1696 – Billy Joel – James (1976)

Escrita por Billy Joel, foi gravada entre o verão de 1975 e janeiro de 1976 e foi lançada em 19 de maio de 1976 no disco Turnstiles, o quarto disco da carreira de Billy. Foi produzida pelo próprio Billy Joel. James é referente à varios tipos de pessoas que ele conheceu na vida real e o personagem James é um conjunto dessas pessoas. Billy Joel cantou e tocou piano acústico, piano elétrico, sintetizador Moog, clavinet e orgão. Howie Emerson tocou guitarra e violão. Russel Javors tocou guitarra e violão. James Smith tocou violão. Doug Stegmeyer tocou baixo. Liberty DeVitto tocou bateria. Mingo Lewis tocou percussão e Richie Cannata tocou sax e clarinete.

A letra:

James, we were always friends,
From our childhood days
And we made our plans,
And we had to go our separate ways.
I went on the road-
You pursued an education.

James, do you like your life,
Can you find release,
And will you ever change-
Will you ever write your masterpiece.
Are you still in school-
Living up to expectations, James

You were so relied upon, everybody knows how hard you tried-
Hey, just look at what a job you've done,
Carrying the weight of family pride.
James, you've been well behaved,
You've been working so hard
But will you always stay,
Someone else's dream of who you are.
Do what's good for you, or you're not good for anybody, James.

I went on the road,
You pursued an education, James
How you gonna know for sure, everything was so well organized.
Hey, now everything is so secure,
And everybody else is satisfied.

James, do you like your life,
Can you find release
And will you ever change,
When will you write your masterpiece.
Do what's good for you, or you're not good for anybody, James.

A versão de Billy Joel:

1695 – Lynyrd Skynyrd – All I can do is write about it (1976)

 

Escrita por Allen Collins e Ronnie Van Zant, foi gravada em novembro de 1975, no Capricorn Studios, em Maicon, Georgia. Foi lançada no disco Gimme back my bullets, o quarto disco da banda, em 2 de fevereiro de 1976. Foi produzida por Tom Dowd. Ronnie Van Zant cantou, Gary Rossington tocou gitarra, Allen Collins tocou guitarra, Leon Wilkeson tocou baixo e fez backing vocals, Artimus Pyle tocou bateria e percussão e Billy Powell tocou teclado e Barry Lee Harwood tocou dobro e bandolim.

A letra:

Well this life that I live took me everywhere
There ain't no place I ain't never gone
Well it's kind of like the sayin
That you heard so many times
Well there just ain't no place like home

Did you ever see a she-gator protect her youngin'
Or fish in a river swimmin' free
Did you ever see the beauty of the hills of Carolina
Or the sweetness of the grass in Tennessee

And Lord I can't make any changes
All I can do is write 'em in a song
'Cause if I can seen the concrete a slowly creepin'
Lord take me and mine before that comes

Like to see a mountain stream a flowin'
Do ya like to see a youngin' with his dog
Did ya ever stop and think about
Well the air your breathin'
Well ya better listen to my song

And Lord I can't make any changes
All I can do is write 'em in a song
'Cause when I can see the concrete a slowly creepin'
Lord take me and mine before that comes

I'm not tryin' to put down no big city
But the things they write about us is just a bore
Well you can take a boy out of ole' Dixieland, Lord
But you'll never take ole' Dixie from a boy

And Lord I can't make any changes
All I can do is write 'em in a song
'Cause when I can see the concrete a slowly creepin'
Lord take me and mine before that comes

If I can see the concrete a slowly creepin'
Lord take me and mine before that comes

A versão do Lynyrd Skynyrd:

A versão de Jacob William:

A versão de Chris Robertson:

1694 – Kiss – Beth (1976)

Escrita por Bob Ezrin, Stan Penridge e Peter Criss, foi gravada em 1976, no Record Plant, em New York City e lançada em 15 de março de 1976 no disco Destroyer, o quarto disco da banda. Sairia também em compacto, com Detroit rock city como Lado B. Foi produzida por Bob Ezrin. Beth foi o maior sucesso comercial do Kiss nos Estados Unidos, chegando ao número 7 do Billboard Hot 100. VH1, em 2003, colocou Beth como número 3 das 25 greatest power ballads. Foi escrita pra tirar onda com Becky, a esposa de outro membro da banda Chelsea, Mike Brand. Chelsea era a banda que Stan e Peter estavam antes do Kiss. A história é que ela vivia ligando pra saber que horas o marido iria embora e virou piada. Ezrin trouxe a Filarmonica de Nova York pra gravação de Beth. O guitrrista Ace Frehley não participou da gravação pois estava em um campeonato de poker com os amigos. Ezrin então trouxe Dick Wagner pra tocar em seu lugar, Chegou ao número 5 no Canadá e número 79 na Austrália. Peter Criss cantou. Bob Ezrin tocou piano. Dick Wagner tocou violão, além da New York Phillarmonic que foi a orquestra.

A letra:

Beth, I hear you calling
But I can't come home right now
Me and the boys are playing
And we just can't find the sound

Just a few more hours
And I'll be right home to you
I think I hear them calling

Oh, Beth, what can I do?
Beth, what can I do?

You say you feel so empty
That our house just ain't a home
That I'm always somewhere else
And you're always there alone

Just a few more hours
And I'll be right home to you
I think I hear them calling

Oh, Beth, what can I do?
Beth, what can I do?

Beth, I know you're lonely
And I hope you'll be alright
'Cause me and the boys will be playing
All night...
Ah-aah...

A versão do Kiss:

A versão de Mike Massé:

A versão de Ostpunk:

1693 – Joni Mitchell – Coyote (1976)

 

Escrita por Joni Mitchell, foi gravada em 1976 e lançada em novembro de 1976, no disco Hejira. Sairia depois em 1977 em compacto, com Blue Motel room como Lado B. Foi produzida por Henry Lewi e Joni Mitchell. Foi inspirada em Sham Shepard, que era casado e que Joni teve uma rápida ligação durante a turnê de Bob Dylan de 1975-1976 chamada Rolling Thunder Revue. No documentário de Martin Scorcese sobre essa turnê tem uma filmagem de Joni tocando essa música na casa de Gordon Lightfoot, com Bob Dylan e Roger McGuinn acompanhando-a nos violões. McGuinn antes dela cantar disse: “Joni compôs essa música sobre essa turnê, durante esse turnê e para essa turnê”. É uma canção sobre uma trepada. Bay of Fundy era um cottage que Sam Shepard tinha em West Advocate, Nova Scotia, Canadá. Baljennie é em Saskatchewan, onde Joni Mitchell cresceu. Chegou ao número 79 no Canadá. Joni Mitchell tocou violão e guitarra e cantou. Jaco Pastorius tocou baixo e Bobbye Hall tocou percussão.

A letra:

No regrets, coyote
We just come from such different sets of circumstance
I'm up all night in the studios
And you're up early on your ranch
You'll be brushing out a brood mare's tail
While the sun is ascending
And I'll just be getting home with my reel to reel
There's no comprehending
Just how close to the bone and the skin and the eyes
And the lips you can get
And still feel so alone
And still feel related
Like stations in some relay
You're not a hit and run driver, no, no
Racing away
You just picked up a hitcher
A prisoner of the white lines on the freeway

We saw a farmhouse burning down
In the middle of nowhere
In the middle of the night
And we rolled right past that tragedy
'Til we turned down to some road house lights
Where a local band was playing
Locals were up kicking and shaking on the floor
And the next thing I know
That coyote's at my door
He pins me in a corner and he won't take no
He drags me out on the dance floor
And we're dancing close and slow
Now he's got a woman at home
He's got another woman down the hall
He seems to want me anyway
Why'd you have to get so drunk
And lead me on that way
You just picked up a hitcher
A prisoner of the white lines on the freeway

I looked a coyote right in the face
On the road to Baljennie, near my old home town
He went running thru the whisker wheat
Chasing some prize down
And a hawk was playing with him
Coyote was jumping straight up and making passes
He had those same eyes just like yours
Under your dark glasses
Privately probing the public rooms
And peeking through keyholes in numbered doors
Where the players lick their wounds
And take their temporary lovers
And their pills and powders
To get them through this passion play
No regrets, coyote
I just get off up aways
You just picked up a hitcher
A prisoner of the white lines on the freeway

Coyote's in the coffee shop
He's staring a hole in his scrambled eggs
He picks up my scent on his fingers
While he's watching the waitresses' legs
He's too far from the Bay of Fundy
From appaloosas and eagles and tides
And the air conditioned cubicles
And the carbon ribbon rides
Are spelling it out so clear
Either he's going to have to stand and fight
Or take off out of here
I tried to run away myself
To run away and wrestle with my ego
With this, this flame
You put here in this Eskimo
In this hitcher
In this prisoner
Of the fine white lines
Of the white lines on the free, freeway

A versão de Joni Mitchell:

 

A versão de Aoife O'Dovan:

A versão de JK Jones:

1692 – John Sebastian – Welcome back (1976)

Escrita por John Sebastian, foi gravada em 1976 e lançada em compacto em março de 1976, com Warm baby como Lado B. Sairia também no disco de mesmo nome, em 19 de abril de 1976. Foi produzida por Steve Barri e John Sebastian. Foi o tema de uma série de TV americana dos anos 70s, o sitcom Welcome back, Kotter, que tinha John Travolta como estrela que estava em alta. A gravação de Welcome back chegou ao número 1 do Billboard Hot 100. Foi encomendada pelo produtor da série Alan Sachs para John Sebastian escrever uma canção do tipo da sua ex-banda The Lovin' Spoonful e assim foi feita. Chegou também ao número 1 no Canadá e número 24 na Austrália.

A letra:

Welcome back
Your dreams were your ticket out
Welcome back
To that same old place that you laughed about

Well, the names have all changed
Since you hung around
But those dreams have remained
And they've turned around

Who'd have thought they'd lead you
(Who'd have thought they'd lead you)
Back here where we need you?
(Back here where we need you?)

Yeah, we tease him a lot
'Cause we got him on the spot
Welcome back

Welcome back, welcome back, welcome back
Welcome back, welcome back

Welcome back
We always could spot a friend
Welcome back
And I smile when I think how you must have been

And I know what a scene
You were learnin' in
Was there somethin' that
Made you come back again?

And what could ever lead you
(What could ever lead you)
Back here where we need you?
(Back here where we need you?)

Yeah, we tease him a lot
'Cause we got him on the spot
Welcome back

Welcome back, welcome back, welcome back
Welcome back, welcome back

And I know what a scene
You were learnin' in
Was there somethin' that
Made you come back again?

And what could ever lead you
(What could ever lead you)
Back here where we need you?
(Back here where we need you?)

Yeah, we tease him a lot
'Cause we got him on the spot
Welcome back

Welcome back, welcome back, welcome back
Welcome back, welcome back

Yeah, we tease him a lot
(Welcome back, welcome back)
'Cause we got him on the spot
(Welcome back, welcome back)

Yeah, we tease him a lot
'Cause we got him on the spot
Welcome back

Welcome back, welcome back, welcome back
Welcome back, welcome back, welcome back
Welcome back, welcome back, welcome back

A versão de John Sebastian:

A versão dos Beach Bums:

A versão de Larry L.:

1691 – John Denver – Like a sad song (1976)

Escrita por John Denver, foi gravada em 1976 e lançada em agosto de 1976 no disco Spirit, o décimo primeiro disco de John Denver. Saiu também em compacto, no mesmo mês, com Pegasus como Lado B. Foi produzida por Milton Okun. Chegou ao número 36 no Billboard Hot 100 e número 34 no Billboard Hot Country Singles.

A letra:

Usually in the morning I'm filled with sweet belonging
And everything is beautiful to see
Even when it's raining, the sound of heaven singing
Is simply joyful music to me

Sometimes I feel like a sad song
Like I'm all alone without you

So many different places, a million smiling faces
Life is so incredible to me
Especially to be near you and how it is to touch you
Oh, paradise was made for you and me

I know that life goes on just perfectly
And everything is just the way that it should be
Still there are times when my heart feels like breaking
Anywhere is where I'd rather be

Oh, and in the night time I know that it's the right time
To hold you close and say I love you so
To have someone to share with
And someone I can care with
And that is why I wanted you to know

Sometimes I feel like a sad song
Like I'm all alone without you, without you

Sometimes I feel like a sad song
Like I'm all alone without you, without you

A versão de John Denver:

A versão de Mark Robinson:

1690 – James Taylor – Shower the people (1976)

Escrita por James Taylor, foi gravada entre 1975 e 1976, nos estúdios da Warner Bros., em Hollywood e nos estúdios Burbank. Foi lançada em junho de 1976 no disco In the Pocket, o sétimo da carreira de James Taylor. Sairia também em compacto, no mesmo mês, com I can dream of you como Lado B. Foi produzida por Lenny Waronker e Russ Titelman. James Taylor cantou, tocou violão e fez harmonia vocal. Carly Simon fez harmonias vocais. Danny Kortchmar tocou guitarra. Leland Sklar tocou baixo. Russ Kunkel tocou bateria e percucussão. Clarence McDonald tocou piano elétrico Fender Rhodes e orgão horn. Nick DeCaro tocou orgao horn e orgão voice. Chegou ao número 22 do Billboard Hot 100.

A letra:

You can play the game
You can act out the part
Though you know
It wasn't written for you
Tell me how can you stand there
With your broken heart
Ashamed to playin' a fool?

One thing can be to another
It doesn't take any sacrifice
Oh, Father and Mother
And sister and brother
If it feels nice
Don't think twice

Just shower the people you love with love
Show them the way that you feel
Things are gonna work out fine
If you only will
Do as I say

Shower the people you love with love
Show them the way that you feel
Things are gonna be much better
If you only will

You can run but you cannot hide
This is widely known
Now what you plan to do with your foolish pride
When you're all by yourself alone

Once you tell somebody
The way that you feel
You can feel it beginning to ease
I think it's true what they say
About the squeaky wheel
Always getting the grease

Better to
Shower the people you love with love
Yes and show them the way that you feel
I know things are gonna be just fine
If you only will, what I like to do to you

Shower the people you love with love
Show them the way that you feel
Things are gonna be much better, if you only will

Shower the people you love with love
Show them the way you feel
Shower the people you love with love
Show them the way that you feel

Shower the people you love with love
Show them the way that you feel
Shower the people you love with love
Show them the way that you feel

Shower the people you love with love
Show them the way that you feel
Shower the people you love with love
Show them the way that you feel

Shower the people you love with love
Show them the way that you feel
Shower the people you love with love
Show them the way that you feel

Shower the people you love with love
Show them the way that you feel
Shower the people you love with love

A versão de James Taylor:

A versão de Dixie Chicks:

A versão de Emily Albert:

 

1689 – Jackson Browne – Here comes those tears again (1976)

 

Escrita por Jackson Browne e Nancy Farnsworth, foi gravada em 1976 e lançada no disco The Pretender, o quarto disco de Browne, em novembro de 1976. Sairia também em compacto, em janeiro de 1977, com Linda Paloma como Lado B. Foi produzida por Jon Landau. Chegou ao número 23 dos charts Billboard Hot 100. Foi o oitavo compacto na ordem de sucesso de Browne. Nancy era sua sogra, mãe de sua esposa Phillys Major, que havia se suicidado durante as gravações do disco The Pretender. Phillys morreu em março de 1976. Nancy escreveu uma letra e pediu pra Browne finalizar. A letra fala de um amor que foi deixado pelo seu parceiro porque aquela pessoa precisava ser livre e que tinha algo pra fazer sozinha. John Hall toca o solo de guitarra, Bill Payne toca o piano e Mike Utley toca orgão. Bonnie Raitt e Rosemary Butler fazem os backing vocals. Tim Powers tocou bateria.

A letra:

Here come those tears again
Just when I was getting over you
Just when I was going to make it through
Another night without missing you
Thinking I might just be strong enough after all
When I hear your footsteps echoing in the hall

Baby here we stand again
Where we've been so many times before
Even though you looked so sure
As I was watching you walking out my door
But you always walk back in like you did today
Acting like you never even went away
Well I don't know if I can
Open up and let you in baby
Here come those tears
Here come those tears again

I can hear you telling me
How you needed to be free
And you had some things to work out alone
Now you're standing here telling me
How you have grown
Here come those tears again
Now you'll tell me how to hold them in
Here come those tears
Here come those tears again

Some other time baby
When I'm strong and feeling fine maybe
When I can look at you without crying
You might look like a friend of mine
But I don't know if I can
Open up enough to let you in
Here come those tears
Here come those tears again

Walk away
I'm going back inside and turning out those lights
And I'll be in the dark but you'll be out of sight

A versão de Jackson Browne:

1688 – Gordon Lightfoot – The wreck of the Edmund Fitzgerald (1976)

 

Escrita por Gordon Lightfoot, foi gravada em dezembro de 1975 no Eastern Sound, um estúdio formado por duas casas Vitorianas no número 48 Yorkville Avenue, na época o distrito Hippie de Toronto e lançada em junho de 1976 no disco Sumemrtime dream, o décimo segundo do artista. Sairia também em compacto, com The house you ive in como Lado B, em agosto de 1976. Foi produzida por Lenny Waronker e Gordon Lightfoot. Esse estúdio seria onde também gravariam Rush, Cat Stevens, Bruce Springsteen, Jimi Hendrix, entre outros, é hoje um estacionamento. A canção foi escrita pra comemorar o afunfamento do navio SS Edmundo Fitzgerald no Lago Superior, em 10 de novembro de 1975. Lightfoot acha que essa canção é o seu trabalho mais incrível. Chegou ao número 1 no Canadá e número 2 no Billlboard Hot 100, só perdendo pra Tonight's the night, de Rod Stewart. Foi o segundo maior sucesso de Lightfoot, perdendo apenas pra Sundown. Chegou também ao número 46 na Austrália.

A letra:

The legend lives on from the Chippewa on down
Of the big lake they called Gitche Gumee
The lake, it is said, never gives up her dead
When the skies of November turn gloomy
With a load of iron ore twenty-six thousand tons more
Than the Edmund Fitzgerald weighed empty
That good ship and true was a bone to be chewed
When the gales of November came early

The ship was the pride of the American side
Coming back from some mill in Wisconsin
As the big freighters go, it was bigger than most
With a crew and good captain well seasoned
Concluding some terms with a couple of steel firms
When they left fully loaded for Cleveland
And later that night when the ship's bell rang
Could it be the north wind they'd been feelin'?

The wind in the wires made a tattle-tale sound
And a wave broke over the railing
And every man knew, as the captain did too
T'was the witch of November come stealin'
The dawn came late and the breakfast had to wait
When the gales of November came slashin'
When afternoon came it was freezin' rain
In the face of a hurricane west wind

When suppertime came, the old cook came on deck sayin'
"Fellas, it's too rough to feed ya"
At seven PM, a main hatchway caved in, he said
"Fellas, it's been good to know ya"
The captain wired in he had water comin' in
And the good ship and crew was in peril
And later that night when his lights went outta sight
Came the wreck of the Edmund Fitzgerald

Does any one know where the love of God goes
When the waves turn the minutes to hours?
The searchers all say they'd have made Whitefish Bay
If they'd put fifteen more miles behind her
They might have split up or they might have capsized
They may have broke deep and took water
And all that remains is the faces and the names
Of the wives and the sons and the daughters

Lake Huron rolls, Superior sings
In the rooms of her ice-water mansion
Old Michigan steams like a young man's dreams
The islands and bays are for sportsmen
And farther below Lake Ontario
Takes in what Lake Erie can send her
And the iron boats go as the mariners all know
With the gales of November remembered

In a musty old hall in Detroit they prayed
In the maritime sailors' cathedral
The church bell chimed 'til it rang twenty-nine times
For each man on the Edmund Fitzgerald
The legend lives on from the Chippewa on down
Of the big lake they called Gitche Gumee
Superior, they said, never gives up her dead
When the gales of November come early

A versão de Gordon Lightfoot:

A versão dos Punch Brothers:

A versão de Joe Paulik:

1687 – Elton John e Kiki Dee – Don't go breaking my heart (1976)

 

Escrita por Elton John e Bernie Taupin, foi gravada em 27 de março de 1976 e lançada no compacto com Snow queen como Lado B, em 21 de junho de 1976. Foi produzida por Gus Dudgeon. A intenção de gravar em dupla foi pra imitar os duetos feitos pela gravadora Motown, de um homem e uma mulher. Em 1994, Elton John regravaria a canção, desta vez em um dueto com a drag queen RuPaul. Os compositores John e Taupin receberam o premio Ivor Novello de Best song musically and lyrically. Nunca saiu em disco de carreira de Elton John, somente em um disco chamado Duets, em 1994. Chegou ao número 1 nos charts Billboard hot 100 e número 1 no Reino Unido, Rodésia, Africa do Sul, Nova Zelandia, Irlanda, França, Canadá e Austrália, número 2 na Holanda, número 3 na Bélgica e Suécia, número 4 na Suiça, número 5 na Noruega e Alemanha Ocidental, número 8 na Áustria e número 23 na Finlandia. Foi o primeiro número 1 de Elton John no seu país natal, a Inglaterra. Elton John só chegaria ao número 1 no Reino Unido novamente em 1990, com Sacrifice. Nos Estados Unidos, era o sexto número 1 de Elton John no Billboard Hot 100. Elton John só teria outro número 1 com Candle in the wind 1997. Elton John cantou e fez backing vocals e tocou piano. Kiki Dee cantou e fez backing vocals. James Newton Howard tocou piano. Caleb Quaye tocou guitarra. Kenny Passarelli tocou baixo. Roger Pope tocou bateria. Ray Cooper tocou pandeiro, congas e bongôs.

A letra:

Don't go breaking my heart
I couldn't if I tried
Honey if I get restless
Baby you're not that kind

Don't go breaking my heart
You take the weight off of me
Honey when you knock on my door

Ooh, I gave you my key

Woo hoo
Nobody knows it
When I was down
I was your clown
Woo hoo
Nobody knows it
(Nobody knows... it)

Right from the start
I gave you my heart
Oh-oh I give you my heart

So don't go breaking my heart
I won't go breaking your heart
Don't go breaking my heart

Nobody told us
'Cause nobody showed us
Now it's up to us babe
Whoa I think we can make it

So don't misunderstand me
You put the light in my life
Oh, you put the spark to the flame
I got your heart in my sight

Woo hoo
Nobody knows it
But when I was down
I was your clown
Woo hoo

Nobody knows it
(Nobody knows... it)
Right from the start
I gave you my heart
Oh-oh
I give you my heart

Don't go breaking my heart
I won't go breaking your heart
Don't go breaking my heart

Woo hoo
Nobody knows it
(Woo hoo) When I was down
(Woo hoo) I was your clown
(Woo hoo) Right from the start
(Woo hoo) I gave you my heart
Oh-oh I give you my heart

Don't go breaking my heart
I won't go breaking your heart
(Don't go breaking my)
(Don't go breaking my)
Don't go breaking my heart

I won't (aaah) go breaking your heart

Don't go breaking my heart
(Don't go breaking my)
I won't (aaah) go breaking your heart
Don't go breaking my heart
(Don't go breaking my)

I won't (aaah) go breaking your heart
Don't go breaking my heart
(Don't go breaking my)
I won't (aaah) go breaking your heart
Don't go breaking my heart
(Don't go breaking my)

I won't (aaah) go breaking your heart
Don't go breaking my heart
(Don't go breaking my)
I won't (aaah) go breaking your heart
Don't go breaking my heart
(Don't go breaking my)
I won't (aaah) go breaking your heart
Don't go breaking my heart

A versão de Elton John and Kiki Dee:

A versão de Andy Gibb e Irene Cara:

A versão de Marley Brandford e Verity Valentne:

1686 – 10 cc – The things we do for love (1976)

 

Escrita por Eric Stewart e Graham Gouldman, foi gravada em 1976 e lançada em 3 de dezembro de 1976 no compacto que tinha Hot to trot como Lado B. Sairia depois no disco Deceptive Bends, o quinto disco da banda, em maio de 1977. Foi produzida pela própria banda. Foi o primeiro lançamento depois da saída dos membros Kevin Godley e Lol Creme. Eric Stewart cantou e fez backing vocals, além de tocar guitarra solo, piano e orgão. Graham Gouldman tocou baixo, violão, guitarra, pandeiro, bateu palmas e fez backing vocals. Paul Borgess tocou bateria, bateu palmas e tocou gongo. Chegou ao número 5 dos charts Billboard Hot 100, número 1 no Canadá, Irlanda número 2, número 5 na Austrália, número 6 no Reino Unido, número 13 na Holanda e número 27 na Nova Zelandia.

A letra:

Too many broken hearts have fallen in the river
Too many lonely souls have drifted out to sea
You lay your bets and then you pay the price
The things we do for love (The things we do for love)

Communication is the problem to the answer
You've got her number and your hand is on the phone
The weather's turned and all the lines are down
The things we do for love (The things we do for love)

Like walking in the rain and the snow
When there's nowhere to go
When you're feeling like a part of you is dying
And you're looking for the answer in her eyes
You think you're gonna break up
Then she says she wants to make up

Ooh, you make me love you
Ooh, you've got a way
Ooh, you had me crawling up the wall

Like walking in the rain and the snow
When there's nowhere to go
When you're feeling like a part of you is dying
And you're looking for the answer in her eyes
You think you're gonna break up
Then she says she wants to make up

Ooh, you make me love you
Ooh, you've got a way
Ooh, you had me crawling up the wall

A compromise would surely help the situation
Agree to disagree, but disagree to part
When after all it's just a compromise
Of the things we do for love (The things we do for love)

The things we do for love (The things we do for love)
The things we do for love (The things we do for love)
The things we do for love (The things we do for love)
The things we do for love (The things we do for love)
The things we do for love (The things we do for love)
The things we do for love (The things we do for love)
The things we do for love (The things we do for love)

A versão do 10cc:

A versão do Fox and Fossils:

A versão de Graham Gouldman:

1685 – Tom Petty and The Heartbreakers – Breakdown (1976)

 

Escrita por Tom Petty, foi gravada em 1976 no Shelter Studios, em Hollywood, California e lançada em 9 de novembro de 1976 no disco Tom Petty and The Heartbreakers, o disco de estréia da banda. Sairia também em compacto, com The wild one forever como Lado B, na mesma data. Foi produzida por Dennny Cordell. O fato curioso é que o lick de guitarra de Mike Campbell seria usado somente no final da canção, mas eles gostaram e resolveram usá-lo durante toda a canção. Jeff Jourard fez uma participação na guitarra e Phil Seymour fez uma participação nos backing vocals. Chegou ao número 40 nos charts Billboard Hot 100 e também número 40 no Canadá.

A letra:

It's alright if you love me
It's alright if you don't
I'm not afraid of you runnin' away, honey
I get the feeling you won't

Say there is no sense in pretending
Your eyes give you away
Something inside you is feeling like I do
We said all there is to say

Baby
Breakdown, go ahead and give it to me
Breakdown, honey, take me through the night
(Take me, baby, breakdown, ooh)
Breakdown, now I'm standin' here, can't you see?
Breakdown, it's alright
It's alright, it's alright

Breakdown, go ahead and give it to me
Breakdown, honey, take me through the night
(Take me, baby, breakdown, ooh)
Breakdown, now I'm standin' here, can't you see?
Breakdown, it's alright
It's alright, it's alright

A versão de Tom Petty and The Heartbreakers:

A versão de Lexington Lab Band:

A versão de David Redd:

1684 – Culture – Two Sevens Clash (1976)

 

Escrita por Joseph Hill e Albert Walker, foi gravada em 1976 no Joe Gibbs Recording Studio, em Kingston, Jamaica, e lançada como compacto antes do disco, de mesmo nome, que só sairia em 1977. A música se espalhou como fogo pela Jamaica. Foi produzida pelo próprio Joe Gibbs. O título é uma referencia à data 7/7/77, ou seja, 7 de julho de 1977. Marcus Garvey fez uma profecia de que haveria caos nesse dia, quando os “setes” iriam se encontrar. Com essa mensagem apocalíptica, a canção criou um sentimento na Jamaica que algo ia dar errado nesse dia e muitas lojas e escolas não abriram nesse dia. Na verdade os dois setes se referem somente ao ano de 77. Joseph Hill cantou, Albert Walker e Keneth Dayes fizeram harmonias vocais. Lloyd Parks tocou baixo. Sly Dunbar tocou bateria. Lennox Gordon, Robbie Shakespeare e Eric Lamont tocaram guitarra. Franklin Waul, Errol Nelson e Harold Butler tocaram teclado. Uziah Thompson tocou percussão. Herman Marquis tocou sax alto. Vin Gordon tocou trombone. Tommy McCook tocou sax tenor. Bobby Ellis tocou trompete.

A letra:

Wat a liiv an bambaie
When the two sevens clash
Wat a liiv an bambaie
When the two sevens clash

My good old prophet Marcus Garvey prophesize, say
"St. Jago de la Vega and Kingston is gonna read"
And I can see with mine own eyes
It's only a housing scheme that divide

Wat a liiv an bambaie
When the two sevens clash (it dread)
Wat a liiv an bambaie
When the two sevens clash

Look up a cotton tree out by Ferry police station
How beautiful it used to be
And it has been destroyed by lightning
Earthquake and thunder, I say

Wat a liiv an bambaie
When the two sevens clash (it dread)
Wat a liiv an bambaie
When the two sevens clash

I take a ride sometimes
On Penn Overland and Bronx
And sometimes I ride on bus X-82, say what?

Wat a liiv an bambaie
When the two sevens clash
Wat a liiv an bambaie
When the two sevens clash

Marcus Garvey was inside of Spanish Town district Prison
And when they were about to take him out
He prophesied and said
"As I have passed through this gate"

"No other prisoner shall enter and get through"
And so it is until now
The gate has been locked, so what?

Wat a liiv an bambaie
When the two sevens clash (it dread)
Wat a liiv an bambaie
When the two sevens clash (it bitter, bitter, bitter)

Wat a liiv an bambaie
When the two sevens clash (a man a go feel it)
Wat a liiv an bambaie
When the two sevens clash (you better do right)

Wat a liiv an bambaie
When the two sevens clash

A versão do Culture:

A versão de Anthony B.:

A versão de Super Reggae Man: