1462 – Ringo Starr – No no song (1974)

Escrita por Hoyt Axton e David Jackson, foi gravada em agosto de 1974 e lançada em 15 de novembro de 1974 no disco Goodnight Vienna, o quarto da carreira de Ringo. Depois sairia em compacto, com Snookeroo como Lado B, em 27 de janeiro de 1975. Chegou ao número 1 no Canadá e número 3 no Billboard HOT100. O narrador encontra uma mulher da Colombia que oferece a ele maconha. Uma mulher de Mallorca, Espanha, que oferece a ele cocaína e um homem de Nashville, Tennessee que oferece a ele moonshine whiskey. Ele recusa todas as ofertas dizendo que faz mal pra saúde dele. Harry Nilsson faz os backing vocals. Foi regravada pelo próprio Hoyt Axton, por Joe Dassin em francês, por Raul Seixas em português, entre outros artistas.

A letra:

A lady that I know just came from Colombia
She smiled because I did not understand
Then she held out some marijuani ha-ha
She said it was the best in all the land

And I said: No no no no, I don't smoke it no more
I'm tired of waking up on the floor
No, thank you, please,

It only makes me sneeze
And then it makes it hard to find the door

A woman that I know just came from Mallorca Spain
She smiled because I did not understand

Then she held out a 10 pound bag of Cocaine
She said it was the best in all the land

And I said: No no no no, I don't sniff it no more

I'm tired of waking up on the floor
No, thank you, please,
It only makes me sneeze
And then it makes it hard to find the door

A man I know just came from Nashville Tennessee oh
He smiled because I did not understand
Then he held out some moonshine whiskey oh-ho
He said it was the best in all the land

And I said: No no no no, I don't drink it no more
I'm tired of wakin' up on the floor
No, thank you, please,

It only makes me sneeze
And then it makes it hard to find the door

And I said: No no no no, I can't take it no more
I'm tired of wakin' up on the floor
No, thank you, please,

It only makes me sneeze
And then it makes it hard to find the door

A versão de Ringo Starr:

A versão de Joe Dassin em Francês:

A versão de Raul Seixas em português:

1461 – The Rolling Stones – Till the next goodbye (1974)

 

Escrita por Mick Jagger e Keith Richards, foi gravada em novembro de 1973 e lançada em 18 de outubro de 1974 no disco It's only rock 'n roll. É uma balada tradicional desse período da banda, com uma pequena influencia country. Abre com um violão e fala de um encontro ilícito entre dois amantes. “Honey, is there any place that you would like to eat? I know a coffee shop down on 52^nd street And I don't need no fancy food and I don't need no fancy wine; And I sure don't need the tears you cry”.”Yeah, a movie house on 42nd Street, Ain't a very likely place for you and I to meet; Watching the snow swirl around your hair and around your feet; And I'm thinking to myself 'she surely looks a treat...” Nos anos 70, um cinema na 42^nd street era um local de reputação questionável e um ótimo lugar pra um rendezvous romantico. A letra é complexa, do ponto de vista do narrador, fala pra amante de forma como se estivesse se desculpando e com dor na consciencia. Em uma frase, na ponte, ele expressa culpa, empatia e frustração. ''I can't go on like this/Can you? Can you?' Mick, Keith e Mick Taylor, cada um tocam um violão na gravação. Taylor tambem toca uma slide guitar. Nicky Hopkins toca piano. Bill Wyman toca baixo e Charlie Watts bateria.

A letra:

Honey, is there any place that you would like to eat?
I know a coffee shop down on Fifty-Second Street
And I don't need no fancy food and I don't need no fancy wine
And I sure don't need the tears you cry

Till the next time we say goodbye
Till the next time we say goodbye
Till the next time we say goodbye
I'll be thinking of you
I'll be thinking of you

Yeah, a movie house on Forty-Second Street
Ain't a very likely place for you and I to meet
Watching the snow swirl around your hair and around your feet
And I'm thinking to myself she surely looks a treat

Till the next time we say goodbye
Till the next time we say goodbye
Till the next time that we kiss goodnight
I'll be thinking of you
I'll be thinking of you

I can't go on like this, can you? Can you?
I can't go on like this, can you?

You give me a cure all from New Orleans
Now that's a recipe I sure do need
Some cider vinegar and some elderberry wine
May cure all your ills, but it can't cure mine

Your Lou'siana recipes have let me down
Your Lou'siana recipes have surely let me down
Till the next time we say goodbye
Drink to it

Till the next time we say goodbye
Till the next time that we kiss goodnight
Till the next time we say goodbye
Till the next time we say goodbye
Till the next time that we kiss goodnight
I'll be thinking of you
I'll be thinking of you

A versão dos Rolling Stones:

A versão de Steven Wallace Lowe:

A versão de Cory Costa:

1460 – The Guess Who – Clap for the Wolfman (1974)

 

Escrita por Burton Cummings, Bill Wallace and Kurt Winter, foi gravada em 1973 e 1974 e lançada em abril de 1974 no disco Road food e depois saiu em compacto em junho de 1974 com Road food como Lado B. É uma homenagem à Wolfman Jack, que falou várias vezes na sua típica voz de locutor de rádio várias vezes na gravação. Chegou ao número 4 no Canadá, número 6 no Billboard HOT100, número 4 no Canadá, número 9 na Holanda, número 14 na África do Sul, número 18 ma Bélgica e número 39 na Australia.

A letra:

Clap for the Wolfman
He gonna rate your record high
Clap for the Wolfman
You gonna dig him 'til the day you die

Clap for the Wolfman
He gonna rate your record high (mmh, yes gracious)
Clap for the Wolfman
You gona dig him 'til the day you die

Doo Ron Ron and the Duke of Earl
They were friend's of mine
And I was on my moonlight drive
Snuggled in said, "Baby, just one kiss"
She said, "No, no, no"
Romance ain't keepin' me alive

I said, "Hey babe, do you wanna coo, coo, coo?"
She said, "Ah, ah, ah"
So I was left out in the cold
I said, "You're what I've been dreaming of"
She said, "I don't want to know"

(Oh you know, she was diggin' the cat on the radio)

Clap for the Wolfman
He gonna rate your record high
(Yes baby, I your doctor love)
Clap for the Wolfman
You gonna dig him 'til the day you die
(Heh heh, everybody's talking about the Wolfman's "pompatous of love")

Seventy-five or eighty miles an hour
She hollered, "Slow, slow, slow"
Baby, I can stop right on a dime
I said, "Hey baby, give me just one kiss"
She said, "No, no, no"
But how was I to bide my time?
I said, "Hey babe, do you wanna coo, coo, coo?"
He said "Ah, ah, ah"
Said, "I'm about to overload"
I said "You're what I been living for"
She said "I don't know want to know"

(Oh, you thought she was diggin' you but she was diggin' me)

Clap for the Wolfman
He gonna rate your record high
(As long as you got the curves, baby, I got the angles)
Clap for the Wolfman
You gonna dig him 'til the day you die

(It's all according to how your boogaloo situation stands, you understand?)

Clap for the Wolfman
He gonna rate your record high
(You ain't gonna get them, 'cause I got them, ha yeah)
Clap for the Wolfman (oh)
You gon' dig him 'til the day you die
(You might wanna try, but I gonna keep them)

Clap for the Wolfman (ain't that right girls? Yes)
Clap for the Wolfman
Clap for the Wolfman
Clap for the Wolfman
Clap for the Wolfman (and I got 'em all)
Clap for the Wolfman (yes you go right on 'head and try)
Clap for the Wolfman (I'm gonna say bye)
Clap for the Wolfman (you love him don't you?)
Clap for the Wolfman (I love you)
Clap for the Wolfman (come over here my precious little baby)
Clap for the Wolfman (come here)...

A versão do Guess Who:

A versão do Retromatics:

A versão de Colin Wiebe:

1459 – Genesis – The Carpet Crawlers (1974)

Escrita por Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett e Mike Rutherford, foi gravada entre agosto e outubro de 1974 e lançada em 18 de novembro de 1974 no disco The lamb lies down on Broadway, o sexto da carreira da banda. Depois sairia em compacto, com The waiting room como Lado B. Conta a história de Rael, que se encontra num corredor com um carpete vermelho, cercado de pessoas ajoelhadas, que depois rastejam até uma porta de madeira. Rael é forçado a ir com eles e passa pro outro lado dessa porta. Do outro lado tem uma mesa com uma festa à luz de velas e depois disso, uma escada em espiral, que leva pra um lugar que não sabemos o que é. Tony Banks tocou piano elétrico, teclados e sintetizador. Phil Collins tocou bateria, percussão e fez backing vocals. Peter Gabriel cantou e tocou flauta. Steve Hackett tocou guitarra. Mike Rutherford tocou violão de 12 cordas, guitarra, baixo e fez backing vocals.

A letra:

There is lambswool under my naked feet
The wool is soft and warm
Gives off some kind of heat
A salamander scurries into flame to be destroyed
Imaginary creatures are trapped in birth on celluloid

The fleas cling to the golden fleece
Hoping they'll find peace
Each thought and gesture are caught in celluloid
There's no hiding in my memory
There's no room to void

The crawlers cover the floor in the red ochre corridor
For my second sight of people, they've more lifeblood than before
They're moving. in time to a heavy wooden door
Where the needle's eye is winking, closing in on the poor

The carpet crawlers heed their callers
We've got to get in to get out, ahhh
We've got to get in to get out, ahhh

We've got to get in to get out

There's only one direction in the faces that I see
It's upward to the ceiling, where the chambers said to be
Like the forest fight for sunlight, that takes root in every tree
They are pulled up by the magnet, believing that they're free

The carpet crawlers heed their callers
We've got to get in to get out, ahhh
We've got to get in to get out, ahhh

We've got to get in to get out...

Mild mannered supermen are held in kryptonite
And the wise and foolish virgins giggle with their bodies glowing bright
Through a door a harvest feast is lit by candlelight
It's the bottom of a staircase that spirals out of sight

The carpet crawlers heed their callers:
We've got to get in to get out, ahhh
We've got to get in to get out, ahhh

We've got to get in to get out...

The porcelain mannikin with shattered skin fears attack
And The eager pack lift up their pitchers- the carry all they lack
The liquid has congealed, which has seeped out through the crack
And the tickler takes his stickleback.

The carpet crawlers heed their callers
We've got to get in to get out, ahhh
We've got to get in to get out, ahhh

We've got to get in to get out...

We've got to get in to get out...

We've got to get in to get out...

We've got to get in to get out...

We've got to get in to get out...

A versão do Genesis...

A versão de Thomas Melzer:

A versão de Albert Sadebeck:

1458 – Bee Gees – Mr. Natural (1974)

Escrita por Barry Gibb e Robin Gibb, foi gravada em 8 de janeiro de 1974 em Londres, no Command Studios e foi lançada em 29 de março de 1974, no compacto que tinha It doesn't matter much to me como Lado B. Depois saiu no disco de mesmo nome, em maio de 1974. Foi o primeiro compacto do grupo que foi produzido por Arif Mardin. Nessa canção, Robin cantou a harmonia mais alta e Barry cantou a harmonia mais baixa. Chegou ao número 93 no Billboard HOT100 e número 11 na Austrália, além de número 13 no Canadá. Robin Gibb fez os vocais principais e harmonias vocais, no primeiro verso e no refrão. Barry Gibb fez vocais principais e harmonias vocais, no segundo verso e tocou violão. Maurice Gibb tocou baixo, mellotron e fez harmonias vocais. Alan Kendall tocou guitarra. Dennis Bryon tocou bateria e Geoff Westley tocou piano.

A letra:

Burning embers.
I still remember all of those little things.
But I don't feel it so much 'cause I am so out of touch
With my heart and it won't sing.

Rusty rainbows.
That's how the pain goes , turning me inside out .
Well , I come home at night and you are out of my sight.
Yes. I'm dying and there ain't no doubt.

Well, I'm dying and there's no way out.

Well I try try try try try
Mr. Natural (come on baby)
When I walk in the rain you won't know that I'm crying.

A smile on my face and I'm trying.

I'm trying to understand that a love

That is lost can never be found again.
And you see me dance ,

I look like a happy man .

Just when I think I'm getting it over,

An old friend I should see.

He said he knew you well , and baby I could tell .
You know he knew you more than me.

I went home laughing and inside I'm crying .
We had a special thing

You know I loved you so much ,

But girl I'm so out of touch
With my heart and it won't sing .

You know my heart just won't sing.
Well I try try try try try .

Mr. Natural ( come on baby)
When I walk in the rain you won't know that I'm crying.
A smile on my face and I'm trying.

I'm trying to understand that a love that is lost can never be found again.

And you can see me dance, I look like a happy man.
Still I try try try try try.
Mr. Natural ( come on baby)
Well I try try try try try

Mr. Natural (come on baby)

Well I try try try try try

Mr. Natural (come on baby)

Well I try try try try try

Mr. Natural (come on baby)

A versão do Bee Gees:

A versão de Rebecca and Lane:

A versão de Matt Drinnenberg:

1457 – Queen – Nevermore (1974)

 

Escrita por Freddie Mercury, foi gravada entre em 16 de agosto de 1973 e 20 de fevereiro de 1974 e lançada em 8 de março de 1974 no disco Queen II, o segundo da carreira da banda. Robin Geoffrey Cable foi o produtor. Todas as partes vocais foram feitas por Freddie Mercury, que também tocou o piano. Fala dos sentimentos sentidos depois de uma separação. Novamente, Freddie Mercury fez os vocais, backing vocals e tocou piano. Brian May tocou guitarra, John Deacon tocou baixo.

A letra:

There's no living in my life anymore
The seas have gone dry
And the rain's stopped falling

Please don't you cry any more
Can't you see
Listen to the breeze
Whisper to me please
Don't send me to the path of nevermore

Even the valley's below
Where the rays of the sun
Were so warm and tender

Now haven't anything to grow
Can't you see?
Why did you have to leave me? (nevermore)
Why did you deceive me? (nevermore)
You sent me to the path of nevermore
When you say you didn't love me anymore
Ah ah nevermore nevermore

A versão do Queen:

A versão de Lucie Hamalíková:

A versão de Christina Reese:

1456 – Eric Clapton – Willie and the Hand Jive (1974)

 

Escrita por Johnny Otis, foi gravada e lancada por ele mesmo em 1958. A nossa versão no entanto é a de Eric Clapton, gravada entre abril e maio de 1974 em Miami, Flórida e lançada em julho de 1974 no disco 461 Ocean Boulevard. Sairia também em compacto em outubro de 1974, com Mainline Florida como Lado B. A canção tem uma batida à la “Bo Diddley”. A música fala de um cara (Willie) que ficou famoso fazendo uma dança com suas mãos, mas a canção ficou famosa como sendo uma homenagem à masturbação. Foi regravada também por Cliff Richard, The Youngbloods, Johnny Rivers, Levon Helm, Kim Carnes e Grateful Dead, entre outros. A nossa versão, de Eric Clapton, chegou ao número 26 do Billboard HOT100, número 28 na Holanda, número 31 no Canadá e número 99 no Japão. É uma espécie de Johnny B. Goode. Otis fez quando descobriu que havia lugares na Inglaeterra que não era permitido levantar pra dançar, então a moçada fazia dança com as mãos, sentados.

A letra:

I know a cat named Way-Out Willie
Got a cool little chick named Rocking Millie
He can walk and stroll and Susie Q
And do that crazy hand jive, too

Mama, mama, look at Uncle Joe
Doing the hand jive with sister Flo
Grandma gave baby sister a dime
Said, "Do that hand jive one more time."

Hand jive, hand jive, hand jive
Do that crazy hand jive

Doctor and a lawyer and an Indian chief
They all dig that crazy beat
Way-Out Willie gave them all a treat
When he did that hand jive with his feet

Hand jive, hand jive, hand jive
Do that crazy hand jive

Willie and Millie got married last fall
They had a little Willie junior and that ain't all
Well, the kids got crazy and it's plain to see
Doing the hand jive on TV

Hand jive, hand jive, hand jive
Do that crazy hand jive

A versão de Johnny Otis:

A versão de Eric Clapton:

A versão de Johnny Rivers:

1455 – Neil Diamond – Longfellow serenade (1974)

 

Escrita por Neil Diamond, foi gravada em 1974 e lançada em 27 de setembro de 1974 no disco Serenade, o nono da carreira de Neil. Saiu também em compacto, com Rosemary's wine como Lado B. Foi produzida por Tom Catalano. Chegou ao número 5 no Billboard HOT100. Chegou também ao número 1 na Suíça, África do Sul, Canadá e número 2 na Alemanha. Número 7 na Australia e número 9 na Bélgica e Holanda. Fala de um sujeito que queria ganhar a mulher através da poesia. Longfellow faz referencia ao poeta americano do século 19 Henry Wadsworth Longfellow. Neil quis usar Longfellow pois uma ocasião no seu tempo de adolescente, ele usou uma das poesias de Longfellow pra conquistar uma mulher mais velha e deu certo.

A letra:

Longfellow Serenade
Such were the plans I'd made
For she was a lady
And I was a dreamer
With only words to trade

You know that I was born
For a night like this
Warmed by a stolen kiss
For I was lonely
And she was lonely

Ride, come on baby, ride
Let me make your dreams come true
I'll sing my song
Let me sing my song
Let me make it warm for you

I'll weave his web of rhyme
Upon the summer night
We'll leave this worldly time
On his winged flight
Then come, and as we lay
Beside this sleepy glade
There I will sing to you
My Longfellow serenade

Longfellow serenade
Such were the plans I made
But she was a lady
As deep as the river
And through the night we stayed
And in my way I loved her as none before
Loved her with words and more
For she was lonely and I was lonely

Ride, come on baby, ride
Let me make your dreams come true
I'll sing my song
Let me sing my song
Let me make it warm for you

I'll weave his web of rhyme
Upon the summer night
We'll leave this worldly time
On his winged flight
Then come, and as we lay
Beside this sleepy glade
There I will sing to you
My Longfellow serenade

Weave your web of rhyme
Upon our summer night
We'll leave this worldly time
On your winged flight

A versão de Neil Diamond:

A versão de Al Robitaille:

A versão de The Hali Cats:

1454 – Grateful Dead – Scarlet Begonias (1974)

 

Escrita por Jerry Garcia e Robert Hunter, foi gravada em 1974 e lançada no disco From the Mars Hotel, em 2 de junho de 1974. Foi regravada por Jimmy Buffett, entre outros artistas. Jerry Garcia tocou guitarra solo e cantou. Donna Jean Godchaux fez backing vocals. Keith Kodchaux tocou teclado e fez backing vocals. Bill Kreutzmann tocou bateria. Phil Lesh tocou baixo e fez backing vocals. Bob Weir tocou guitarra e fez backing vocals.

A letra:

As I was walkin' 'round Grosvenor Square
Not a chill to the Winter but a nip to the air
From the other direction, she was calling my eye
It could be an illusion, but I might as well try, might as well try

She had rings on her fingers and bells on her shoes
And I knew, without askin', she was into the blues
She wore scarlet begonias tucked into her curls
I knew right away she was not like other girls, other girls

In the thick of the evening, when the dealing got rough
She was too pat to open and too cool to bluff
As I picked up my matches and was closing the door
I had one of those flashes I'd been there before, been there before

Well, I ain't always right, but I've never been wrong
Seldom turns out the way it does in a song
Once in a while, you get shown the light
In the strangest of places if you look at it right

Well, there ain't nothing wrong with the way she moves
Oh Scarlet begonias or a touch of the blues
And there's nothing wrong with the look that's in her eyes
Had to learn the hard way to let her pass by, let her pass by

Wind in the willow's playin' "Tea For Two"
The sky was yellow, and the sun was blue
Strangers stoppin' strangers just to shake their hand
Everybody's playing in the heart of gold band, heart of gold band

A versão do Grateful Dead:

A versão de Mike Massé:

A versão de Savannah and The Kings:

1453 – Rod Stewart – Farewell (1974)

Escrita por Martin Quittenton e Rod Stewart, foi gravada entre novembro de 1973 e maio de 1974 e lançada em 4 de outubro de 1974 no disco Smiler. Também saiu em compacto com Bring it on home to me/You send como Lado B. Teve participação especial de Ray Jackson no bandolim e Ric grech no violino. Chegou ao número 7 no Reino Unido. Fala de um jovem rapaz que deixa sua casa e tenta ganhar o mundo do show business.

A letra:

Fare thee well my brother
Please don't stand in my way
I'm going down to that dirty town
No matter what you say
You fooled me and you ruled me
And you played in every part
I gotta go, it's no use me stayin' home

Goodbye my sister
Please don't let me see you cry
Gonna be a star someday
No matter what they say
And when you hear the crowds
All callin' and shouting out my name
Until then, my little friend, I'll be unsatisfied

So long sweet Melinda
Don't forget that you're my girl
Gonna dress you fine
And if you give me time
Make you proud like I said I would
And if the Champs Elysee's no fallacy
If I find the world looks like it should
Candy cars, movie stars, street bars
Then I could stay a while

Well I love you
Shall I write or phone from Paris or Rome?
And I'll miss you all
Even though you're tryin' to hold me back

Farewell all my family
Don't you know I mean you so well
Please appreciate I must make a break
Just to see what I can do
The stage is set so understand
I can't hide in the wings no more
I've got to go now it's no use me staying home

All I can say is I love you
Shall I write or phone from Paris or Rome?
And I think I'm always gonna miss you
And I love you always
I think I'm always gonna miss ya
Even though you're tryin' to hold me back

And I love you and I miss you
If you don't get no mail you know I'm in jail
If you don't get no mail you know I'm in jail
But I love you and I miss you
And I love you

A versão de Rod Stewart:

1452 – America – Lonely people (1974)

 

Escrita por Dan Peek e Catherine Peek, foi gravada pelo America em 1974 e lançada no disco Holiday em 26 de junho de 1974 e também em compacto com Mad dog como Lado B, em 27 de novembro de 1974. Chegou ao número 5 do Billboard HOT100. É uma resposta otimista à Eleanor Rigby, dos Beatles. Dan Peek disse que ouvia Eleanor Rigby e como uma pessoa solitária, ele se sentia extremamente pra baixo, até que quando se casou com Catherine, ele resolveu fazer uma resposta à canção, dizendo pras pessoas solitárias não se desesperarem, que uma hora a hora delas vai chegar.

A letra:

This is for all the lonely people
Thinking that life has passed them by
Don't give up until you drink from the silver cup
And ride that highway in the sky

This is for all the single people
Thinking that love has left them dry
Don't give up until you drink from the silver cup
You never know until you try

Well, I'm on my way
Yes, I'm back to stay
Well, I'm on my way back home (Hit it)

This is for all the lonely people
Thinking that life has passed them by
Don't give up until you drink from the silver cup
And never take you down or never give you up
You never know until you try

A versão do America:

A versão de Pete Muller and The Kindred Souls:

A versão de Pomp La Moose:

1451 – Queen – Killer queen (1974)

 

Escrita por Freddie Mercury, foi gravada entre julho e agosto de 1974 e lançada em 11 de outubro de 1974 no compacto que tinha Flick of the wrist como Lado A. Saiu também no disco Sheer heart attack, o terceiro da banda, em 8 de novembro de 1974. Foi produzida por Roy Thomas Baker e pela banda. Chegou ao número 2 no Reino Unido e na Irlanda e se tornou o primeiro hit da banda na América, chegando ao número 12 do Billboard HOT100. Chegou ao número 15 no Canadá, ao número 3 na Holanda, número 4 na Noruega e Bélgica, número 10 na Áustria e França, número 12 na Alemanha e número 24 na Austrália. Fala de uma garota de programa de alta classe. Freddie disse que escreveu a letra antes e só depois a melodia e música, quando sempre ele fazia o contrário. Foi gravada parcialmente no Rockfield Studios, no País de Gales. Tem bem elaboradas quatro parte de harmonias e um solo de guitarra de Brian May. E em um ponto determinado, tem duas linhas de baixo. Freddie disse que com essa música, ele quis dizer que pessoas de classe poderiam ser putas também. Brian May disse que essa canção foi um ponto de mudança pra banda. Eles estavam precisando do sucesso que ela trouxe, no momento certo e essa canção sumarizou o som da banda. Ele disse que ficou muito feliz mesmo com o resultado da gravação. Foi o começo do Queen nas rádios. Mostrou a banda se tornando mestre do pop. Kate Perry disse que essa música despertou-a pra música se ajudou-a a se tornar a cantora de hoje. Freddie Mercury cantou, fez backing vocals, tocou grand piano, piano e estalou os dedos. Brian May tocou guitarra e fez backing vocals. Roger Taylor tocou bateria, triangulo, chimes e fez backing vocals. John Deacon tocou baixo.

A letra:

She keeps her Moet et Chandon
In her pretty cabinet
"Let them eat cake", she says
Just like Marie Antoinette

A built-in remedy
For Khrushchev and Kennedy
At anytime an invitation
You can't decline

Caviar and cigarettes
Well versed in etiquette
Extraordinarily nice

She's a Killer Queen
Gunpowder, gelatine
Dynamite with a laser beam
Guaranteed to blow your mind
Anytime

Recommended at the price
Insatiable an appetite
Wanna try?

To avoid complications
She never kept the same address
In conversation
She spoke just like a baroness

Met a man from China
Went down to Geisha Minah
Then again incidentally
If you're that way inclined

Perfume came naturally from Paris (naturally)
For cars she couldn't care less
Fastidious and precise

She's a Killer Queen
Gunpowder, gelatine
Dynamite with a laser beam
Guaranteed to blow your mind
Anytime

Drop of a hat she's as willing as
Playful as a pussy cat
Then momentarily out of action
Temporarily out of gas
To absolutely drive you wild, wild
She's all out to get you

She's a Killer Queen
Gunpowder, gelatine
Dynamite with a laser beam
Guaranteed to blow your mind
Anytime

Recommended at the price
Insatiable an appetite
Wanna try?
You wanna try

A versão do Queen:

A versão de Marc Martel:

A versão de Reina Del Cid: