838 – The Guess Who – Undun (1969)

Escrita por `Randy Bachman, foi gravada pelo Guess Who em 1969 na RCA em New York City e lançada em julho de 1969 em um compacto que tinha Laughing como Lado A. Chegou ao número 22 nos charts pop americanos.

Bachman compôs essa canção após ter visto uma garota numa festa que após uma viagem de ácido, ficou de coma. É a canção preferida de Bachman e também de Burton Cummings.

Burton Cummings cantou, tocou piano e flauta. Rand Bachman tocou guitarra. Jim Kale tocou baixo e Garry Peterson tocou bateria.

A letra:

She's come undun
She didn't know what she was headed for
And when I found what she was headed for
It was too late

She's come undun
She found a mountain that was far too high
And when she found out she couldn't fly
It was too late

It's too late
She's gone too far
She's lost the sun

She's come undun
She wanted truth but all she got was lies
Came the time to realize
And it was too late

She's come undun
She didn't know what she was headed for
And when I found what she was headed for
Mama, it was too late

It's too late
She's gone too far
She's lost the sun
She's come undun

Too many mountains, and not enough stairs to climb
Too many churches and not enough truth
Too many people and not enough eyes to see
Too many lives to lead and not enough time

It's too late
She's gone too far
She's lost the sun

She's come undun

It's too late
She's gone too far
She's lost the sun

She's come undun
She didn't know what she was headed for
And when I found what she was headed for
It was too late

She's come undun
She found a mountain that was far too high
And when she found out she couldn't fly
Mama, it was too late

It's too late
She's gone too far
She's lost the sun

She's come undun
No, no, no, no, no, no, no

A versão do Guess Who:

A versão de Regan Wood:

A versão de Circe Link:

837 – The Beatles – Oh, darling! (1969)

Escrita por Paul McCartney mas creditada à dupla Lennon/McCartney, foi gravada em 20 de abril e 11 de agosto de 1969 e lançada em 26 de setembro de 1969 no disco Abbey Road.

John disse que poderia ter cantado melhor do que Paul, mas como ele escreveu, ela que cantou. George Harrison disse que era uma canção anos 50/60, por causa da estrutura de acordes. Nunca foi tocada ao vivo pelos Beatles ou por Paul McCartney.

Paul cantou, tocou baixo e fez backing vocals. John tocou piano e fez backing vocals. George Harrison tocou guitarra e fez backing vocals. Ringo tocou bateria.

Oh! Darling foi fortemente influenciada por Fats Domino e o som de New Orleans.

Foi regravada por Robin Gibb e também pelos Bee Gees em 1978, entre outros artistas.

A letra:

Oh! Darling, please believe me
I'll never do you no harm
Believe me when I tell you
I'll never do you no harm

Oh! Darling, if you leave me
I'll never make it alone
Believe me when I beg you
Don't ever leave me alone

When you told me you didn't need me anymore
Well you know I nearly broke down and cried
When you told me you didn't need me anymore
Well you know I nearly broke down and died

Oh! Darling, if you leave me
I'll never make it alone
Believe me when I beg you
I'll never do you no harm, no harm

When you told me you didn't need me anymore
Well you know I nearly broke down and cried
When you told me you didn't need me anymore
Well you know I nearly broke down and cried

Oh! Darling, please believe me
I'll never let you down
Believe me when I tell you
I'll never do you no harm

A versão dos Beatles:

A versão de Elle King:

A versão de Haley Reinhart:

836 – Crosby, Stills and Nash – Suite: Judy blue eyes (1969)

Escrita por Stephen Still e David Crosby, foi lançada em setembro de 1969 no compacto que tinha Long time gone como Lado B. Chegou ao número 21 dos charts pop americanos e número 11 no Canadá. É uma Suite no sentido clássico: Um ordenado de peças musicais juntas. Foi usado o Suite para parecer com Sweet.

