1716 – Eric Clapton – Lay down Sally (1977)

Escrita por Eric Clapton, Marcy Levy e George Terry, foi gravada no Olympic Studio em Barnes, Londres, em maio de 1977 e lançada em 25 de novembro de 1977, no disco Slowhand, o quinto da carreira do artista. Saiu também em compacto, com Cocaine como Lado B, também em novembro de 1977. Glyn Johns foi o produtor. Chegou ao número 3 dos charts Billboard Hot 100. Chegou ao número 1 no Canadá, número 2 na Hungria, número 5 no Japão, número 8 na Suécia, número 12 na França, número 16 na Nova Zelandia, número 38 na Itália, número 39 no Reino Unido e número 57 na Austrália. Trata-se de um country-blues no estilo de J.J. Cale. Chegou também ao número 26 do Billboard Country Singles. Foi regravada por Jerry Garcia, entre outros artistas. Eric Clapton tocou guitarra e cantou. Marcy Levy e Yvonne Elliman fizeram backing vocals. George Terry tocou guitarra. Carl Radle tocou baixo. Dick Sims tocou piano elétrico. Jamie Oldaker tocou bateria.

A letra:

There is nothing that is wrong
In wanting you to stay here with me
I know you've got somewhere to go
But won't you make yourself at home and stay with me?
And don't you ever leave

Lay down, Sally, and rest here in my arms
Don't you think you want someone to talk to?
Lay down, Sally, no need to leave so soon
I've been trying all night long just to talk to you

Sun ain't nearly on the rise
We still got the moon and stars above
Underneath the velvet skies, love is all that matters
Won't you stay with me? Don't you ever leave

Lay down, Sally, and rest here in my arms
Don't you think you want someone to talk to?
Lay down, Sally, and no need to leave so soon
I've been trying all night long just to talk to you

I long to see the morning light
Color in your face so dreamily
So don't you go and say goodbye
You can lay your worries down and stay with me
And don't you ever leave

Lay down, Sally, and rest here in my arms
Don't you think you want someone to talk to?
Lay down, Sally, there's no need to leave so soon
I've been trying all night long just to talk to you
Lay down, Sally, and rest here in my arms
Don't you think you want someone to talk to?
Lay down, Sally, there's no need to leave so soon
I've been trying all night long just to talk to you

A versão de Eric Clapton:

A versão de Josh Turner:

A versão de Morgan James:

 

1715 – Elvis Costello – Radio sweetheart (1977)

 

Escrita por Elvis Costello, foi gravada em 17 de setembro de 1976, no Pathway Studios, em Londres. Foi lançada apenas em compacto em 1977, com Less than zero como Lado A. Foi produzida por Nick Lowe. Elvis Costello cantou, fez backing vocals e tocou guitarra. John McFee tocou pedal steel guitar. Nick Lowe tocou baixo e fez backing vocals e Mickey Shine tocou bateria.

A letra:

My head is spinning and my legs are weak
Goose step dancing, can`t hear myself speak
Hope in the eyes of the ugly girls
That settle for the lies of the last chancers
When slow motion drunks pick wallflower dancers

You come here looking for the ride to glory
Go back home with a hard luck story
I can hardly wait around until the weekend comes to town

Play one more for my radio sweetheart
Hide your love, hide your love
Though we are so far apart
You've got to hide your love
`Cause that`s the way the whole thing started
I wish we had never parted

When it`s late and the night gets colder
Don`t lay your head on any other shoulder
Some hire themselves out for a good time
But you and I, we have been sold
So I keep on saying...

Play one more for my radio sweetheart
Hide your love, hide your love
Though we are so far apart
You've got to hide your love
`Cause that`s the way the whole thing started
I wish we had never parted

Play one more for my radio sweetheart

A versão de Elvis Costello:

1714 – Billy Joel – The Stranger (1977)

 

Escrita por Billy Joel, foi gravada em 1977, no A & R Recording Inc., em New York City e lançada em 29 de setembro de 1977 no disco de mesmo nome. Sairia em compacto no Japão em 21 de maio de 1978 com Moving out (Anthony's song) como Lado B. Foi produzida por Phil Ramone. Chegou ao número 2 no Japão, vendendo quase 500 mil cópias. Chegou ao número 8 na Nova Zelandia e número 59 na França e Austrália. É a homenagem de Billy Joel ao arquetipo A sombra, de Carl Jung.

A letra:

Well, we all have a face
That we hide away forever
And we take them out and show ourselves
When everyone has gone
Some are satin, some are steel
Some are silk and some are leather
They're the faces of the stranger
But we love to try them on

Well, we all fall in love
But we disregard the danger
Though we share so many secrets
There are some we never tell
Why were you so surprised
That you never saw the stranger?
Did you ever let your lover see
The stranger in yourself?

Don't be afraid to try again
Everyone goes south
Every now and then
Ooh, ooh
You've done it, why can't someone else?
You should know by now
You've been there yourself

Once I used to believe
I was such a great romancer
Then I came home to a woman
That I could not recognize
When I pressed her for a reason
She refused to even answer
It was then I felt the stranger
Kick me right between the eyes

Well, we all fall in love
But we disregard the danger
Though we share so many secrets
There are some we never tell
Why were you so surprised
That you never saw the stranger?
Did you ever let your lover see
The stranger in yourself?

Don't be afraid to try again
Everyone goes south
Every now and then
Ooh, ooh
You've done it, why can't someone else?
You should know by now
You've been there yourself

You may never understand
How the stranger is inspired
But he isn't always evil
And he is not always wrong
Though you drown in good intentions
You will never quench the fire
You'll give in to your desire
When the stranger comes along

Ooh, ooh
Ooh, ooh

A versão de Billy Joel:

A versão de I like it here:

A versão de Nevie Sticks:

1713 – Bob Marley and The Wailers – One love (1977)

 

Escrita por Bob Marley, foi gravada em inicialmente em 1965 e lançada por Bob Marley and The Wailers. Depois em 1970, em um medley, gravado por eles também. A nossa versão no entanto é a mais famosa, de 1977. Gravada em 1977 e lançada no disco Exodus, em 3 de junho de 1977. Sairia também em compacto, somente em 1984, com So much trouble in the word como Lado B. Foi produzida por Bob Marley and The Wailers. Em 1984, chegou ao número 1 na Nova Zelandia, número 2 na Holanda, número 4 na Bélgica, número 5 no Reino Unido, número 6 na Irlanda e número 24 na Austrália,

A letra:

One love, one heart
Let's get together and feel all right
Hear the children crying (one love)
Hear the children crying (one heart)
Sayin', "Give thanks and praise to the Lord
And I will feel all right"
Sayin', "Let's get together and feel all right"
Whoa, whoa, whoa, whoa

Let them all pass all their dirty remarks (one love)
There is one question I'd really love to ask (one heart)
Is there a place for the hopeless sinners
Who has hurt all mankind just to save his own?
Believe me

One love (what about the one heart?)
One heart (what about-)
Let's get together and feel all right
As it was in the beginning (one love)
So shall it be in the end (one heart)
Alright, give thanks and praise to the Lord
And I will feel all right
Let's get together and feel all right

One more thing
Let's get together to fight this Holy Armageddon (one love)
So when the Man comes there will be no, no doom (one song)
Have pity on those whose chances grows thinner
There ain't no hiding place from the Father of Creation

Sayin', one love (what about the one heart?)
One heart (what about-)
Let's get together and feel all right
I'm pleading to mankind (one love)
Oh, Lord (one heart) whoa
Give thanks and praise to the Lord
And I will feel all right
Let's get together and feel all right
Give thanks and praise to the Lord
And I will feel all right

Let's get together and feel all right

A versão de Bob Marley and The Wailers:

A versão de Ziggy Marley:

A versão do Play for change:

1712 – Bee Gees – Night fever (1977)

 

Escrita por Barry, Maurice e Robin Gibb, foi gravada entre abril e setembro de 1977 e lançada em 15 de novembro de 1977, no disco Saturday Night Fever, a trilha sonora do filme. Até o ano de 1982, esse disco foi o que mais vendeu na história, tendo alcançado a marca de 40 milhões de cópias. Sairia também em compacto em janeiro de 1978 com Down the road como Lado B. Foi produzida por Albhy Galuten, Karl Richardson e a os próprios Bee Gees. Ficou no numero 1 do Billboard Hot100 por 8 semanas. Chegou ao número 1 no Reino Unido por duas semanas. Chegou ao número 1 também no Brasil, Canadá, Irlanda e Espanha. Número 2 no México, Nova Zelandia, África do Sul, Noruega e Alemanha Oriental. Número 3 na Bélgica, Japão, Holanda e Suíça. Número 4 na Áustria e Portugal. Número 5 na Itália e Suécia. Número 6 na Finlandia e número 7 na Austrália. Barry Gibb cantou, fez harmonias vocais, backing vocals e tocou guitarra. Robin Gibb fez harmonias vocais e backing vocals. Maurice Gibb tocou baixo, fez harmonias vocais e backing vocals. Alan Kendall tocou guitarra solo. Dennis Bryon tocou bateria. Blue Weaver tocou piano elétrico Fender Rhodes e Sintetizador de cordas.

A letra:

Listen to the ground
There is movement all around
There is something goin' down
And I can feel it

On the waves of the air
There is dancin' out there
It's somethin' we can't share
We can't steal it

That sweet city woman
She moved through the light
Controlling my mind and my soul
When you reach out for me, yeah
And the feelin' is right

Then I get night fever, night fever
We know how to do it
Gimme that night fever, night fever
We know how to show it

Here I am
Prayin' for this moment to last
Livin' on the music so fine
Borne on the wind
Makin' it mine

Night fever, night fever
We know how to do it
Gimme that night fever, night fever
We know how to show it

In the heat of our love
Don't need no help for us to make it
Gimme just enough
To take us to the mornin'

I got fire in my mind
I get higher in my walkin'
And I'm glowin' in the dark
Give you warnin'

Sweet city woman
She moves through the light
Controlling my mind and my soul
When you reach out for me
And the feelin' is right

Night fever, night fever
We know how to do it
Gimme that night fever, night fever
We know how to show it

Here I am
Prayin' for this moment to last
Livin' on the music so fine
Borne on the wind
Makin' it mine

Night fever, night fever
We know how to do it
Gimme that night fever, night fever
We know how to show it

Gimme that night fever, night fever
We know how to do it
Gimme that night fever, night fever
We know how to show it
Gimme that night fever, night fever
We know how to do it

A versão do Bee Gees:

A versão de Singitlive:

 

A versão de Tina Arena:

1711 – Supertramp – Give a little bit (1977)

Escrita por Rick Davies e Roger Hodgson nos créditos, foi escrita apenas por Hodgson. Foi gravada entre novembro de 1976 e janeiro de 1977 e lançada em 3 de abril de 1977 no disco Even in the quietest moments, o quinto disco da banda. Sairia também em compacto, com Downstream como Lado B. Foi produzida pela própria banda. Foi um grande hit internacional pra banda. Chegou ao número 15 do Billboard Hot 100 e número 29 no Reino Unido. Chegou ao número 2 na Holanda e 4 na África do Sul, 8 no Canadá e 9 na Noruega. Número 12 na Bélgica, 14 na Nova Zelandia e 29 na Alemanha Ocidental. Foi inspirada em All you need is love, dos Beatles. Roger Hodgson tocou violão de 12 cordas, guitarra elétrica Rickenbacker de 12 cordas, guitarra elétrica de 6 cordas, cantou e fez backing vocals. Dougie Thomson tocou baixo de jazz Fender. Bob Siebenberg tocou bateria e percussão. Rick Davies tocou piano, orgão e clavinet. John Helliwell tocou sax.

A letra:

Ooh, yeah
Alright
Here we go again
Na-na, whoa, no, da-na, hey, hey, yeah

Give a little bit
Oh, give a little bit of your love to me
I'll give a little bit
I'll give a little bit of my love to you
There's so much that we need to share
So send a smile and show you care
(Alright)

I'll give a little bit
I'll give a little bit of my life for you
So give a little bit
Oh, give a little bit of your time to me
See the man with the lonely eyes
Oh, take his hand, you'll be surprised

Oh, take it
Ah, yeah
Come along
Yeah, yeah, yeah, yeah
Yeah, yeah, yeah, yeah, yeah, yeah, yeah

Come a-
Long

Give a little bit
Oh, give a little bit of your love to me
I'll give a little bit
I'll give a little bit of my life for you
Now's the time that we need to share
So find yourself, we're on our way back home

Oh, going home
Don't you need, don't you need to feel at home?
Oh, yeah, we gotta sing
Ooh, yeah, gotta get a feeling
Ooh, yeah, come along too
Woo

Come a-, come along too, yeah
Come a-, come a-, come a-, come along

Cha-ka-doom, yeah
Ooh, yeah, come along too
Yeah, come along too, yeah
Sing, Betty Lou
Come along too
What a long ride
Come a long way
Oh, sing it, tonight
Ooh, yeah

A versão do Supertramp:

A versão de Roger Hodgson:

A versão de Boyce Avenue:

1710 – Eric Clapton – Cocaine (1977)

 

Escrita por J.J. Cale, foi lançada por ele inicialmente em 1976, no disco Troubadour. Nossa versão no entanto é a de Eric Clapton, que foi gravada em 1977 e lançada em 18 de novembro de 1977, no compacto que tinha Lay down Sally como Lado A. Sairia também no disco Slowhand, o quinto de Eric. Foi produzida por Glyn Johns. Chegou ao número 30 no Billboard Hot100, número 3 no Canadá e número 14 na Holanda, em 1980.

A letra:

If you want to hang out, you've gotta take her out, cocaine
If you want to get down, down on the ground, cocaine

She don't lie, she don't lie, she don't lie
Cocaine

If you got bad news, you want to kick them blues, cocaine
When your day is done, and you want to run, cocaine

She don't lie, she don't lie, she don't lie
Cocaine

If your day is gone, and you want to ride on, cocaine
Don't forget this fact, you can't get it back, cocaine

She don't lie, she don't lie, she don't lie
Cocaine

She don't lie, she don't lie, she don't lie
Cocaine

A versão de Eric Clapton:

A versão de Joe Robinson:

A versão de Andy Guitar:

1709 – Elvis Costello – Less than zero (1977)

 

Escrita por Elvis Costello, foi gravada em 1977 e lançada em 11 de março de 1977, no compacto que tinha Radio Sweetheart como Lado B. Sairia também no disco My aim is true, o disco de estréia de Costello, em 22 de julho de 1977. Foi produzida por Nick Lowe. Foi escrita sobre o facista inglês Oswald Mosley. Foi escrita com raiva, depois de Costello ver o antigo lider da Britush Union of Fascists Oswald Mosley ser entrevistado e ter negado seu passado racista. Costello disse que o mesmo não se arrependia de nada do que fez nos anos 30s.

A letra:

Calling Mister Oswald with the swastika tattoo,
there is a vacancy waiting in the English voodoo,
carving "v" for vandal on the guilty boy's head.
When he's had enough of that maybe you'll take him to bed
to teach him he's alive before he wishes he was dead.

Turn up the TV. No one listening will suspect,
even your mother won't detect it,
so your father won't know.
they think that I've got no respect
but everything means less than zero.
Hey, ooh hey, hey, ooh hey.

Oswald and his sister are doing it again.
They've got the finest home movies that you have ever seen.
They've got a thousand variations: every service with a smile.
They're gonna take a little break, and they'll be back after a while.
well I hear that South America is coming into style.

Turn up the TV. No one listening will suspect,
even your mother won't detect it,
so your father won't know.
they think that I've got no respect
but everything means less than zero.
Hey, ooh hey, hey, ooh hey.

A pistol was still smoking, a man lay on the floor.
Mister Oswald said he had an understanding with the law.
He said he heard about a couple living in the USA.
He said they traded in their baby for a Chevrolet.
Let's talk about the future now we've put the past away.

Turn up the TV. No one listening will suspect,
even your mother won't detect it,
so your father won't know.
they think that I've got no respect
but everything means less than zero.
Hey, ooh hey, hey, ooh hey.

A versão de Elvis Costello:

A versão de Sam Gleason:

1708 – Billy Joel – Just the way you are (1977)

 

Escrita por Billy Joel, foi gravada em 1976 e lançada em 29 de setembro de 1977 no disco The Stranger, o quinto de Billy Joel. Saiu também na mesma época em compacto, com Get it right the first time/Vienna como Lado B. Foi produzida por Phil Ramone. Foi o primeiro Top 10 da carreira de Joel nos Estados Unidos, chegndo ao número 3 do Billboard Hot 100 e também o primeiro top 20 no Reino Unido, chegando ao número 19 por lá. Chegou também ao número 1 no Canadá, 6 na Austrália, Nova Zelandia e África do Sul. Número 7 na Irlanda e 14 na Rodésia. Foi também o primeiro disco de ouro de Billy Joel nos Estados Unidos. Ganhou dois Grammies em 1979: Record of the year e Song of the year. Billy disse que a melodia e acordes dessa canção veio em um sonho e que o título foi inspirado na canção Rag Doll, de Frankie Valli and The Four Seasons. Ele disse também que escreveu essa canção pra sua primeira esposa, Elizabeth Weber. Ninguém gostou da canção, nem Billy nem a banda, e não iriam incluir no disco. Mas Linda Ronstadt e Phoebe Snow, que gravavam no estúdio ao lado, pediram pra ele incluí-la no disco e ele o fez. Depois que Billy Joel se separou em 1982 de Elizabeth, ele não quis mais tocar essa canção nos shows, principalmente porque o baterista Liberty DeVitto ficava trocando a letra pra “She got the house, she got the car”, tirando onda com a cara dele. Phil Woods tocou o sax alto. Ele era muito conhecido no mundo do jazz, ganhador de Grammy, mas com essa performance aqui, ele aumentou seu público, ganhando também o público de rock. Billy Joel cantou e tocou piano elétrico Fender Rhodes. Hugh McCracken tocou violão. Steve Burgh tocou violão. Doug Stegmeyer tocou baixo. Liberty DeVitto tocou bateria. Ralph McDonald tocou percussão.

A letra:

Don't go changing to try and please me
You never let me down before, mmm
Don't imagine you're too familiar
And I don't see you anymore

I would not leave you in times of trouble
We never could have come this far, mmm
I took the good times, I'll take the bad times
I'll take you just the way you are

Don't go trying some new fashion
Don't change the color of your hair, mmm
You always have my unspoken passion
Although I might not seem to care

I don't want clever conversation
I never want to work that hard, mmm
I just want someone that I can talk to
I want you just the way you are

I need to know that you will always be
The same old someone that I knew
Oh, but what will it take till you believe in me
The way that I believe in you?

I said I love you, that's forever
And this I promise from the heart, mmm
I couldn't love you any better
I love you just the way you are, right

I don't want clever conversation
I never want to work that hard, mmm
I just want someone that I can talk to
I want you just the way you are

A versão de Billy Joel:

A versão de Barry White:

A versão de Michael Cavanaugh:

1707 – Bob Marley and The Wailers – Three little birds (1977)

Escrita por Bob Marley, foi gravada em 1977 e lançada no disco Exodus, em 3 de junho de 1977. Foi lançada depois em compacto, com Every need got an ego to feed como Lado B, em 12 de setembro de 1980. Foi produzida por Bob Marley and TheWailers. Chegou ao número 17 no Reino Unido, número 3 na Espanha e número 49 na Alemanha. Trata-se de uma das mais populares canções de Bob Mrley e foi bastante regravada, entre elas por Ziggy Marley com Sean Paul e pelo Maroon 5.

A letra:

Don't worry about a thing
'Cause every little thing gonna be alright
Singing' don't worry about a thing
'Cause every little thing gonna be alright

Rise up this mornin'
Smiled with the risin' sun
Three little birds
Pitch by my doorstep
Singin' sweet songs
Of melodies pure and true
Saying', (this is my message to you)

Singing' don't worry 'bout a thing
'Cause every little thing gonna be alright
Singing' don't worry (don't worry) 'bout a thing
'Cause every little thing gonna be alright

Rise up this mornin'
Smiled with the risin' sun
Three little birds
Pitch by my doorstep
Singin' sweet songs
Of melodies pure and true
Sayin', this is my message to you

Singin' don't worry about a thing, worry about a thing, oh
Every little thing gonna be alright, don't worry
Singin' don't worry about a thing, I won't worry
'Cause every little thing gonna be alright

Singin' don't worry about a thing
'Cause every little thing gonna be alright, I won't worry
Singin', don't worry about a thing
'Cause every little thing gonna be alright
Singin' don't worry (worry) about a thing, oh no
'Cause every little thing gonna be alright

A versão de Bob Marley and The Wailers:

A versão de Ziggy Marley and Sean Paul:

A versão do Maroon 5:

1706 – Bee Gees – How deep is your love? (1977)

 

Escrita por Barry, Robin e Mauric Gibb, foi gravada em 1977 e lançada em compacto em setembro de 1977, com Can't keep a good man down como Lado B. Sairia depois no disco Saturday night fever, a trilha sonora do fime de mesmo nome, estrelado por John Travolta. Foi produzida por Karl Richardson, Albhy Galuten e pelos próprios irmãos Gibb. Chegou ao número 1 no Billboard Hot 100 (ficando nessa posição por 1 semanas), número 3 no Reino Unido e Austrália. É o número 375 da lista da revista Rolling Stone das 500 greatest songs of all time. Barry Gibb disse que essa era sua canção favorita dos Bee Gees. Chegar ao número 3 no Reino Unido com essa balada romântica foi um feito incrível, pois naquela época, o Reino Unido respirava Punk e New Wave. Ganhou o Grammy de Best Pop Performance by a group, em 1978. Essa música é também uma das favoritas de Brian Wilson. Barry Gibb cantou os vocais principais, harmonias vocais, backing vocals e guitarra base. Robin Gibb fez vocais principais, harmonias vocais e backing vocals. Maurice Gibb tocou baixo, e fez harmonias vocais e backing vocals. Alan Kendall tocou guitarra. Dennys Bryon tocou bateria e percussão. Blue Weaver tocou teclado, sintetizador e piano elétrico Fender Rhodes. Joe Lala tocou percussão. Foi número 1 também no Brasil, Canadá, Chile, Finlandia e França. Número 2 na Irlanda, Itália e África do Sul. Número 4 na Suécia e 5 na Noruega. Foi número 6 na Bélgica e Nova Zelandia. Número 7 na Espanha e número 8 na Holanda. Número 13 na Áustria e número 21 na Alemanha Ocidental.

A letra:

I know your eyes in the morning sun
I feel you touch me in the pouring rain
And the moment that you wander far from me
I wanna feel you in my arms again
And you come to me on a summer breeze
Keep me warm in your love, then you softly leave
And it's me you need to show

How deep is your love?
How deep is your love?
How deep is your love?
I really mean to learn
'Cause we're living in a world of fools
Breaking us down when they all should let us be
We belong to you and me

I believe in you
You know the door to my very soul
You're the light in my deepest, darkest hour
You're my savior when I fall
And you may not think I care for you
When you know down inside that I really do
And it's me you need to show

How deep is your love?
How deep is your love?
How deep is your love?
I really mean to learn
'Cause we're living in a world of fools
Breaking us down when they all should let us be
We belong to you and me

Na-na-na-na-na
Na-na-na-na-na-na-na-na
Na-na-na-na-na-na-na-na-na
Na-na-na-na-na-na-na

And you come to me on a summer breeze
Keep me warm in your love, then you softly leave
And it's me you need to show

How deep is your love?
How deep is your love?
How deep is your love?
I really mean to learn
'Cause we're living in a world of fools
Breaking us down when they all should let us be
We belong to you and me (na-na-na-na-na)

How deep is your love?
How deep is your love?
I really mean to learn
'Cause we're living in a world of fools
Breaking us down when they all should let us be
We belong to you and me (na-na-na-na-na)

How deep is your love?
How deep is your love?
I really mean to learn
'Cause we're living in a world of fools
Breaking us down when they all should let us be
We belong to you and me

A versão do Bee Gees:

A versão de Music Travel Love:

A versão de Brother Stone and The Get Down:

1705 – Supertramp – Downstream (1977)

 

Escrita por Rick Davis, foi gravada entre novembro de 1976 e janeiro de 1977, no Caribou Ranch, em Nederland, Colorado e no Record Plant Studios, em Los Angeles, California. Foi lançada em 3 de abril de 1977, no disco Even in the quietest moments...o quinto disco da banda. Foi produzida pela própria banda. Foi gravada somente por Rick Davis no piano e voz. Foi gravada em apenas um take.

A letra:

Took a boat sunday, down by the sea
It just felt so nice, you and me
We didn't have a problem or a care on earth
And all around was silence, everywhere

You are the reason I was born
To be with you through all seasons
I'll always hear you when you call

We'll keep the love light shining
Through each night and day
A lonely life behind me
Oh, what a change you've made

So down here, on the ocean
We will stay, we will stay, we will stay
Been through a lot of changes
Turned a lot of pages
When I took a boat on sunday

To know you as I know you now
That is all I need
And we will get along somehow
If we both believe

So down here, on the ocean
We will stay, we will stay, we will stay
Been through a lot of changes
Turned a lot of pages
When I took a boat on sunday

A versão do Supertramp:

A versão de Jorge Duhalde, Martina Perez e Javier Perez:

A versão de Jasen Colson:

1704 – Eric Clapton – Next time you see her (1977)

 

Escrita por Eric Clapton, foi gravada em maio de 1977, no Olympic Studios, em Londres e lançada no disco Slowhand, o quinto da carreira de Clapton, em 27 de novembro de 1977. Foi produzida por Glyn Johns. Eric queria gravar com Glyn Johns, pois o mesmo era o produtos dos Stones e dos Eagles e ele gostava do trabalho dele. Eric Clapton cantou, fez backing vocals e tocou guitarra solo. George Terry tocou guitarra solo e guitarra ritmica. Carl Radle tocou baixo. Dick Sims tocou orgão. Jamie Oldaker tocou bateria e percussão. Yvonne Elliman e Marcy Levy fizeram backing vocals.

A letra:

She's got everything a man could ever ask for
She is lovely, brighter than a morning star
She is so beautiful, portrait of a sunset
She got everything, including my old car

Next time you see her, tell her that I love her
Next time you see her, tell her that I care
Next time you see her, tell her that I love her
Next time I see you, boy you'd better beware

I'm just trying to warn you that you're bound to get hurt
I couldn't be her last love, so how could you be her first?
I want to tell you, buddy, things are bound to get rough
I know that she's only flirting, but I think that I've had enough

Next time you see her, tell her that I love her
Next time you see her, tell her that I care
Next time you see her, tell her that I love her
Next time I see you, boy you'd better beware

If you see her again, I will surely kill you
And if you see her again, I will surely kill you
Next time you see her, tell her that I love her
Next time you see her, tell her that I care
Next time you see her, tell her that I love her
Next time I see you, boy you'd better beware

If you see her again, I will surely kill you
And if you see her again, I will surely kill you
Next time you see her, tell her that I love her
Next time you see her, tell her that I care
Next time you see her, tell her that I love her
Next time I see you, boy you'd better beware

A versão de Eric Clapton:

1703 – Elvis Costello – Alison (1977)

Escrita por Elvis Costello, foi gravada em 1977 e lançada em 21 de maio de 1977 no compacto que tinha Welcome to the working week como Lado B. Sairia também no disco My aim is true, o disco de estréia de Elvis Costello. Foi produzida por Nick Lowe. Costello disse que foi escrita pra uma garota que ele viu trabalhando em um supermercado. Nunca entrou em nenhum chart mas se tornou uma das canções mais conhecidas dele. Linda Ronstadt gravou uma versão em 1979. Foi gravada antes da banda The Attractions ser formada. Ela foi gravada com uma banda chamada Clover. Costello disse também que a canção era sobre desapontar alguém. Costello e Billie Joe Armstrong, do Green Day, tocaram Alison ao vivo em 2006, na VH1. A revista Rolling Stone colocou-a como número 318 da sua lista das 500 greatest songs of all time.

A letra:

Oh it's so funny to be seeing you after so long, girl.
And with the way you look I understand
That you are not impressed.
But I heard you let that little friend of mine
Take off your party dress.
I'm not going to get too sentimental
Like those other sticky valentines,
Cause I don't know if you've been loving somebody.
I only know it isn't mine.

Alison, I know this world is killing you.
Oh, Alison, my aim is true.

Well I see you've got a husband now.
Did he leave your pretty fingers lying
In the wedding cake?
You used to hold him right in your hand.
I'll bet he took all he could take.
Sometimes I wish that I could stop you from talking
When I hear the silly things that you say.
I think somebody better put out the big light,
Cause I can't stand to see you this way.

Alison, I know this world is killing you.
Oh, Alison, my aim is true.
My aim is true.

A versão de Elvis Costello:

A versão de Billie Joe Armstrong e Elvis Costello:

A versão de Linda Ronstadt:

1702 – Billy Joel – Scenes from an Italian Restaurant (1977)

 

Escrita por Billy Joel, foi gravada entre julho e agosto de 1977, no A&R Recordings, em New York City. Foi lançada em 29 de setembro de 1977, no disco The Stranger, o quinto disco da carreira de Billy Joel. Foi produzida por Phil Ramone. Apesar de nunca ter saído em compacto, é uma das canções mais populares de Billy. É a canção de número 324 da lista da revista Rolling Stone das 500 greatest songs of all time. A canção é uma junção de três partes. A primeira, começa com um piano com uma balada melódica, em primeira pessoa, descreve a cena de dois antigos colegas de classe se reunindo em um restaurate italiano. Aí entra uma parte rápida de jazz e os colegas de classe começam a falar de outras pessoas. Temos solos de clarinete, trombone, tuba e sax e chegamos então na parte de rock and roll. Essa parte fala, em terceira pessoa, de um casal do high school que eram considerado “O casal mais top”, e que casaram e logo logo se divorciaram. A canção começa a ficar devagar novamente e um personagem fala pro outro “I'll meet anytime you want, at our italian restaurant”. Essa é a canção preferida do próprio Billy Joel. Billy Joel cantou, fez backing vocals e tocou piano. Dominic Cortese tocou sanfona. Steve Burgh tocou guitarra solo. Hugh McCracken tocou violão. Doug Stegmeyer tocou baixo. Liberty De Vitto tocou bateria e Richie Cannata tocou sax, flauta e clarinete.

A letra:

A bottle of white, a bottle of red
Perhaps a bottle of rose instead
We'll get a table near the street
In our old familiar place
You and I, face to face

A bottle of red, a bottle of white
It all depends upon your appetite
I'll meet you any time you want
In our Italian Restaurant

Things are okay with me these days
Got a good job, got a good office
Got a new wife, got a new life
And the family's fine
We lost touch long ago
You lost weight I did not know
You could ever look so nice after
So much time

Do you remember those days hanging out
At the village green
Engineer boots, leather jackets
And tight blue jeans
Drop a dime in the box play the
Song about New Orleans
Cold beer, hot lights
My sweet romantic teenage nights

Brenda and Eddie were the
Popular steadys
And the king and the queen
Of the prom
Riding around with the car top
Down and the radio on
Nobody looked any finer
Or was more of a hit at the
Parkway Diner
We never knew we could want more
Than that out of life
Surely Brenda and Eddie would
Always know how to survive

Brenda and Eddie were still going
Steady in the summer of '75
When they decided the marriage would
Be at the end of July
Everyone said they were crazy
Brenda you know you're much too lazy
Eddie could never afford to live that
Kind of life
But there we were wavin' Brenda and
Eddie goodbye

They got an apartment with deep
Pile carpet
And a couple of paintings from Sears
A big waterbed that they bought
With the bread
They had saved for a couple
Of years
They started to fight when the
Money got tight
And they just didn't count on
The tears

They lived for a while in a
Very nice style
But it's always the same in the end
They got a divorce as a matter
Of course
And they parted the closest
Of friends
Then the king and the queen went
Back to the green
But you can never go back
There again

Brenda and Eddie had had it
Already by the summer of '75
From the high to the low to
The end of the show
For the rest of their lives
They couldn't go back to
The greasers
The best they could do was
Pick up the pieces
We always knew they would both
Find a way to get by
That's all I heard about
Brenda and Eddie
Can't tell you more than I
Told you already
And here we are wavin' Brenda
And Eddie goodbye

A bottle of red, a bottle of white
Whatever kind of mood you're in tonight
I'll meet you anytime you want
In our Italian Restaurant

A versão de Billy Joel:

A versão de Michael Cavanaugh:

A versão de Rob Grande: