Escrita
por Bob Dylan, foi lançada por ele em outubro de 1970, no disco New
Morning. No entanto, a nossa versão é a de Joe Cocker, em uma
versão de reggae, gravada em 1975 em Kingston, Jamaica e lançada em
23 de abril de 1976 no disco Stingray, o sexto da carreira de Joe.
Rolling Stone Magazie colocou-a como número 84 da lista das 100
greatest Bob Dylan songs of all time. Foi também regravada por Al
Kooper, entre outros artistas.
A
letra:
The
man in me will do nearly any task As for compensation, there's a
little he will ask Take a woman like you To get through to the
man in me.
Storm clouds are raging all around my
door I think to myself I might not take it anymore Take a woman
like your kind To find the man in me.
But, oh what a wonderful feeling Just
to know that you are near It sets my heart a-reeling From my
toes up to my ears.
The man in me will hide sometimes to
keep from being seen But that's just because he doesn't want to
turn into some machine Take a woman like you To get through to
the man in me.
Escrita
por Benny Andersson, Bjorn Ulvaeus (letra em inglês) e Stig Anderson
(letra em sueco), foi gravada inicialmente por Anni_Frid Lingstad e
lançada no final de 1975. O ABBA regravaria-a em 4 de setembro de
1975 e lançaria em 12 de março de 1976. Vendeu 6 milhões de cópias
apenas em 1976. É um dos compactos que mai vendeu na história,
tendo ultrapassado a marca de 10 milhões de cópias físicas. Menos
de cinquenta compactos conseguiram esse feito. Fernando era o nome de
um bartender que trabalhava em um bar que a banda frequentava em
Estocolmo. Fala de dois veteranos de guerra que lutaram juntos.
Chegou ao número 1 em 13 países e eles são: Austria, Belgica,
França, Alemanha Ocidental, Reino Unido, Hungria, Irlanda, Mexico,
Holanda, Nova Zelandia. África do Sul, Suíça e Austrália. Não
foi número 1 mas foi TOP5 na Suécia, Finlandia, Noruega, Espanha,
Canadá e Rodésia. Mas a versão de Lingstad solo chegou ao número
1 na Suécia. Foi recorde na Australia por mais de 40 anos: Ficou 14
semanas no número 1 e 40 semanas sem sair dos charts. So perdeu em
2017 pra Ed Sheeran, com a canção Shape of you, que ficou 15
semanas como número 1 naquele país. Foi o quarto TOP 20 do ABBA no
Billboard HO100Foi regravada por Cher, entre outros artistas.
Fernando:
Can you hear the drums Fernando? I
remember long ago another starry night like this In the firelight
Fernando You were humming to yourself and softly strumming your
guitar I could hear the distant drums And sounds of bugle calls
were coming from afar
They were closer now Fernando Every
hour every minute seemed to last eternally I was so afraid
Fernando We were young and full of life and none of us prepared to
die And I'm not ashamed to say The roar of guns and cannons
almost made me cry
There was something in the air that
night The stars were bright, Fernando They were shining there
for you and me For liberty, Fernando Though I never thought
that we could lose There's no regret If I had to do the same
again I would, my friend, Fernando If I had to do the same
again I would, my friend, Fernando
Now we're old and grey Fernando And
since many years I haven't seen a rifle in your hand Can you hear
the drums Fernando? Do you still recall the frightful night we
crossed the Rio Grande? I can see it in your eyes How proud you
were to fight for freedom in this land
There was something in the air that
night The stars were bright, Fernando They were shining there
for you and me For liberty, Fernando Though I never thought
that we could lose There's no regret If I had to do the same
again I would, my friend, Fernando
Yes, if I had to do the same again I
would, my friend, Fernando...
Escrita
por Paul McCartney, foi gravada em 4 de fevereiro de 1976, nos
estúdios da Abbey Road, EMI, em Londres. Foi lançada por Paul
McCartney and Wings em 25 de março de 1976 no disco Wings at the
speed of sound. Depois sairia em compacto com Beware my love no Lado
B. Foi produzida pelo próprio Paul. Chegou ao número 1 no Canadá,
numero 2 no Reino Unido e Irlanda e número 3 no Billboard Hot100.
Chegou ao número 13 na Nova Zelandia e número 25 na Holanda. Chegou
ao número 29 na Alemanha Ocidental e 65 na Australia. Ganhou disco
de ouro por vendas acima de 1 milhão de cópias. Começa com um
vibrafone imitando a campanhia de Friedland Westminster. Fala nomes
de amigos e familiares que Paul que tocam a campanhia e Paul pede que
deixem essa pessoa entrar. Inclui a tia paterna dele, Gin, o irmão
dele Michael e John, irmão de Linda. Fala de Phil e Don, da dupla
Everly Brothers e fala de Martin Luther King. Uncle Ernie é o
personagem de Ringo na Ópera Tommy, da banda The Who. Paul canta,
toca piano e faz backing vocals. Jimmy McCulloch toca baixo. Deny
Laine faz backing vocals e toca tambor militar. Joe English toca
bateria. Linda McCartney faz backing vocals. E Howie Casey, Thaddeus
Richard, Steve Howard e Tony Dorsey tocaram flauta e sopros. E uma
pessoa desconhecida tocou o vibrafone.
A
letra:
Someone
knocking at the door Somebody ringing the bell Someone's
knocking at the door Somebody's ringing the bell Do me a
favour Open the door And let 'em in
Oh yeah
Someone's
knocking at the door Somebody's ringing the bell Someone's
knocking at the door Somebody's ringing the bell Do me a
favour Open the door And let 'em in Let ‘em in
Sister
Suzy, Brother John Martin Luther, Phil and Don Brother Michael,
Auntie Gin Open the door and let 'em in
Let ‘Em
In
Someone knocking at the door Somebody ringing the
bell Someone's knocking at the door Somebody's ringing the
bell Do me a favour Open the door And let 'em in
Oh
yeah
Someone's knocking at the door Somebody's ringing the
bell Someone's knocking at the door Somebody's ringing the
bell Do me a favour Open the door And let 'em in Let ‘em
in
Sister Suzy, Brother John Martin Luther, Phil and
Don Brother Michael, Auntie Gin Open the door and let 'em
in
Oh yeah
Sister Suzy, Brother John Martin Luther,
Phil and Don Uncle Ernie, Auntie Gin Open the door and let 'em
in
Yeah, yeah
Someone's knocking at the door Somebody's
ringing the bell Someone's knocking at the door Somebody's
ringing the bell Do me a favour Open the door And let 'em
in
Oh yeah, yeah, let ‘em in now
Sister Suzy, Brother
John Martin Luther, Phil and Don Uncle Ernie, Uncle Ian Open
the door and let 'em in
Yeah, yeah
Someone's knocking
at the door Somebody's ringing the bell Someone's knocking at
the door Somebody's ringing the bell Do me a favour Open the
door And let 'em in Yeah yeah yeah yeah yeah
Escrita
por Rick Danko e Richard Manuel, foi gravada por Eric Clapton entre
dezembro de 1975 e maio de 1976, em Malibu e Los Angeles, California
e lançada em 27 de agosto de 1976 no disco No reason to cry, o
quarto disco da carreira solo de Clapton. O produtor foi Rob Fabroni.
Ron Wood tocou guitarra.
A
letra:
I've
told you once, now you should know The reason that I'm coming
down There ain't no time to repeat again Just need to bring it
around
We had a beautiful thing going You couldn't see
things my way We had a beautiful thing going Something just got
in our way
And I told you once that it was rough I looked
on you as my friend Because that did not seem to be good
enough And now it's time to begin
We've got a beautiful
thing going I hope that's the way it will stay We've got a
beautiful thing going Nothing can stand in our way
We've
got a beautiful thing going I hope that's the way it will
stay We've got a beautiful thing going Nothing can stand in our
way
Escrita
por Mick Jagger e Keith Richards, foi gravada em março abril de
1975, produzida pela dupla Mick Jagger e Keith Richards e lançada em
23 de abril de 1976 no disco Black and blue, o décimo quinto da
banda. É uma das poucas músicas em que Mick e Keith dividem os
vocais. Tem mais de 7 minutos e é uma das mais longas da banda. Mick
se hospedou na casa de Andy Warhol em Montauk, no estado de New York,
quando estava começando a turnê da banda pela América no ano de
1975. A música fala que eles estavam de saída pra Baton Rouge, onde
a banda tocaria na Universidade de Louisiana. O nome da música vem
de um motel que realmente existe em Montauk. A garota da música é
Carly Simon. Fala de um amor de uma noite nesse motel. Fala de uma
mulher forte, independente e Keith Richards repete na música: “She
got a mind of her own and she use it well”. Keith não tocou
guitarra na gravação, pois estavam buscando um guitarrista pra
substituir Mick Taylor. Assim, Harvey Mandel tocou guitarra e Wayne
Perkins tocou violão. Mick Jagger tocou piano acústico, Keith
Richards tocou piano elétrico e Billy Preston tocou sintetizador.
Billy Preston também fez backing vocals, juntaente com Ron Wood, que
depois iria virar guitarrista da banda em definitivo. Foi gravada em
Munique, na Alemanha.
A
letra:
Hannah
honey was a peachy kind of girl Her eyes were hazel And her
nose were slightly curved We spent a lonely night at the Memory
Motel It's on the ocean, I guess you know it well It took a
starry to steal my breath away Down on the water front Her
hair all drenched in spray Hannah baby was a honey of a girl Her
eyes were hazel And her teeth were slightly curved She took
my guitar and she began to play She sang a song to me Stuck
right in my brain You're just a memory of a love That used to
be You're just a memory of a love That used to mean so much
to me She got a mind of her own And she use it well Well
she's one of a kind She's got a mind She got a mind of her
own And she use it mighty fine She drove a pick-up truck
Painted green and blue The tires were wearing thin She
turned a mile or two When I asked her where she headed for "Back
up to Boston I'm singing in a bar" I got to fly today on
down to Baton Rouge My nerves are shot already The road ain't
all that smooth Across in Texas is the rose of San Antone I
keep on a feeling that's gnawing in my bones You're just a memory
of a love That used to mean so much to me You're just a
memory girl You're just a sweet memory And it used to mean so
much to me Sha la la la la She got a mind of her own And
she use it well Mighty fine, she's one of a kind On the
seventh day my eyes were all a glaze We've been ten thousand
miles Been in fifteen states Every woman seemed to fade out
of my mind I hit the bottle and hit the sack and cried What's
all this laughter on the 22nd floor It's just some friends of
mine And they're busting down the door Been a lonely night at
the Memory Motel
Escrita
por Bob Dylan e Jacques Levy, foi gravada em 30 de julho de 1975 e
lançada no disco Desire, o décimo sétimo da carreira de Bob, em 5
de janeiro de 1976. Foi produzida por Don DeVito. Fala da destruição
de uma pequena ilha, depois de uma erupção de um vulcão, observada
sob duas perspectivas. A primeira de um hotel que está dentro da
ilha e de um narrador que assistiu a situação pela TV. A canção
fala essencialmente sobre o que as pessoas da ilha estavam fazendo no
momento em que ocorreu essa tragédia, chamando atenção pra
futilidade de suas ações, como por exemplo, um dos moradores da
ilha se prepara pra se suicidar quando o vulcão entra em erupção.
Do outro lado, o sujeito que está vendo pela TV, pouca importancia
atribui ao fato e sua preocupação é abrir outra cerveja. O livro
Victory, de Joseph Conrad foi a inspiração pra música. Bob Dyla
tocou violão, cantou e tocou gaita. Scarlet Rivera tocou violino.
Emmylou Harris fez backing vocals. Rob Stoner tocou baixo e fez
backing vocals. Howard Wyeth tocou piano e bateria.
A
letra:
Up
on the white veranda She wears a necktie and a Panama hat Her
passport shows a face From another time and place She looks
nothing like that And all the remnants of her recent past Are
scattered in the wild wind She walks across the marble floor Where
a voice from the gambling room is callin' her to come on in She
smiles, walks the other way As the last ship sails and the moon
fades away From Black Diamond Bay
As the morning light breaks open, the
Greek comes down And he asks for a rope and a pen that will
write Pardon, monsieur, the desk clerk says Carefully removes
his fez Am I hearing you right And as the yellow fog is
lifting The Greek is quickly heading for the second floor She
passes him on the spiral staircase Thinking he's the Soviet
Ambassador She starts to speak, but he walks away As the storm
clouds rise and the palm branches sway On Black Diamond Bay
A soldier sits beneath the fan Doing
business with a tiny man who sells him a ring Lightning strikes,
the lights blow out The desk clerk wakes and begins to shout Can
you see anything Then the Greek appears on the second floor In
his bare feet with a rope around his neck While a loser in the
gambling room lights up a candle Says, open up another deck But
the dealer says, attendez-vous, s'il vous plait As the rain beats
down and the cranes fly away From Black Diamond Bay
The desk clerk heard the woman laugh As
he looked around the aftermath and the soldier got tough He tried
to grab the woman's hand Said, here's a ring, it cost a grand She
said, that ain't enough Then she ran upstairs to pack her
bags While a horse-drawn taxi waited at the curb She passed the
door that the Greek had locked Where a handwritten sign read, do
not disturb She knocked upon it anyway As the sun went down and
the music did play On Black Diamond Bay
I've got to talk to someone quick But
the Greek said, go away, and he kicked the chair to the floor He
hung there from the chandelier She cried, help, there's danger
near Please open up the door Then the volcano erupted And
the lava flowed down from the mountain high above The soldier and
the tiny man were crouched in the corner Thinking of forbidden
love But the desk clerk said, it happens every day As the stars
fell down and the fields burned away On Black Diamond Bay
As the island slowly sank The loser
finally broke the bank in the gambling room The dealer said, it's
too late now You can take your money, but I don't know how You'll
spend it in the tomb The tiny man bit the soldier's ear As the
floor caved in and the boiler in the basement blew While she's out
on the balcony, where a stranger tells her My darling, je vous
aime beaucoup She sheds a tear and then begins to pray As the
fire burns on and the smoke drifts away From Black Diamond Bay
I was sitting home alone one night in
L.A. Watching old Cronkite on the seven o'clock news It seems
there was an earthquake that Left nothing but a Panama hat And
a pair of old Greek shoes Didn't seem like much was happening So
I turned it off and went to grab another beer Seems like every
time you turn around There's another hard-luck story that you're
gonna hear And there's really nothing anyone can say And I
never did plan to go anyway To Black Diamond Bay
Escrita
por Bob Dylan e Jacques Levy, foi gravada inicialmente por Bob Dylan
em 29 de julho de 1975, pra ser usada no disco Desire, de 1976. Ela
não foi usada e foi dada pra Joe Cocker gravar e lançar no seu
disco chamado Stingray, o sexto da carreira dele, gravado em 1975 em
Kingston, na Jamaica. A versão de Joe Cocker é a versão escolhida
pelo blog. A versão de Bob so seria lançada em 1991, no seu disco
de Bootlegs. Foi escrita em homenagem à Catfish Hunter, jogador de
baseball que entraria no Baseball Hall of Fame no futuro.
A
Letra:
Lazy
stadium night Catfish on the mound Strike three, ' the umpire
said Better have to go back and sit down.
Catfish, million-dollar-man Nobody
can throw the ball like Catfish can
He used to work on Mr. Finley's
farm But the old man wouldn't pay He packed his glove and took
his arm He just run away
Catfish, million-dollar-man, Nobody
can throw the ball like Catfish can
Come up where the Yankees are Dressed
in a pinstripe suit Smoke a custom-made cigar Wear an alligator
boot
Catfish, million-dollar-man Nobody
can throw the ball like Catfish can
Carolina born and bred Love to hunt
the little quail Got a hundred-acre spread Got some huntin'
dogs for sale
Catfish, million-dollar-man Nobody
can throw the ball like Catfish can
Reggie Jackson at the plate Seein'
nothin' but the curve Swing too early or too late Got to eat
what Catfish serve
Catfish, million-dollar-man, Nobody
can throw the ball like Catfish can.
Even Billy Martin grins When the
Fish is in the game Every season twenty wins Gonna make the
Hall of Fame
Catfish, million-dollar-man Nobody
can throw the ball like Catfish can
Escrita
por Benny Andersson, Bjorn Ulvaeus e Stig Anderson, foi gravada em 4
e 5 de agosto de 1975 e lançada em 15 de agosto de 1976, no compacto
com That's me como Lado B. Sairia depois no disco Arrival, em 11 de
outubro de 1976, o quarto disco da banda. Andersson e Ulvaeus foram
também os produtores da canção. Foi um hit internacional. Chegou
ao número 1 do ABBA nos Estados Unidos e chegou também número na
Austrália, Canadá, Holanda, Bélgica, Irlanda, Mexico, Nova
Zelandia, Nouega, África do Sul, Espanha, Suécia, Reino Unido,
Alemanha Ocidental e Rodésia. Rock your baby de George McCrae foi a
fonte de inspiração para o estilo da canção. Em 2015 ela entrou
pro Grammy Hall of Fame. É a quarta posição da 100 greatest number
one singles do Channel 4. É a numero 148 das Songs of the Century,
da Recording Industry Association of America. É a canção de
número 174 da revista Rolling Stone da lista das 500 greatest songs
of all time, a única canção da ABBA da lista. O VH1 disse que era
número da lista das 100 greatest dance songs in Rock and Roll. MTV
disse que ela era a décima segunda melhor pop song dos anos 70s.
Rolling Stone e MTV disseram que essa era a melhor canção do ABBA.
Agnetha Faltskog cantou e fez backing vocals. Anni-Frid Lyngstad
cantou e fez backing vocals. Bjorn Ulvaeus tocou guitarra. Benny
Andersson tocou piano e sintetizador. Rutber Gunnarson tocou baixo e
Roger Palm tocou bateria.
A
letra:
Ooh You
can dance You can jive Having the time of your life Ooh, see
that girl Watch that scene Digging the dancing queen
Friday night and the lights are
low Looking out for a place to go Where they play the right
music Getting in the swing You come to look for a king Anybody
could be that guy Night is young and the music's high With a
bit of rock music Everything is fine You're in the mood for a
dance And when you get the chance
You are the dancing queen Young and
sweet Only seventeen Dancing queen Feel the beat from the
tambourine, oh yeah You can dance You can jive Having the
time of your life Ooh, see that girl Watch that scene Digging
the dancing queen
You're a teaser, you turn 'em on Leave
'em burning and then you're gone Looking out for another Anyone
will do You're in the mood for a dance And when you get the
chance
You are the dancing queen Young and
sweet Only seventeen Dancing queen Feel the beat from the
tambourine, oh yeah You can dance You can jive Having the
time of your life Ooh, see that girl Watch that scene Digging
the dancing queen Digging the dancing queen
Escrita
por Paul McCartney e Linda McCartney, foi gravada em 16 de janeiro de
1976 e lançada em 25 de março de 1976 no disco Wings of the speed
of sound. Sairia depois em compacto, com Cook of the house como Lado
B. O produtor foi o próprio Paul McCartney. A canção tem toques de
disco. E foi uma resposta aos críticos e à John Lennon, que diziam
que Paul só escrevia canções de amor bobinhas e sentimentais. Foi
a vigésima setima canção de Paul como compositor que chegou ao
número 1. Ela foi a canção do ano também, fazendo com que Paul
fosse uma pessoa que teve essas honrarias como artista solo e como
Beatle, com I want to hold your hand em 1964 e Hey Jude em 1968. A
canção tem multiplas partes vocais, cantadas em contraponto,
similar à música God only knows, dos Beach Boys, uma canção que
Paul disse ser a favorita dele de todos os tempos. Paul também
deixou os sopros criarem suas próprias partes na gravação. Chegou
ao número 1 do Billboard Hot100 e Billboard Year-end of 1976. Foi
disco de ouro pois vendeu mais de um milhão de cópias. É a maior
canção de Paul da história no Hot100. Foi número 2 no Reino Unido
e número 1 na Irlanda. É a 31a da lista da Billboard's Greatest
songs of all time. Paul cantou e fez backing vocals, tocou baixo,
mellotron, piano, regeu as cordas e tocou percussão. Linda fez
backing vocals e tocou pandeiro. Denny Laine tocou piano e fez
backing vocals. Joe English tocou bateria. Tony Dorsey tocou
trombone, Thaddeus Richard tocou saxofone, Steve Howard tocou
trompete e Howie Casey tocou saxofone. Foi número 1 também no
Canadá, número 8 na Nova Zelandia, número 9 na Noruega, número 11
na Holanda, número 14 na Alemanha, número 20 na Australia e número
66 no Japão. Foi regravada por Denny Laine, entre outros artistas.
A
letra:
You'd
think that people would have had enough of silly love songs But I
look around me And I see it isn't so Some people want to fill
the world With silly love songs And what's wrong with that? I'd
like to know Cos here I go again
I love you, I love you I
love you, I love you
Ah, I can't explain The feeling's
plain to me Now can't you see? Ah, she gave me more She gave
it all to me Now can't you see? What's wrong with that? I
need to know Cos here I go again
I love you, I love
you
Love doesn't come in a minute Sometimes it doesn't come
at all I only know that when I'm in it It isn't silly, no, it
isn't silly Love isn't silly at all
How can I tell you
about my loved one? How can I tell you about my loved one? How
can I tell you about my loved one? How can I tell you about my
loved one?
I love you, I love you I love you, I love
you
Ah, I can't explain The feeling's plain to me Say,
can't you see?
Ah, he gave me more He gave it all to
me Say, can't you see?
Ah, I can't explain The
feeling's plain to me Say, can't you see?
Ah, he gave me
more He gave it all to me Say, can't you see?
Ah, I
can't explain The feeling's plain to me Say, can't you
see?
Ah, he gave me more He gave it all to me Say, can't
you see?
You'd think that people would have had enough of
silly love songs But I look around me and I see it isn't so, oh
no, Some people want to fill the world With silly love
songs And what's wrong with that?
Escrita
por Peter Tosh e Bunny Livington, foi gravada em Kingston, em 1976 e
lançada em junho de 1976 no disco Legalize it, o disco de estréia
de Tosh. Peter Tosh tocou guitarra, teclado e cantou. Al Anderson
tocou guitarra. Aston Barrett e Robbie Shakespeare tocaram baixo.
Carlton Davis e Carlton Barrett tocaram bateria. Tyrone Downie tocou
teclado. Donald Kinsey tocou guitarra. Robbie Lee tocou gaita. Rita
Marley, Bunny Wailer e Judy Mowatt fizeram backing vocals.
A
letra:
You
said you loved me And then you left You broke every promise,
oh yes you did You win every bet
You never miss your water Till your
well runs dry
Tell me, tell me Whatcha gonna do
When your well runs dry Whatcha gonna do When your well
runs dry Whatcha gonna do When your well runs dry, I'd like to
know Whatcha gonna do When your well runs dry
Listen to me darlin' You cheat and
you lie Now you come a runnin' Runnin', wanting second try
You never miss your water Till your
well runs dry
Tell me, tell me Whatcha gonna do
When your well runs dry Whatcha gonna do When your well
runs dry Whatcha gonna do When your well runs dry, I'd like to
know Whatcha gonna do When your well runs dry
Sat down and sighed And I heard you
packin' I watched you pass by me But you said nothin' Not
one single word but I know you're gonna miss me And you're
gonna be blue
tell me, tell me Whatcha gonna do
When you're feeling blue Whatcha gonna do, woman When
you're feeling blue Whatcha gonna do When you're feeling so
blue, I'd like to know Whatcha gonna do When you're feeling
blue
Tell me, tell me Whatcha gonna do
When you're feeling blue Whatcha gonna do When you're
feeling blue Whatcha gonna do When you're feeling so blue, I'd
like to know Whatcha gonna do When you're feeling blue
Whatcha gonna do When your well
runs dry, woman Whatcha gonna do When your well runs
dry Whatcha gonna do When your well runs dry Whatcha gonna
do, I'd like to know Whatcha gonna do, I just know Whatcha
gonna do, I want to know Whatcha gonna do Whatcha gonna Whatcha
gonna do Whatcha gonna do Whatcha gonna do when your well runs
dry Whatcha gonna do Whatcha gonna do when your well runs
dry Whatcha gonna do When your well runs dry Whatcha gonna
do Whatcha gonna do (when your well runs dry) Whatcha gonna do
when your well runs dry Whatcha gonna do when your well runs
dry Whatcha gonna do when your well runs dry Whatcha gonna do
when your well runs dry
Escrita
por Eric Donaldson, foi gravada entre outubro de 1975 e fevereiro de
1976 e lançada em 23 de abril de 1976, no disco Black and blue, o
décimo quinto disco da banda. Foi produzida por Mick Jagger e Keith
Richards, sob o pseudonimo de Glimmer Twins. Trata-se de um reggae
composta e gravada inicialmente por Eric Donaldson, em 1971. Os Stone
resolveram fazer um cover dela nesse disco. Mick Jagger cantou e fez
backing vocals. Keith Richards tocou guitarra. Bill Wyman tocou
baixo. Charlie Watts tocou bateria. Nicky Hopkins tocou órgão.
Ronnie Wood tocou guitarra. Ollie E. Brown tocou percussão.
A
letra:
Oh,
Cherry, oh Cherry, oh baby Don't ya know I in need of thee You
don't believe it true Why don't you love me, too Its so long
I've been waiting For you to come right in Now that we are
together Is make my joy run over
Yeah [Repeat: x7]
{Chorus]
Oh Cherry, oh Cherry, oh baby Don't
ya know I in love with you You don't believe I know So why
don't you try me I'm never gonna let you down Never make you
wear no frown You say you love me madly Then why do you treat
me badly
Yeah [Repeat: x7]
Oh Cherry, oh Cherry, oh baby Don't
ya know I in love with you You don't believe I know So why
don't you try me (try me) I'm never gonna let you down no Never
make you wear no frown You say you love me madly Then why do
you treat me badly
Escrita
por Bob Dylan e Jacques Levy, foi gravada em 28 de julho de 1975, nos
estúdios da Columbia Records, em New York City e lançada no disco
Desire, em 5 de janeiro de 1976. O refrão tem frases cantadas em
espanhol. É uma história que se passa em Durango, no México, com
um bandido e sua amante em fuga, com xerife e matadores de aluguel no
encalço deles. Porém, o personagem principal é perseguido pela
morte de um amigo próximo chamado Ramon. A Rolling Stone magazine
disse que era a música de número 79 das 100 greatest Bob Dylan
songs. Raimundo Fagner gravou uma versão em português chamada
Romance no deserto.
A
letra:
Hot
chili peppers in the blistering sun Dust on my face and my cape Me
and Magdalena on the run I think this time we shall escape
Sold my guitar to the baker's son For
a few crumbs and a place to hide But I can get another one And
I'll play for Magdalena as we ride
No llores, mi querida Dios nos
vigila Soon the horse will take us to Durango Agarrame, mi
vida Soon the desert will be gone Soon you will be dancing the
fandango
Past the Aztec ruins and the ghosts of
our people Hoofbeats like castanets on stone At night I dream
of bells in the village steeple Then I see the bloody face of
Ramon
Was it me that shot him down in the
cantina Was it my hand that held the gun? Come, let us fly, my
Magdalena The dogs are barking and what's done is done
No llores, mi querida Dios nos
vigila Soon the horse will take us to Durango Agarrame, mi
vida Soon the desert will be gone Soon you will be dancing the
fandango
At the corrida we'll sit in the
shade And watch the young torero stand alone We'll drink
tequila where our grandfathers stayed When they rode with Villa
into Torreon
Then the padre will recite the prayers
of old In the little church this side of town I will wear new
boots and an earring of gold You'll shine with diamonds in your
wedding gown
The way it is long but the end is
near Already the fiesta has begun The face of God will
appear With his serpent eyes of obsidian
No llores, mi querida Dios nos
vigila Soon the horse will take us to Durango Agarrame, mi
vida Soon the desert will be gone Soon you will be dancing the
fandango
Was that the thunder that I heard? My
head is vibrating, I feel a sharp pain Come sit by me, don't say a
word Oh, can it be that I am slain?
Quick, Magdalena, take my gun Look
up in the hills, that flash of light Aim well, my little one We
may not make it through the night
No llores, mi querida Dios nos
vigila Soon the horse will take us to Durango. Agarrame, mi
vida Soon the desert will be gone Soon you will be dancing the
fandango