A música é dedicada à namorada de Stills Judy Collins e fala dos pensamentos sobre ela e do eminente rompimento do casal. Eles haviam começado o relacionamento em 1967 e já estavam juntos há 2 anos, mas ela havia conhecido Stacy Keach e deixaria Stills por ele. Ele estava devastado e escreveu a canção em resposta a própria tristeza.

Suite: Judy Blues Eyes é a música de número 418 da lista das 500 maiores canções de todos os tempos da Rolling Stone Magazine. É uma das 500 canções que deram forma ao rock and roll, do Rock and Roll Hall of Fame. VH1 disse que ela é a 51a melhor canção já escrita de todos os tempos.

David Crosby fez backing vocals, Stephen Still cantou, tocou violão, baixo, teclado e percussão. Graham Nash fez backing vocals.

A letra:

It's getting to the point where I'm no fun anymore
I am sorry
Sometimes it hurts so badly I must cry out loud
I am lonely

I am yours, you are mine, you are what you are
You make it hard

Remember what we've said and done and felt about each other
Oh, babe have mercy
Don't let the past remind us of what we are not now
I am not dreaming

I am yours, you are mine, you are what you are
You make it hard[Instrumental (Acoustic Guitar)]

Oh, oh, oh, oh, oh
Tearing yourself away from me now you are free
And I am crying
This does not mean I don't love you I do that's forever
Yes and for always

I am yours, you are mine, you are what you are
You make it hard

Something inside is telling me that I've got your secret
Are you still listening?
Fear is the lock and laughter the key to your heart
And I love you

I am yours, you are mine, you are what you are
You make it hard
And you make it hard
And you make it hard
And you make it hard[Instrumental (Acoustic Guitar)]

Friday evening
Sunday in the afternoon
What have you got to lose?

Tuesday morning
Please be gone I'm tired of you
What have you got to lose?

Can I tell it like it is? (Help me I'm sufferin')
Listen to me baby
It's my heart that's a sufferin' it's a dyin' (Help me I'm dyin')
And that's what I have to lose (To lose)

I've got an answer
I'm going to fly away
What have I got to lose?

Will you come see me
Thursdays and Saturdays?
What have you got to lose?[Instrumental (Acoustic Guitar)]

Chestnut brown canary
Ruby throated sparrow
Sing a song, don't be long
Thrill me to the marrow[Instrumental (Acoustic Guitar)]

Voices of the angels
Ring around the moonlight
Asking me said she so free
How can you catch the sparrow?[Instrumental (Acoustic Guitar)]

Lacy lilting lyric
Losing love lamenting
Change my life, make it right
Be my lady[Instrumental (Acoustic Guitar)]

Doo doo doo doo doo, doo doo doo doo doo doo
Doo doo doo doo doo, doo doo doo doo

Doo doo doo doo doo, doo doo doo doo doo doo
Doo doo doo doo doo, doo doo doo doo

Que linda me la traiga Cuba
La reina de la Mar Caribe
Cielo sol no tiene sangreahi
Y que triste que no puedo vaya oh va, oh va

Doo doo doo doo doo, doo doo doo doo doo doo
Doo doo doo doo doo, doo doo doo doo

Doo doo doo doo doo, doo doo doo doo doo doo
Doo doo doo doo doo, doo doo doo doo

A versão de Crosby, Stills and Nash:

A versão de The Jay Sekulow Band:

A versão de Josh Turner:

0039 – Baby, I'm gonna leave you - Led Zeppelin (1969)

Compositor: Anne Bredon

• Foi gravada em outubro de 1968 e lançada em 12 de janeiro de 1969 no disco de estréia do Led Zeppeli, chamado Led Zeppelin.
• A versão do Led Zeppelin foi inspirada na versão feita por Joan Baez dessa canção, em 1962. Ela foi composta no final dos anos 50s.

A letra:

Babe, baby, baby, I'm gonna leave you
I said baby, you know I'm gonna leave you

I'll leave you when the summertime
Leave you when the summer comes a rollin'
Leave you when the summer comes along

Babe, babe, babe, babe, babe, babe, baby, baby
I don't want to leave you
I ain't jokin' woman, I got to ramble
Oh yeah

Baby, baby, babe, I believin'
We really got to ramble
I can hear it callin' me the way it used to do
I can hear it callin' me back home

Babe, I'm gonna leave you
Oh, baby, you know, I've really got to leave you
Oh I can hear it callin 'me
I said don't you hear it callin' me the way it used to do?
Oh

I know, I know
I know I never never never never never gonna leave your babe
But I got to go away from this place

I've got to quit you, yeah

Ooh, baby baby baby baby baby baby ooh
Don't you hear it callin' me?Oh

Woman, woman, I know, I know
It feels good to have you back again
And I know that one day baby, it's really gonna grow, yes it is
We gonna go walkin' through the park every day

Come what may, every day
Oh, mama baby
I'm gonna leave you go away, oh

It was really, really good
You made me happy every single day
But now, I've got to go away

Baby, baby, baby
That's when it's callin' me
I said that's when it's callin' me back home

A versão do Led Zeppelin:

A versão de Joan Baez:

A versão do Association:

834 – Creedence Clearwater Revival – Lodi (1969)

Escrita por John Fogerty, foi gravada em março de 1969 no Wally Heider's Studios, em San Francisco, California e lançada em abril de 1969 em um compacto que tinha Bad Moon Rising como Lado A.

A canção fala de um músico que estava sem rimo na carreira e que tinha que tocar em Lodi, uma pequena cidade agropecuária na California. Depois de tocar nos bares locais, o narrador se sente preso pois nunca consegue arrumar o dinheiro da passagem pra sair dali.

Foi regravada por Emmylou Harris, Tom Jones, Buck Owens, Bo Diddley, entre outros.

A letra:

Just about a year ago
I set out on the road
Seekin' my fame and fortune
Lookin' for a pot of gold
Thing got bad things got worse
I guess you will know the tune
Oh Lord, stuck in Lodi again

I rode in on the Greyhound
I'll be walkin' out if I go
I was just passin' through
Must be seven seven months or more
Ran out of time and money
Looks like they took my friends
Oh Lord, I'm stuck in Lodi again

The man from the magazine
Said I was on my way
Somewhere I lost connections
Ran out of songs to play
I came into town, a one night stand
Looks like my plans fell through
Oh Lord, stuck in Lodi again

If I only had a dollar
For ev'ry song I've sung
And ev'ry time I had to play
While people sat there drunk
You know, I'd catch the next train
Back to where I live
Oh Lord, I'm stuck in Lodi again
Oh Lord, I'm stuck in Lodi again

Songwriters: John Cameron Fogerty

A versão do Creedence Clearwater Revival:

A versão de Emmylou Harris:

A versão de Tom Jones:

0067 – Bird on the wire - Leonard Cohen (1969)

Escrita por Leonard Cohen, foi gravada em 26 de setembro de 1968, em Nashville, Tennessee. Foi lançada em abril de 1969 no disco Songs from a room. Quem primeiro lançou-a foi Judy Collins, ainda em 1968. Joe Cocker iria lançar sua versão em 1969. Além dos dois citados, foi regravada também por Jackie DeShannon, Dave Van Ronk, Jennifer Warnes, Johnny Cash, Willie Nelson, KD Lang e Elvis Costello, entre outros artistas.

Like a bird on the wire
Like a drunk in a midnight choir
I have tried in my way to be free

Like a worm on a hook
Like a knight from some old-fashioned book
I have saved all my ribbons for thee

If I, if I have been unkind
I hope that you can just let it go by
If I, if I have been untrue
I hope you know it was never to you

For like a baby, stillborn
Like a beast with his horn
I have torn everyone who reached out for me

But I swear by this song
And by all that I have done wrong
I will make it all up to thee

I saw a beggar leaning on his wooden crutch
He said to me, "you must not ask for so much"
And a pretty woman leaning in her darkened door
She cried to me, "hey, why not ask for more?"

Oh, like a bird on the wire
Like a drunk in a midnight choir
I have tried in my way to be free

A versão de Leonard Cohen:

A versão de Joe Cocker:

A versão de Willie Nelson:

832 – The Guess Who – Laughing (1969)

Escrita por Randy Bachman e Burton Cummings, foi gravada em 1969 nos estudios da RCA em New York City e lançada em julho de 1969 no compacto que tinha Undun como Lado B. Chegou ao número no Canadá e número 10 nos charts pop americanos.

Burton Cummings cantou, tocou teclado e guitarra ritmica. Randy Bachman tocou guitarra solo e fez backing vocals. Jim Kale tocou baixo e fez backing vocals. Garry Peterson tocou bateria.

A letra:

I should laugh, but I cry
Because your love has passed me by
You took me by surprise
You didn't realize but I was waiting

Time goes slowly, but carries on
And now the best years have come and gone
You took me by surprise
I didn't realize that you were laughing

'cause you're doin' it to me
(Laughing) it ain't the way it should be
You took away everything I had, you put the hurt on me

'cause you're doin' it to me
(Laughing) it ain't the way it should be
You took away everything I had, you put the hurt on me

I go alone now, calling your name
After losing at the game
You took me by surprise
I didn't realize that you were laughing

Time goes slowly, but carries on
And now the best years
The best years have come and gone
You took me by surprise
I didn't realize that you were laughing

'cause you're doin' it to me
(Laughing) it ain't the way it should be
You took away everything I had, you put the hurt on me

'cause you're doin' it to me
(Laughing) oh, whatch doing to me?
You took away everything I had ,you put the hurt on me, oh

ha ha ha ha ha ha
(Laughing) ha ha ha ha ha ha
(Laughing) what, you laughing at me?
(Laughing) what, you laughing at me?

oh, what you do on the weekend?
(Laughing) I wanna look when you're laughing
(Laughing) I wanna look when you're laughing
(Laughing)

A versão do The Guess Who:

A versão de Hand me Down World:

A versão de Burton Cummings:

0053 – The Ballad of John and Yoko - The Beatles (1969)

Compositor: John Lennon e Paul McCartney

• Foi gravada 14 de abril de 1969 e lançada em 30 de maio de 1969 no compacto que tinha Old brown shoe como Lado B.

• É uma espécie de crônica falando sobre o casamento de John e Yoko.

• Foi o décimo sétimo número 1 dos Beatles no Reino Unido e último. Chegou também ao número 8 no Billboard Hot 100.

• Chegou ao número 1 na Austrália, Áustria, Bélgica, Irlanda, Holanda, Noruega, Suíca e Alemanha Ocidental.

• Ringo e George Harrison estavam ausentes, então a canção foi gravada apenas por John e Paul.

• John cantou, tocou guitarra solo, violão e percussão. Paul fez backing vocals, tocou bateria, baixo, piano e maracas.

A letra:

Standing in the dock at Southampton
Trying to get to Holland or France
The man in the mac said
You've got to go back
You know they didn't even give us a chance

Christ you know it ain't easy
You know how hard it can be
The way things are going
They're going to crucify me

Finally made the plane into Paris
Honeymooning down by the Seine
Peter Brown call to say
You can make it O.K.
You can get married in Gibraltar near Spain

Christ you know it ain't easy
You know how hard it can be
The way things are going
They're going to crucify me

Drove from Paris to the Amsterdam Hilton
Talking in our beds for a week
The newspapers said
Say what're you doing in bed
I said we're only trying to get us some peace

Christ you know it ain't easy
You know how hard it can be
The way things are going
They're going to crucify me

Saving up your money for a rainy day
Giving all your clothes to charity
Last night the wife said
Oh boy when you're dead
You don't take nothing with you but your soul, think

Made a lightning trip to Vienna
Eating chocolate cake in a bag
The newspapers said
She's gone to his head
They look just like two gurus in drag

Christ you know it ain't easy
You know how hard it can be
The way things are going
They're going to crucify me

Caught the early plane back to London
Fifty acorns tied in a sack
The men from the press
Said we wish you success
It's good to have the both of you back

Christ you know it ain't easy
You know how hard it can be
The way things are going
They're going to crucify me
The way things are going
They're going to crucify me

A versão dos Beatles:

A versão do Widespread Panic:

A versão dos Blackbirds:

830 – Crosby, Stills and Nash – Marrakesh Express (1969)

Escrita por Graham Nash, foi gravada em 1968 e lançada em maio de 1969 no disco Crosby, Stills and Nash. Foi também lançada em compacto em julho de 1969, com Helplessly hoping como Lado B. Chegou ao número 28 dos charts pop americanos em 23 de agosto de 1969.

Nash escreveu-a nos seus últimos anos da Hollies, cuja qual ele foi fundador em 1962 e ficou nela até 1968. Os Hollies rejeitaram a canção. Crosby, Stills and Nash aproveitaram-a.

A inspiração veio em umas férias que ele passou em Marrocos em 1966. Nessa viagem, Nash foi de trem de Casablanca até Marrakesh. Ele começou a viagem na primeira classe, mas achou muito monótono e saiu pra explorar o resto dos vagões e ficou fascinando com o que viu.

Tinha de tudo. Patos, porcos, galinhas... ele disse que a canção retrata fielmente tudo o que ele viu por lá. Marrakesh Express fez sua estréia justamente no Festival de Woodstock.

David Crosby fez backing vocals, Stephen Stills fez backing vocals, tocou as guitarras, baixo, teclados e percussão. Graham Nash cantou e tocou guitarra ritmica. Jim Gordon tocou bateria.

A letra:

Looking at the world
Through the sunset in your eyes
Trying to make the train
Through clear Moroccan skies
Ducks and pigs and chickens call
Animal carpet wall to wall
American ladies five foot tall in blue.

Sweeping cobwebs from the edges of my mind
Had to get away to see what we could find
Hope the days that lie ahead
Bring us back to where they've led
Listen not to what's been said to you

Would you know we're riding
On the Marrakesh Express
Would you know we're riding
On the Marrakesh Express
All on board that train

I've been saving all my money just to take you there
I smell the garden in your hair

Take the train from Casablanca going south
Blowing smoke rings from the corners of my my, my, my, my mouth
Colored cottons hang in air
Charming cobras in the square
Striped Djellebas we can wear at home
Don't you know we're riding on the Marrakesh Express
Don't you know we're riding on the Marrakesh Express
They're taking me to Marrakesh Express
Don't you know we're riding on the Marrakesh Express
Don't you know we're riding on the Marrakesh Express
They're taking me to Marrakesh
All on board that train
All on board that train

A versão de Crosby, Stills and Nash:

A versão do Taste of Woodstock:

A versão de Stan Gilbert:

829 – Led Zeppelin – What it is and what should never be (1969)

Escrita por Jimmy Page e Robert Plant, foi gravada em janeiro de 1969 e lançada em 22 de outubro de 1969 no disco Led Zeppelin II.

Foi uma das primeiras canções que Jimmy Page usou a sua famosa marca registrada, a Gibson Les Paul. A letra fala do romance que Plant teve com a sua cunhada, irmã mais nova da sua esposa.

Robert Plant cantou, Jimmy Page tocou as guitarras e fez backing vocals, John Paul Jones tocou baixo e fez backing vocals e John Bonham tocou bateria e gongô.

A letra:

And if I say to you tomorrow
Take my hand, child come with me
It's to a castle I will take you
Where what's to be, they say will be

Catch the wind, see us spin
Sail away leave today
Way up high in the sky, hey, whoa
But the wind won't blow
You really shouldn't go
It only goes to show
That you will be mine
By takin' our time, ooh

And if you say to me tomorrow
Oh what fun it all would be
Then what's to stop us, pretty baby
But what is and what should never be

Catch the wind, see us spin
Sail away, leave today
Way up high in the sky, hey whoa
But the wind won't blow
You really shouldn't go
Only goes to show
That you will be mine
By takin' our time, ooh

So if you wake up with the sunrise
And all your dreams are still as new
And happiness is what you need so bad
Girl, the answer lies with you, yeah

Catch the wind, see us spin
Sail away, leave today
Way up high in the sky, hey whoa
But the wind won't blow
You really shouldn't go
Only goes to show
That you will be mine
By takin' our time, ooh

Hey, oh
Oh the wind won't blow and we really shouldn't go
And it only goes to show-ow-ow
Catch the wind, we're gonna see it spin
We're gonna sail, little girl
Do do do, bop bop a do-oh
My my my my my my my yeah
Everybody I know seems to know me well
But does anybody know I'm gonna move like hell
Baby, baby, baby, baby, baby, baby, oh, Lord
Baby, baby, baby, oh, right now, yeah
No, no, no, no, no, come on, now

A versão do Led Zeppelin:

A versão de Robert Plant e Jimmy Page de 1994:

A versão de Jessie James:

0049 – Bad moon rising - Creedence Clearwater Revival (1969)

Compositor: John Fogerty

• Foi gravada em março de 1969, no Wally Heider's Studio, em San Francisco, California e lançada em abril de 1969 em um compacto que tinha Lodi como Lado B. Também foi lançada no disco Green River, em agosto de 1969.

• Chegou ao número 2 do Billboard Hot 100 e número 1 nos charts Britânicos

• É o número 364 da lista da revista Rolling Stone: 500 greatest songs of all time.

• Fogerty disse que a canção fala sobre o apocalipse que virá sobre nós um dia.

• Foi também número 1 na Nova Zelandia, África do Sul e Irlanda.

A letra:

I see the bad moon a-rising
I see trouble on the way
I see earthquakes and lightnin'
I see bad times today

Don't go around tonight
Well it's bound to take your life
There's a bad moon on the rise

I hear hurricanes a-blowing
I know the end is coming soon
I fear rivers over flowing
I hear the voice of rage and ruin

Well don't go around tonight
Well it's bound to take your life
There's a bad moon on the rise, all right

Hope you got your things together
Hope you are quite prepared to die
Looks like we're in for nasty weather
One eye is taken for an eye

Well don't go around tonight
Well it's bound to take your life
There's a bad moon on the rise

Don't come around tonight
Well it's bound to take your life
There's a bad moon on the rise

A versão do Creedence Clearwater Revival:

A versão de Bruce Springsteen:

A versão de Jerry Lee Lewis:

827 – The Rolling Stones – Monkey man (1969)

Escrita por Mick Jagger e Keith Richards, foi gravada em abril de 1969 e lançada em 5 de dezembro de 1969 no disco Let it bleed.

Foi um tributo ao artista pop italiano Mario Schifano, que eles conheceram no set do filme Umano Non Umano.

Mick Jagger cantou, Keith Richards tocou as guitarras e fez backing vocals. Bill Wyman tocou baixo e vibes. Charlie Watts tocou bateria. Nicky Hopkins tocou piano e Jimmy Miller tocou pandeiro.

A letra:

I'm a fleabit peanut monkey
And all my friends are junkies
That's not really true

I'm a cold Italian pizza
I could use a lemon squeezer
What you do?

But I've been bit and I've been tossed around
By every she-rat in this town
Have you babe?

But I am just a monkey man
I'm glad you are a monkey woman too

I was bitten by a boar
I was gouged and I was gored
But I pulled on through

Yeah, I'm a sack of broken eggs
I always have an unmade bed
Don't you?

Well I hope we're not too messianic
Or a trifle too satanic
But we love to play the blues

But well I am just a monkey man
I'm glad you are a monkey woman too
Monkey woman too babe

I'm a monkey man
I'm a monkey man
I'm a monkey man
I'm a monkey man
I'm a monkey
I'm a monkey
I'm a monkey
I'm a monkey
Monkey, monkey
Monkey

Monkey
I'm a monkey

A versão dos Stones ao vivo:

A versão dos Mother Hips:

A versão dos Voodoo Lounge: