Art Garfunkel, Astrud Gilberto sozinha, Queen Latifah, Diana Krall, Andrea Bocelli, entre outros artistas.

A letra:

Quiet nights of quiet stars

Quiet chords from my guitar
Floating on the silence that surrounds us

Quiet thoughts and quiet dreams

Quiet walks by quiet streams
And a window looking on the mountains

And the sea, how lovely?

This is where I want to be

Here with you so close to me
Until the final flicker of life's ember

I who was lost and lonely

Believing life was only
A bitter tragic joke, have found with you

The meaning of existence, oh my love

A versão de Frank Sinatra e Tom Jobim:

A versão de Diana Krall:

A versão de Tony Bennett:

653 – The Doors – People are strange (1967)

Escrita Jim Morrison e Robbue Krieger, foi gravada em maio e agosto de 1967 e lançada em setembro de 1967 no disco Strange Days. Também saiu em compacto com Unhappy girl no Lado B.

Foi escrita quando Robbie Krieger subiu com Jim Morrison para o topo do Laurel Canyon, no começo de 1967. Morrison estava com depressão. A csnção fala sobre alienação e sobre ser uma pessoa de fora.

Chegou ao número 12 dos charts pop americanos. Morrison cantou, Ray Manzarek tocou orgao, piano e fez backing vocals. Robby Krieger tocou guitarra e fez backing vocals. John Densmore tocou bateria e fez backing vocals. Douglass Lubalm tocou baixo.

Foi regravada pelo Echo and The Bunnymen, Tori Amos, Evanescence, entre outros artistas.

A letra:

People are strange when you're a stranger
Faces look ugly when you're alone
Women seem wicked when you're unwanted
Streets are uneven when you're down

When you're strange
Faces come out of the rain
When you're strange
No one remembers your name
When you're strange
When you're strange
When you're strange

People are strange when you're a stranger
Faces look ugly when you're alone
Women seem wicked when you're unwanted
Streets are uneven when you're down

When you're strange
Faces come out of the rain
When you're strange
No one remembers your name
When you're strange
When you're strange
When you're strange

When you're strange
Faces come out of the rain
When you're strange
No one remembers your name
When you're strange
When you're strange
When you're strange

A versão dos Doors:

A versão de Echo and The Bunnymen:

A versão de Tori Amos ao vivo e somente áudio:

652 – The Beatles – A day in the life (1967)

Escrita John Lennon, a parte da canção e Paul McCartney a parte do meio, foi gravada em 19 e 20 de janeiro e 3, 10 e 22 de fevereiro de 1967, nos estúdios da Abbey Road. Foi lançada no disco Sgt. Pepper's Lonely Hearts Club Band, em 26 de maio de 1967. John Lennon também escreveu a melodia sozinho.

A letra de John foi inspirada em artigos do dia a dia de jornais, incluindo a reportagem da morte do herdeiro da Guinness Tara Browne. É a canção número 28 da lista das maiores canções de todos os tempos da revista Rolling Stone.

Foi regravada por Jeff Beck, Barry Gibb, entre outros.

John cantou, tocou violão e piano. Paul cantou, tocou piano e baixo. George Harrison tocou violão e maracas. Ringo tocou bateria, congas e piano. Além da orquestra inteira que tocou na gravação.

A letra:

I read the news today, oh boy
About a lucky man who made the grade
And though the news was rather sad
Well, I just had to laugh
I saw the photograph

He blew his mind out in a car;
He didn't notice that the lights had changed
A crowd of people stood and stared
They'd seen his face before
Nobody was really sure if he was from the House of Lords

I saw a film today, oh boy;
The English army had just won the war
A crowd of people turned away
But I just had to look
Having read the book

I'd love to turn you on

Woke up, fell out of bed
Dragged a comb across my head
Found my way downstairs and drank a cup
And looking up, I noticed I was late

Found my coat and grabbed my hat
Made the bus in seconds flat
Found my way upstairs and had a smoke
And somebody spoke and I went into a dream

Ah I read the news today, oh boy
Four thousand holes in Blackburn, Lancashire
And though the holes were rather small
They had to count them all
Now they know how many holes it takes to fill the Albert Hall

I'd love to turn you on

A versão dos Beatles:

A versão de Paul McCartney:

A versão de Barry Gibb:

651 – Scott McKenzie – San Francisco (1967)

Escrita por John Phillips do The Mamas and The Papas, foi lançada em 13 de maio de 1967 por Scott Mackenzie, no compacto que tinha What's the difference como Lado B.

Scott Mackenzie tocou violão e John Phillips tocou guitarra solo e violão na gravação, Joe Orborn tocou baixo, Hal Blaine tocou bateria e percussão, entre outros músicos. A gravação chegou ao número 4 no charts pop americanos e número 1 nos charts britanicos.

Tornou-se o hino do movimento de contra-cultura dos anos 60s. Incluindo os movimentos Hippie, anti guerra do Vietnã e o Flower Power. A canção foi escrita em 20 minutos.

A canção fala que se voce for pra San Francisco, deve colocar uma flor no cabelo. Isso fez com que muita gente jovem quisesse ir pra San Francisco no final dos anos 60s. Mais de 7 milhões de cópias foram vendidas em todo o mundo. Foi amplamente tocada na Primavera de Praga de 1968, na Tchecoslovaquia.

Petula Clark gravou-a em 1967, entre outros artistas.

A letra:

If you're going to San Francisco
Be sure to wear some flowers in your hair
If you're going to San Francisco
You're gonna meet some gentle people there

For those who come to San Francisco
Summertime will be a love-in there
In the streets of San Francisco
Gentle people with flowers in their hair

All across the nation
Such a strange vibration
People in motion

There's a whole generation
With a new explanation
People in motion
People in motion

For those who come to San Francisco
Be sure to wear some flowers in your hair
If you come to San Francisco
Summertime will be a love-in there

If you come to San Francisco
Summertime will be a love-in there

A versão de Scott Mackenzie:

A versão de Petula Clark:

A versão de Lana Green:

650 – The Youngbloods – Get together (1967)

Escrita por Chet Powers, foi lançada em julho de 1967 pelos Youngbloods, no compacto que tinha All my dreams blue como Lado B. A canção é um apelo à paz e irmandade, apresentando a polaridade amor x medo e a escolha que deve ser feita entre eles.

Já havia sido originalmente lançada como Let's get together pelo Kingston Trio em 1 de junho de 1964. Depois foi regravada pelo We Five, em 1965. Essa versão chegou ao número 31 dos charts pop americanos.

Depois, foi regravada pelo Jefferson Airplane, em agosto de 1966.

A nossa versão, dos Youngbloods, mudou o título somente pr Get Together.

Tambem foi regravada por Dave Clark Five, em 1970, entre outros artistas.

A letra:

Love is but a song to sing
Fear's the way we die
You can make the mountains ring
Or make the angels cry
Though the bird is on the wing
And you may not know why

Come on people now
Smile on your brother
Everybody get together
Try to love one another
Right now

Some may come and some may go
We shall surely pass
When the one that left us here
Returns for us at last
We are but a moment's sunlight
Fading in the grass

Come on people now
Smile on your brother
Everybody get together
Try to love one another
Right now

Come on people now
Smile on your brother
Everybody get together
Try to love one another
Right now

Come on people now
Smile on your brother
Everybody get together
Try to love one another
Right now

If you hear the song I sing
You will understand (listen!)
You hold the key to love and fear
All in your trembling hand
Just one key unlocks them both
It's there at you command

Come on people now
Smile on your brother
Everybody get together
Try to love one another
Right now

Come on people now
Smile on your brother
Everybody get together
Try to love one another
Right now

Come on people now
Smile on your brother
Everybody get together
Try to love one another
Right now

A versão dos Youngbloods:

A versão de Jefferson Airplane:

A versão de Dave Clark Five:

649 – The Beatles – Getting better (1967)

Escrita por Paul McCartney com algumas partes da letra escrita por John, foi gravada em 9 de março de 1967 e lançada no disco Sgt. Pepper's Lonely Hearts Club Band, em 26 de maio de 1967.

O título e a música sugerem otimismo, mas parte da canção tem um tom negativo. O otimismo parte de Paul e o pessimismo parte de John. Paul fala It's getting better all the time. Ai John fala Can't get any worse.

John disse que a parte que ele escreveu I used to be cruel to my woman, I beat her and kept her apart from the things that she loved era ele mesmo. Ele disse que era cruel e batia nas mulheres. Ele disse que virou um pacifista pois é era homem violento.

Durante a gravação de Getting better, John Lennon não estava passando bem e o produtor George Martin levou-o pro teto. Só que ele havia tomado LSD e Martin não sabia. Quando chegou e encontrou com George Harrison e Paul no estúdio, voltaram correndo pra evitar que ele caísse de cima do teto.

Paul cantou, tocou baixo, piano elétrico e bateu palmas. John fez backing vocals, tocu guitarra rítmica e bateu palmas. George Harrison fez backing vocals, tocou guitarra solo, tambura e bateu palmas. Ringo tocou bateria, congas e bateu palmas. George Martin tocou piano, pianet e um virginal.

A letra:

t's getting better all the time

I used to get mad at my school (No I can't complain)
The teachers who taught me weren't cool (No I can't complain)
You're holding me down (Oh), turning me round (Oh)
Filling me up with your rules (Foolish rules)

I've got to admit it's getting better (Better)
A little better all the time (It can't get more worse)
I have to admit it's getting better (Better)
It's getting better since you've been mine

Me used to be angry young man
Me hiding me head in the sand
You gave me the word, I finally heard
I'm doing the best that I can

I've got to admit it's getting better (Better)
A little better all the time (It can't get more worse)
I have to admit it's getting better (Better)
It's getting better since you've been mine
Getting so much better all the time
It's getting better all the time
Better, better, better
It's getting better all the time
Better, better, better

I used to be cruel to my woman
I beat her and kept her apart from the things that she loved
Man I was mean but I'm changing my scene
And I'm doing the best that I can (Ooh)

I admit it's getting better (Better)
A little better all the time (It can't get more worse)
Yes I admit it's getting better (Better)
It's getting better since you've been mine
Getting so much better all the time
It's getting better all the time
Better, better, better
It's getting better all the time
Better, better, better
Getting so much better all the time

A versão de Paul McCartney:

A versão de Peter Frampton com Bee Gees:

A versão de Cheap Trick:

648 – Frank Sinatra and Antonio Carlos Jobim – The girl from Ipanema (1967)

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

Foi lancada no final de marco de 1967 no disco Francis Albert Sinatra and Antonio Carlos Jobim. Foi a primeira musica do Lado A.

A letra:

Tall and tan and young and lovely, the girl from Ipanema goes walking
And when she passes, each one she passes goes - ah
When she walks, she's like a samba that swings so cool and sways so gentle
That when she passes, each one she passes goes - ooh
(Ooh) But I watch her so sadly, how can I tell her I love her
Yes I would give my heart gladly,
But each day, when she walks to the sea
She looks straight ahead, not at me
Tall, (and) tan, (and) young, (and) lovely, the girl from Ipanema goes walking
And when she passes, I smile - but she doesn't see (doesn't see)
(She just doesn't see, she never sees me,...)

A versao de Sinatra and Jobim:

A versao de Astrud Gilberto e Stan Getz:

A versao de Amy Winehouse:

647 – The Doors – When the music is over (1967)

Escrita por Jim Morrison, Ray Manzarek, Robbie Krieger e John Densmore, foi gravada entre maio e agosto de 1967, no Sunset Sound Recorders, em Hollywood, California. E lançada em 25 de setembro de 1967 no disco Strange Days.

Trata-se de um épico de 11 minutos.

A letra:

Yeah, c'mon

When the music's over
When the music's over, yeah
When the music's over
Turn out the lights
Turn out the lights
Turn out the lights, yeah

When the music's over
When the music's over
When the music's over
Turn out the lights
Turn out the lights
Turn out the lights

For the music is your special friend
Dance on fire as it intends
Music is your only friend
Until the end
Until the end
Until the end

Cancel my subscription to the Resurrection
Send my credentials to the House of Detention
I got some friends inside

The face in the mirror won't stop
The girl in the window won't drop
A feast of friends
"Alive!" she cried
Waitin' for me
Outside!

Before I sink
Into the big sleep
I want to hear
I want to hear
The scream of the butterfly

Come back, baby
Back into my arm
We're gettin' tired of hangin' around
Waitin' around with our heads to the ground

I hear a very gentle sound
Very near yet very far
Very soft, yeah, very clear
Come today, come today

What have they done to the earth?
What have they done to our fair sister?
Ravaged and plundered and ripped her and bit her
Stuck her with knives in the side of the dawn
And tied her with fences and dragged her down

I hear a very gentle sound
With your ear down to the ground
We want the world and we want it...
We want the world and we want it...
Now
Now?
Now!

Persian night, babe
See the light, babe
Save us!
Jesus!
Save us!

So when the music's over
When the music's over, yeah
When the music's over
Turn out the lights
Turn out the lights
Turn out the lights

Well the music is your special friend
Dance on fire as it intends
Music is your only friend
Until the end
Until the end
Until the end!

A versão dos Doors:

A versão dos Moors:

A versão de Tymon and The Transistors: