689 – The Buckinghams – Don't you care (1967)

Escrita por Gsry Beisber e Jim Holvay, foi lançada pelos Buckinghams em março de 1967, em um compacto que tinha Why don't you love me como Lado B.

Chegou ao número 6 nos Estados Unidos e número 4 no Canadá.

A letra:

If you don't love me
Why don't you tell me
Instead of running around
With all the other guys in town
Can't you see
You're hurting me
Don't you care
Don't you care

If you don't want me
Why don't you tell me
Instead of telling lies
And making me cry
Can't you see
You're hurting me
Don't you care
Don't you care
Whatever happened
To all the good times we used to have
The times we cried and laughed
I want to know, I want to know
Will you ever love me again
Or will I find out that this is the end
Don't you care
My my my my baby
You said that you'd believe me
Then why'd you ever leave me
I'm standing here all alone
Without a girl of my own
Can't you see
You're hurting me
Don't you care
Don't you care

Don't you care
Don't you care
Don't you care
Don't you care
Don't you care
Don't you care

A versão dos Buckinghams:

A versão do Vinyl Highway Band:

A versão dos Miller Brothers:

0112 – Carrie Anne - The Hollies (1967)

Escrita por Allan Clarke, Graham Nash e Tony Hicks, foi gravada em 1 de maio de 1967, no estúdio Abbey Road, em Londres e lançada em 26 de maio de 1967, no compacto que tinha Signs that will never change como Lado B. Foi produzida por Ron Richards. Chegou ao número 9 no Billboard Hot100. Chegou ao número 3 no Reino Unido, número 4 na Holanda e Irlanda, número 7 na Noruega e Australia, número 8 na Alemanha Ocidental e número 9 no Canadá. Foi feita durante uma turnê com Tom Jones e as harmonias vocais se assemelham muito com as dos Beach Boys. Tem um solo de Steelpan e foi a primeira vez que o instrumento foi gravado em uma música pop. Foi tocado por um rapaz de Trinidad y Tobago chamado Ralph Richardson. Foi um tributo à Marianne Faithfull.

Doo-doo-doo-doo, doo doo doo doo doo
Doo-doo-doo-doo, doo doo doo doo doo

Hey, Carrie Anne
Hey, Carrie Anne

When we were at school, our games were simple
I played a janitor, you played a monitor
Then you played with older boys and prefects
What's the attraction in what they're doing?

Hey, Carrie Anne, what's your game now?
Can anybody play?
Hey, Carrie Anne, what's your game now?
Can anybody play?

You were always something special to me
Quite independent, never caring
You lost your charm as you were aging
Where is your magic disappearing?

Hey, Carrie Anne, what's your game now?
Can anybody play?
Hey, Carrie Anne, what's your game now?
Can anybody play?

You're so, so like a woman to me
(So like a woman to me)
So, so like a woman to me
(Like a woman to me)

Hey, Carrie Anne, what's your game now?
Can anybody play?
Hey, Carrie Anne, what's your game now?
Can anybody play?

People live and learn but you're still learning
You use my mind and I'll be your teacher
When the lesson's over, you'll be with me
Then I'll hear the other people saying

Hey, Carrie Anne, what's your game now?
Can anybody play?
Hey, Carrie Anne, what's your game now?
Can anybody play?

Carrie Anne, Carrie Anne, Carrie Anne

A versão dos Hollies:

A versão de Ali Campbell:

A versão de Flat Five:

687 – Leonard Cohen – Master Song (1967)

Escrita por Leonard Cohen, foi gravada em outubro e novembro de 1967, nos estúdios da Columbia, em New York City e lançada em 27 de dezembro de 1967, no disco Songs of Leonard Cohen.

Master song foi escrita num banco de pedra, que tem situado entre as ruas Guy e Burnside.

I believe that you heard your master sing
when I was sick in bed.
I suppose that he told you everything
that I keep locked away in my head.
Your master took you travelling,
well at least that's what you said.
And now do you come back to bring
your prisoner wine and bread?
You met him at some temple, where
they take your clothes at the door.
He was just a numberless man in a chair
who'd just come back from the war.
And you wrap up his tired face in your hair
and he hands you the apple core.
Then he touches your lips now so suddenly bare
of all the kisses we put on some time before.

And he gave you a German Shepherd to walk
with a collar of leather and nails,
and he never once made you explain or talk
about all of the little details,
such as who had a word and who had a rock,
and who had you through the mails.
Now your love is a secret all over the block,
and it never stops not even when your master fails.

And he took you up in his aeroplane,
which he flew without any hands,
and you cruised above the ribbons of rain
that drove the crowd from the stands.
Then he killed the lights in a lonely Lane
and, an ape with angel glands,
erased the final wisps of pain
with the music of rubber bands.

And now I hear your master sing,
you kneel for him to come.
His body is a golden string
that your body is hanging from.
His body is a golden string,
my body has grown numb.
Oh now you hear your master sing,
your shirt is all undone.

And will you kneel beside this bed
that we polished so long ago,
before your master chose instead
to make my bed of snow?
Your eyes are wild and your knuckles are red
and you're speaking far too low.
No I can't make out what your master said
before he made you go.

Then I think you're playing far too rough
for a lady who's been to the moon;
I've lain by this window long enough
to get used to an empty room.
And your love is some dust in an old man's cough
who is tapping his foot to a tune,
and your thighs are a ruin, you want too much,
let's say you came back some time too soon.

I loved your master perfectly
I taught him all that he knew.
He was starving in some deep mystery
like a man who is sure what is true.
And I sent you to him with my guarantee
I could teach him something new,
and I taught him how you would long for me
no matter what he said no matter what you'd do.

I believe that you heard your master sing
while I was sick in bed,
I'm sure that he told you everything
I must keep locked away in my head.
Your master took you travelling,
well at least that's what you said,
And now do you come back to bring
your prisoner wine and bread?

A versão de Leonard Cohen:

A versão de Michael Bradley:

A versão de James Eure:

686 – The Herman's Hermits – There's a kind of hush all over the world (1967)

Escrita por Geoff Stephens e Les Reed, foi gravada em Londres, em 7 de dezembro de 1966, nos estúdios De Lane Lea. Foi lançada em janeiro de 1967 no compacto que tinha No Milk Today nos Estados Unidos e Gaslight street no Reino Unido.

Foi gravada em disco inicialmente pelo New Vaudeville Band, banda de Geoff Stephens. O primeiro compacto, no entanto, veio com Gary and The Hornets, de Franklin, Ohio, que se tornou um sucesso regional.

A versão dos Herman's Hermits, no entanto, chegou ao número 4 dos charts pop americanos e foi o último hit deles a ser TOP TEN. Venderam mais de um milhão de cópias nos Estados Unidos. No Reino Unido, eles chegaram ao número 7. Número 5 na Austrália e número 9 na África do Sul.

Foi também regravada pelos Carpenters em 1976.

A letra:

There's a kind of hush all over the world tonight
All over the world you can hear the sounds of lovers in love
You know what I mean
Just the two of us and nobody else in sight
There's nobody else and I'm feelin' good just holdin' you tight

So listen very carefully
Closer now and you will see what I mean
It isn't a dream
The only sound that you will hear
Is when I whisper in your ear
"I love you forever and ever"

There's a kind of hush all over the world tonight
All over the world you can hear the sound of lovers in love
La la-la la-la la-la
La-la la-la la-la la-la
La-la-la-la-la la-la la-la-la
La la-la la-la

So listen very carefully
Closer now and you will see what I mean
It isn't a dream
The only sound that you will hear
Is when I whisper in your ear
"I love you forever and ever"

There's a kind of hush all over the world tonight
All over the world, people just like us are falling in love
Yeah, they're falling in love
They're falling in love

A versão dos Herman's Hermits:

A versão de Carpenters:

A versão de Engelbert Humperdinck:

685 – The Doors – Soul Kitchen (1967)

Escrita por Jim Morrison, Ray Manzarek, Robby Krieger e John Densmore, foi gravada entre 19 e 24 de agosto de 1966 e lançada em 4 de janeiro de 1967, no disco chamado The Doors. Foi gravada no Sunset Sound Studios, em Hollywood, California e produzida por Paul Rothchild.

Jim Morrison cantou, Ray Manzareck tocou orgao Vox Continental, Robby Krieger tocou guitarra solo, baixo e John Densmore tocou bateria e percussão. Larry Knechtel também tocou baixo.

A letra:

Well, the clock says it's time to close now
I guess I'd better go now
I'd really like to stay here all night
The cars crawl past all stuffed with eyes
Street lights share their hollow glow
Your brain seems bruised with numb surprise
Still one place to go
Still one place to go

Let me sleep all night in your soul kitchen
Warm my mind near your gentle stove
Turn me out and I'll wander baby
Stumblin' in the neon groves

Well, your fingers weave quick minarets
Speak in secret alphabets
I light another cigarette
Learn to forget, learn to forget
Learn to forget, learn to forget

Let me sleep all night in your soul kitchen
Warm my mind near your gentle stove
Turn me out and I'll wander baby
Stumblin' in the neon groves

Well the clock says it's time to close now
I know I have to go now
I really want to stay here
All night, all night, all night

A versão dos Doors:

A versão de Echo and The Bunnymen:

A versão de Patti Smith:

684 – Grateful Dead – (Walk me out in the) Morning dew (1967)

Escrita por Bonnie Dobson, foi lançado inicialmente por ela em 1962, mas a versão que escolhemos e a que ficou mais famosa, foi do Grateful Dead, de 1967.

A canção é um diálogo entre o último homem e a última mulher que ficaram vivos na terra após uma catástrofe apocaliptica. Foi escrita em 1961 enquanto Dobson estava em Lo Angeles na casa de uma amiga. Todos falavam sobre o dia seguinte da uma guerra nuclear e ela foi pra cama e escreveu essa canção. Ela nunca havia escrito nenhuma canção até aquele momento.

Fred Neil então gravou-a em 1964. Tim Rose gravou-a então em 1967. A nossa versão, do Grateful Dead, chegou ao número 17 na Irlanda. Lulu gravaria sua versão em 1967 também.

Foi regravada também por Jeff Beck, Duane and Greg Allman, Nazareth, Robert Plant, entre outros artistas.

A letra:

Walk me out in the morning dew my honey,
Walk me out in the morning dew today.
I can't walk you out in the morning dew my honey,
I can't walk you out in the morning dew today.

I thought I heard a baby cry this morning,
I thought I heard a baby cry this today.
You didn't hear no baby cry this morning,
You didn't hear no baby cry today.

Where have all the people gone my honey,
Where have all the people gone today.
There's no need for you to be worrying about all those people,
You never see those people anyway.

I thought I heard a young man morn this morning,
I thought I heard a young man morn today.
I thought I heard a young man morn this morning,
I can't walk you out in the morning dew today.

Walk me out in the morning dew my honey,
Walk me out in the morning dew today.
I'll walk you out in the morning dew my honey,
I guess it doesn't really matter anyway,
I guess it doesn't matter anyway,
I guess it doesn't matter anyway,
Guess it doesn't matter anyway.

A versão do Grateful Dead:

A versão de Lulu:

A versão de Bonjie Dobson com Robert Plant:

683 – Johnny Cash and June Carter – Jackson (1967)

Escrita por Billy Edd Wheeler e Jerry Leiber em 1963, foi primeiramente gravada por Wheeler. A gravação mais famosa no entanto é que a escolhemos, feita por Johnny Cash e June Carter e lançada em 6 de fevereiro de 1967, num compacto que tinha Pack up your sorrows como Lado B. A versão de Cash e Carter chegou ao número 2 dos charts country americanos.

Nancy Sinatra também gravou-a em 1967, com Lee Hazlewood, chegando ao número 14 dos charts pop americanos. A canção fala sobre um casal que descobre que o fogo da relação acabou. Então a canção fala do desejo dos dois de irem até Jackson, onde esperam que sejam bem vindos.

Foi também regravada pelo Kingston Trio, Joaquin Phoenix com Resse Witherspoon, INXS, entre outros artistas.

A letra:

We got married in a fever, hotter than a pepper sprout,
We've been talkin' 'bout Jackson, ever since the fire went out.
I'm goin' to Jackson, I'm gonna mess around,
Yeah, I'm goin' to Jackson,
Look out Jackson town.

Well, go on down to Jackson; go ahead and wreck your health.
Go play your hand you big-talkin' man, make a big fool of yourself,
You're goin' to Jackson; go comb your hair!
Honey, I'm gonna snowball Jackson.
See if I care.

When I breeze into that city, people gonna stoop and bow. (Hah!)
All them women gonna make me, teach 'em what they don't know how,
I'm goin' to Jackson, you turn-a loose-a my coat.
'Cos I'm goin' to Jackson.
"Goodbye," that's all she wrote.

But they'll laugh at you in Jackson, and I'll be dancin' on a Pony Keg.
They'll lead you 'round town like a scalded hound,
With your tail tucked between your legs,
You're goin' to Jackson, you big-talkin' man.
And I'll be waitin' in Jackson, behind my Jaypan Fan,

Well now, we got married in a fever, hotter than a pepper Sprout,
We've been talkin' 'bout Jackson, ever since the fire went out.
I'm goin' to Jackson, and that's a fact.
Yeah, we're goin' to Jackson, ain't never comin' back.

Well, we got married in a fever, hotter than a pepper sprout'
And we've been talkin' 'bout Jackson, ever since the fire went...

[To Fade]

A versão de Johnny Cash e June Carter:

A versão de Joaquin Phoenix e Reese Witherspoon:

A versão de Nancy Sinatra e Lee Hazlewood:

682 – Peter, Paul and Mary – I dig rock and roll music (1967)

Escrita por Paul Stoockey, James Mason e Dave Dixon, foi lançada por Peter, Paul and Mary em 1967, em um compacto que tinha The great Mandella (The wheel of life), como Lado B.

A letra fala de artistas de rock da época, como The Mamas and The Papas, Donovan e os Beatles. Chegou ao número 9 dos charts pop americanos.

A letra:

I dig rock and roll music
And I love to get the chance to play (And sing it)
I figure it's about the happiest sound goin' down today
The message may not move me
Or mean a great deal to me
But hey! It feels so groovy to say

I dig The Mamas & The Papas at the trip Sunset Strip in L.A.
And they got a good thing goin' when the words don't get in the way
And when they're really wailing
Michelle and Cass are sailin'
Hey! They really nail me to the wall

I dig Donovan in a dream-like, tripped out way
His crystal images, hey, they tell you 'bout a brighter day
And when The Beatles tell you
They've got a word "love" to sell you
They mean exactly what they say

I dig rock and roll music
I could really get it on in that scene
I think I could say somethin' if you know what I mean
But if I really say it
The radio won't play it
Unless I lay it between the lines

A versão de Peter, Paul and Mary:

A versão de Jim Mason, um dos autores:

A versão de Michael Monroe, somente áudio:

681 – Leonard Cohen – Hey, that's no way to say goodbye (1967)

Escrita por Leonard Cohen, foi lançada por Judy Collins em novembro de 1967, no disco Wildflowers. Mas a versão que escolhemos é a do própio autor, Leonard Cohen, lançada em dezembro de 1967, no seu disco Songs of Leonard Cohen.

Leonard Cohen escreveu essa música enquanto estava hospedado no Penn Terminal Hotel, em New York City, na 34^th street. Ele disse que estava num quarto muito quente e não podia abrir a janela. Estava no meio de uma briga com uma mulher loira. A canção foi escrita em lápis e protegia eles em cada manobra da briga, em direção à uma vitória incondicional. Ele disse que estava no quarto errado e com a mulher errada. Esse foi o nascimento dessa canção.

Foi regravada também por Roberta Flack, no disco de estréia dela, First Take e foi regravada também por muitos artistas.

A letra:

I loved you in the morning, our kisses deep and warm,
your hair upon the pillow like a sleepy golden storm,
yes, many loved before us, I know that we are not new,
in city and in forest they smiled like me and you,
but now it's come to distances and both of us must try,
your eyes are soft with sorrow,
Hey, that's no way to say goodbye.

I'm not looking for another as I wander in my time,
walk me to the corner, our steps will always rhyme
you know my love goes with you as your love stays with me,
it's just the way it changes, like the shoreline and the sea,
but let's not talk of love or chains and things we can't untie,
your eyes are soft with sorrow,
Hey, that's no way to say goodbye.

I loved you in the morning, our kisses deep and warm,
your hair upon the pillow like a sleepy golden storm,
yes many loved before us, I know that we are not new,
in city and in forest they smiled like me and you,
but let's not talk of love or chains and things we can't untie,
your eyes are soft with sorrow,
Hey, that's no way to say goodbye.

A versão de Leonard Cohen:

A versão de Judy Collins:

A versão de Roberta Flack:

680 – Eric Burdon and The Animals – When I was young (1967)

Escrita por Eric Burdon, Vic Riggs, John Weider, Bary Jenkins e Danny McCulloch, foi lançada em 8 de abril de 1967, num compacto que tinha A girl named Sandoz como Lado B.

Chegou ao número 2 na Austrália, número 10 no Canadá, número 15 nos Estados Unidos e número 7 na Holanda. O solo é estilo indiano, tocado por guitarra elétrica e violino. Tem também um forte tremolo de guitarra distorcido.

É autobiográfica de Eric Burdon. O pai dele era de fato um soldado, ele fumou seu primeiro cigarro com dez anos de idade encontrou seu primeiro amor aos 13 anos de idade.

O verso final fala da desilusão dele com a sociedade da época. Ele diz: “Minha fé era maior, eu acreditava nos homens e eu muito mais velho, quando eu era jovem”.

Foi regravada por Tina Turner e Ramones, entre outros artistas.

A letra:

The rooms were so much colder then
My father was a soldier then
And times were very hard
When I was young, when I was young
I smoked my first cigarette at ten
And for girls I had a bad yen
And I had quite a gall
When I was young

When I was young it was more important
They'd more pain but they laughed much louder yeah
When I was young, when I was young

I met my first love at thirteen
She was brown and I was pretty green
And I learned quite a lot
When I was young, when I was young

When I was young it was more important
They'd more pain but they laughed much louder yeah
When I was young, when I was young

My faith was so much stronger then
I believed in fellow man
And I was so much older then
When I was young, when I was young
When I was young, when I was young
When I was young, when I was young

A versão de Eric Burdon and The Animals:

A versão de Tina Turner:

A versão dos Ramones:

679 – Frank Sinatra and Tom Jobim – Once I loved (1967)

Escrita por Antonio Carlos Jobim e Vinicius de Moraes, com letra em ingles de Ray Gilbert, foi gravada em 30 de janeiro e 1 de fevereiro de 1967, no United Western Recorders, em Hollywood, Los Angeles, California.

Foi composta em 1960 e gravada pela primeira vez por João Gilberto em 1961. Jobim gravou-a instrumental em 1963.

A letra:

Once, once I loved
And I gave so much love to this love you were the world to me
Once I cried
At the thought I was foolish and proud and let you say goodbye

And then one day
From my infinite sadness you came and brought me love again
Now I know
That no matter what ever befalls I'll never let you go
I will hold you close, make you stay
Because love is the saddest thing when it goes away
Love is the saddest thing when it goes away

A versão de Sinatra e Jobim:

A versão de Astrud Gilberto:

A versão de Ella Fitzgerald e Joe Pass:

678 – The Association – Never my love (1967)

Escrita por Donald e Richard Addrisi, foi lançada pelo Association em 9 de agosto de 1967, em um compacto que tinha Requiem for the masses como Lado B. Never my love foi a segunda música mais tocada em rádio e televisão no século 20. A número 1 foi You've lost that loving feeling e a número 3 foi Yesterday.

The Association era um grupo californiano de pop rock. Eles chegaram ao número 3 dos charts pop americanos e número 1 no Canadá. Venderam um milhão de cópias já em dezembro de 1967.

Foi regravada pelo 5^th Dimenson, pelos compositores, Addrisi Brothers, Barry Manilow, Booker T and The Mgs, The Four Tops, Astrud Gilberto, Etta James, Henry Mancini, Johnny Mathis, Smokey Robinson, The Ventures, Andy Williams, Sarah Vaughan, Bryan Adams, entre outros.

A letra:

You ask me if there'll come a time
When I grow tired of you
Never my love
Never my love

You wonder if this heart of mine
Will lose its desire for you
Never my love
Never my love

What makes you think love will end
When you know that my whole life depends
On you (on you)

Never my love
Never my love

You say you fear I'll change my mind
And I won't require you
Never my love
Never my love

How can you think love will end
When I've asked you to spend your whole life
With me (with me, with me)

A versão do Association:

A versão de Astrud Gilberto:

A versão de Bryan Adams:

0082 – Bowling green - The Everly Brothers (1967)

Escrita por Terry Slater e Jacqueline Ertel, foi gravada pelos Everly Brothers em 22 de março de 1967 e lançada em 1967 pela dupla, em um compacto que tinha I don't wat to love you como Lado B. Slater era o baixista da dupla. Fala sobre Bowling Green, uma cidade no estado americano de Kentucky. Fica a uma hora de Central City, Kentucky, onde Don Everly nasceu. A canção chegou ao número 40 nos charts Billboard Hot100 e número 1 no Canadá. Foi a última vez que a dupla entrou no Hot100, até 1984.

Way down in Bowling Green
Prettiest girls I've ever seen
A man in Kentucky
Sure is lucky
To love down in Bowling Green

Bowling Green folks treat you kind
They let you think your own mind
A man in Kentucky
Sure is lucky
In Bowling Green you walk your own line

Kentucky sunshine makes the heart unfold
It warms the body
And I know it touches the soul
Bluegrass is fine
Kentucky owns my mind

The fields down in Bowling Green
Have the softest grass I've ever seen
A man in Kentucky
Sure is lucky
To lie down in Bowling Green

Bowling Green girls treat you right
They wear dresses cut country tight
A man in Kentucky
Sure is lucky
If he's seen a Bowling Green night

Kentucky sunshine makes the heart unfold
It warms the body
And I know it touches the soul
Bluegrass is fine
Kentucky owns my mind

Bowling Green, Bowling Green
Bowling Green, Bowling Green

Bowling Green, Bowling Green
Bowling Green, Bowling Green

A versão dos Everly Brothers:

A versão de Glen Campbell:

A versão do A-ha, no show mencionado acima:

676 – Pink Floyd – See Emily play (1967)

Escrita por Syd Barrett, foi gravada em 21 de maio de 1967 em Londres, e lançada em 16 de junho de 1967 num compacto que tinha Scarecrow como Lado B. É uma das 500 canções que deram forma ao rock and roll. Chegou ao número 6 dos charts ingleses.

Emily foi uma garota que Syd viu enquanto dormia na floresta após ter tomado LSD. Barrett foi contra o resultado final pois achou muito comercial. Foi durante as gravações dessa música que David Gilmour visitou o estúdio à pedido de Barrett, que quando Gilmour chegou lá, Barrett não o reconheceu, doidão que estava.

Foi regravada por David Bowie, entre outros artistas.

Syd Barrett cantou, toucou guitarra e fez guitarra slide. Richard Wright tocou orgao, piano, harpsichord eletrico e fez backing vocals. Roger Waters tocou baixo e fez backing vocals. Nick Mason tocou bateria.

A letra:

Emily tries but misunderstands, ah ooh
She often inclined to borrow somebody's dreams till tomorrow
There is no other day
Let's try it another way
You'll lose your mind and play
Free games for may
See Emily play
Soon after dark Emily cries, ah ooh
Gazing through trees in sorrow hardly a sound till tomorrow
There is no other day
Let's try it another way
You'll lose your mind and play
Free games for may
See Emily play
Put on a gown that touches the ground, ah ooh
Float on a river forever and ever, Emily
There is no other day
Let's try it another way
You'll lose your mind and play
Free games for may
See Emily play

A versão do Pink Floyd:

A versão de David Bowie:

A versão de Josh Turner:

675 – Buffalo Springfield – Mr. Soul (1967)

Escrita por Neil Young, foi gravada pelo Buffalo Springfield em 9 de janeiro de 1967 e lançada em como Lado B de um compacto que tinha Bluebird como Lado A em junho de 1967.

Fala sobre os problemas pessoais de Neil com fama e desprezo pela coisa de rock star. Foi escrita depois de Neil ter sofrido um ataque de epilepsia num show do Buffalo Springfield em San Francisco, California. Quando estava no hospital, ele escreveu essa música. Fala da sua experiência pensando que ia morrer. Ele disse que fez essa canção em 5 minutos.

Foi regravada pelo Rush, pelos Everly Brothers, entre outros artistas, incluindo o próprio Neil Young.

Stephen Stills tocou guitarra solo fez backing vocals. Neil Young tocou guitarra e cantou. Richie Furay tocou guitarra e fez backing vocals. Dewey Martin tocou bateria e Bruce Palmer tocou baixo.

A letra:

Oh, hello Mr. Soul, I dropped by to pick up a reason
For the thought that I caught that my head is the event of the season
Why in crowds just a trace of my face could seem so pleasin'
I'll cop out to the change, but a stranger is putting the tease on

I was down on a frown when the messenger brought me a letter
I was raised by the praise of a fan who said I upset her
Any girl in the world could have easily known me better
She said, "You're strange, but don't change", and I let her

In a while will the smile on my face turn to plaster?
Stick around while the clown who is sick does the trick of disaster
For the race of my head and my face is moving much faster
Is it strange I should change? I don't know, why don't you ask her?
Is it strange I should change? I don't know, why don't you ask her?
Is it strange I should change? I don't know, why don't you ask her?

A versão do Buffalo Springfield:

A versão de Neil Young:

A versão do Rush: