0048 – Bad boy - The Beatles (1965)

Compositor: Larry Williams

• Foi gravada inicialmente pelo próprio Larry Williams em 1959. A nossa versão no entanto é a dos Beatles.

• A dos Beatles foi gravada em 10 de maio de 1965 (dia do aniversário de Williams), nos estúdios da EMI, em Londres e lançada em 14 de junho de 1965 nos Estados Unidos no disco Beatles VI.

• John Lennon cantou e tocou guitarra rítmica. Paul tocou baixo e piano elétrico. George Harrison tocou guitarra solo e Ringo tocou bateria e pandeiro.

A letra:

A bad little kid moved into my neighborhood
He won't do nothing right just sitting down and look so good
He don't want to go to school and learn to read and write
Just sits around the house and plays the rock and roll music all night
Well, he put some tacks on teachers chair
Puts chewing gum in little girl's hair
Man, junior, behave yourself

Buy every rock and roll book on the magazine stand
Every dime that he get is lost to the jukebox man
Well, he worries his teacher till at night she's ready to poop
From rocking and a-rolling spinning in a hula hoop
Well, this rock and roll has got to stop
Junior's head is hard as rock
Now junior, behave yourself

Going tell your mama you better do what she said
Get to the barber shop and get that hair cut off your head
He took your canary and he fed it to the neighbors cat
He gave the cocker spaniel a bath in mother's laundromat
Well, mama's head has got to stop
Junior's head is hard as rock
Now junior, behave yourself

A versão de Larry Williams:

A versão do Rush:

A versão de Beatlemaniax:

490 – The Dave Clark Five – I like it like that (1965)

Escrita Chris Kenner e Allan Toussaint, foi lançada inicialmente pelo próprio Chris Kenner em 1961, que chegou ao número 2 nos charts pop americanos e de R&B.

A versão que escolhemos foi a do Dave Clark Five, de junho de 1965, que chegou ao número 7 dos charts pop americanos, numa época que competiam com Bob Dylan, Stones, Beatles e toda essa galera.

Foi também regravada pelos Kingsmen, em 1965, entre outros artistas.

A letra:

Come on (come on let me show you where it's at)
Ah, come on (come on let me show you where it's at)
Whoa!, come on (come on let me show you where it's at)
I said the name of the place is I like it like that

Come on (come on let me show you where it's at)
Ah, come on (come on let me show you where it's at)
Whoa!, I wanna show you (come on let me show you where it's at)
I said the name of the place is I like it like that
They got a little place a-down the track
The name of the place is I like it like that
You take Sally and I'll take Sue
And we're gonna rock away all of our blues
Come on (come on let me show you where it's at)
Oh, come on (come on let me show you where it's at)
Ah, come on (come on let me show you where it's at)
The name of the place is I like it like that
The last time I was down they lost my shoes
They had some cat shoutin' the blues
The people was yellin' and shoutin' for more
And all they kept sayin' was-a "go man, go"
Come on (come on let me show you where it's at)
Ah, come on (come on let me show you where it's at)
Oh, I wanna show you (come on let me show you where it's at)
I said the name of the place is I like it like that
Come on (come on let me show you where it's at)
Ah, come on (come on let me show you where it's at)
Oh, come on (come on let me show you where it's at)
The name of the place is I like it like that

A versão de Dave Clark Five:

A versão de Chris Kenner:

A versão dos Kingsmen:

489 – Herman's Hermits – Just a little bit better (1965)

Escrita por Kenny Young, foi lançada em agosto de 1965 num compacto que tinha Sea Cruise como Lado B nos Estados Unidos e Take love, give love, como Lado B no Reino Unido.

Chegou ao número 7 nos charts pop americanos, número 15 no Reino Unido, número 16 no Canadá, número 7 na Suécia, número 11 na Nova Zelância e número 40 na Austrália.

A letra:

He may send you flowers, baby, every single day
Buy you fancy clothes from Paris
And have sweet things to say
But I can give you love, sweet sweet love
Now ain't that just a little bit better?
Uh-ho-ho, uh-ho-ho, uh-ho-ho

He'll take you to nightclubs in a shiny limousine
Buy you furs and diamond bracelets
Make you look just like a queen
But I can give you love, sweet sweet love
Now ain't that just a little bit better?
Uh-ho-ho, uh-ho-ho, uh-ho-ho

Love, love, love is what I could give ya
True, true love as long as I may live

But I can give you love, sweet sweet love
Now ain't that just a little bit better?
Uh-ho-ho, uh-ho-ho, uh-ho-ho

Love, love, love is what I could give ya
True, true love as long as I may live

Well, he may want to buy a fancy mansion on a hill
Will you live with him forever?
Baby, that ain't such a thrill
'Cause I can give you love, sweet sweet love
Now ain't that just a little bit better?
Uh-ho-ho, uh-ho-ho, uh-ho-ho

A versão dos Herman's Hermits:

A versão dos Hank's Hounds:

Peter Noone ao vivo em 2014:

488 – The Beatles – Wait (1965)

Escrita por Paul McCartney, mas creditada à dupla Lennon/McCartney, foi gravada nos dias 17 de junho e 11 de novembro de 1965 e lançada em 3 de dezembro de 1965 no disco Rubber Soul. O que eles chamam de middle eight, foi copiado de Autumn Leaves, de 1945. A parte que diz I know that you é a mesma que old winter's song, de Autumn Leaves.

A canção foi originalmente gravada para o disco Help!, mas não entrou no disco. Quando estavam gravando o Rubber Soul pra ser lançado no Natal, tinha uma música faltando e eles lembraram de Wait. Foi feito então um overdub pra ficar mais parecida com as músicas do Rubber Soul.

A letra fala da ansiedade do cantor sobre seu relacionamento com sua namorada enquanto ele está fora. Tematicamente é similar à When I get home e Tnings we said today. Os vocais nos versos são feitos por John e Paul e no middle eight é feito por Paul. Instrumentalmente, a mais memorável característica de Wait é o pedal da guitarra solo de George Harrison.

John fez os vocais e tocou guitarra base. Paul fez os vocais e tocou baixo. George Harrison tocou guitarra solo e Ringo tocou bateria, maracas e pandeiro.

A letra:

It's been a long time
Now I'm coming back home
I've been away now
Oh how, I've been alone

Wait till I come back to your side
We'll forget the tears we've cried

But if your heart breaks
Don't wait, turn me away
And if your heart's strong
Hold on, I won't delay

Wait till I come back to your side
We'll forget the tears we've cried

I feel as though
You ought to know
That I've been good
As good as I can be
And if you do
I'll trust in you
And know that you
Will wait for me

It's been a long time
Now I'm coming back home
I've been away now
Oh how, I've been alone

Wait till I come back to your side
We'll forget the tears we've cried

I feel as though
You ought to know
That I've been good
As good as I can be
And if you do
I'll trust in you
And know that you
Will wait for me

But if your heart breaks
Don't wait, turn me away
And if your heart's strong
Hold on, I won't delay

Wait till I come back to your side
We'll forget the tears we've cried

It's been a long time
Now I'm coming back home
I've been away now
Oh how, I've been alone

A versão de Yellow Matter Custard:

A versão de Ben Kweller com Albert Hammond Jr.

A versão de Bettye LaVette:

487 – The Dixie Cups – Iko Iko (1965)

Trata-se de uma canção tradicional de New Orleans. Conta a história de um desfile de confronto de tradições de tribos rivais no Mardi Gras. O título dela original era Jack-A-Mo e foi lançada em novembro de 1953 pelos Sugar Boy and His Cane Cutters (Professor Longhair era o pianista dos Cane Cutters), mas não teve sucesso. A canção conheceu o sucesso somente em 1965 com a gravação das Dixie Cups, já com o título Iko Iko. Foi gravada em 1964 e lançada em março de 1965 em um compacto que tinhaGee Baby Gee no Lado B. Entraram na justiça e a autoria ficou dividida entre os membros das Dixie Cups e James Crafword, do Sugar Boy.

Em 1972 foi regravada por Dr. John. Natasha England gravou em 1982 e Captain Jack em 2001, entre outros.

A versão de Sugar Boy and His Cane Cutters tem Dave Lastie no sax tenor. Conta a história de um espião dos índios que encontra o porta bandeira da outra tribo. Ele ameaça colocar fogo na bandeira. Foi gravada pela Chess Records. James Crawford disse que pegou a letra dos cantos de duas tribos e colocou música. Iko-Iko é o grito de vitória dos índios. Jock-a-mo era o grito pra quando iam pra batalha. Ele os colocou juntos e fez a canção. Ele disse que era como Lawdy miss Clawdy, uma frase que todos deNew Orleans usavam. Lloyd Price só colocou a música nela e virou um hit. James Crawford disse que apenas estava tentando escrever uma canção que pegasse.

Já a versão das Dixie Cups foi uma jam no estúdio de brincadeira, onde começaram a tocar Iko Iko, com baquetas numa cadeira de aluminio, um cinzeiro e uma garrafa de coca-cola. Depois os produtores limparam a canção, adicionaram os backing vocals, baixo e bateria e lançaram em março de 1965. Já em maio de 1965 chegaram ao número 20 dos charts pop americanos. Chegaram também ao número 23 dos charts britanicos e número 20 dos charts de R&B americanos. No Canadá chegaram ao número 26.

O pianista e cantor de New Orleans Dr. John lançou uma versão em março de 1972, em um compacto que tinha Huey Smith Medley no lado B. Essa versão chegou ao número 72 dos charts pops americanos.

A versão de maior sucesso no Reino Unido foi gravado pela cantora escocesa Natasha England. Chegou ao número 10 dos charts britanicos em 1982. A versão das Belle Stars, também de 1982, chegou ao número 35 dos charts britânicos. Entretanto, em março de 1989, a versão das Belle Stars chegou ao número 14 dos charts pop americanos, depois de ser incluída na trilha sonora do filme Rain Man, com Tom Cruise e Dustin Hoffman.

Em 2001 Captain Jack gravou sua versão, que chegou ao numero 22 na Alemanha, 16 na Áustria e 62 na Suíça.

Entre outras gravações, temos as de Larry Williams, de 1957, Grateful Dead ao vivo e Cyndi Lauper em 1986.

A letra:

My grandma and your grandma were
Sit-tin' by the fire. - My grandma told
Your grandma "I'm gonna set your flag on fire."

Talk-in' 'bout, Hey now ! Hey now ! I-KO, I-KO, un-day
Jock-a-mo fee-no ai na-n?. - Jock-a-mo fee na-n?

Look at my king all dressed in red
I-KO, I-KO, un-day. I betcha five dollars he'll kill youdead
Jock-a-mo fee na-n?

Talk-in' 'bout, Hey now ! Hey now ! I-KO, I-KO, un-day
Jock-a-mo fee-no ai na-n?. - Jock-a-mo fee na-n?

My flag boy and your flag boy were
Sit-tin' by the fire. - My flag boy told

Your flag boy "I'm gonna set your flag on fire."

Talk-in' 'bout, Hey now ! Hey now ! I-KO, I-KO, un-day
Jock-a-mo fee-no ai na-n?. - Jock-a-mo fee na-n?

See that guy all dressed in green ?
I-KO, I-KO, un-day. He's not a man
He's a lov-in' machine
Jock-a mo fee na-n?

Talk-in' 'bout, Hey now ! Hey now ! I-KO, I-KO, un-day
Jock-a-mo fee-no ai na-n?. - Jock-a-mo fee na-n?

A versão das Dixie Cups:

A versão de Dr. John com a banda de Ringo Starr:

A versão de Cyndi Lauper:

486 – The Lovin' Spoonful – Younger girl (1965)

Escrita por John Sebastian, foi lançada em 1965 no discode estréia do Lovin' Spoonful chamado Do you believe in magic?

Duas versões dela apareceram nos charts pop americanos, todas as duas em 1966. The Critters chegou ao número 42 com essa canção e também ao número 38 no Reino Unido. Também foi regravada pelos Hondells, chegando ao número 52.

A letra:

She's one of those girls who seems to come in the spring
One look in her eyes and you forget everything
You had ready to say
And I saw her today, yeah

A younger girl keeps a-rollin' 'cross my mind
No matter how much I try, I can't seem to leave her memory behind

I remember her eyes, soft, dark, and brown
Said she'd never been in trouble, even in the town

A younger girl keeps a-rollin' 'cross my mind
No matter how much I try, I can't seem to leave her memory behind

A younger girl keeps a-rollin' 'cross my mind
And should I hang around, acting like her brother
In a few more years, they'd call us right for each other
And why?
If I wait I'll just die, yeah

A younger girl keeps a-rollin' 'cross my mind
No matter how much I try, I can't seem to leave her memory behind

I remember her eyes, soft, dark, and brown
Said she'd never been in trouble, even in the town

A younger girl keeps a-rollin' 'cross my mind

She's one of those girls who seems to come in the spring
One look in her eyes and you forget everything

A versão do Lovin' Spoonful:

A versão de John Sebastian, ao vivo em 1970:

A versão dos Critters:

485 – The Beatles – The word (1965)

Escrita Por John Lennon e Paul McCartney, teve John Lennon nos vocais principais. Foi gravada em 10 de novembro de 1965 e lançada em 3 de dezembro de 1965, no disco Rubber Soul. Os dois escreveram a canção juntos após fumarem maconha. Foi a primeira vez que eles fumaram maconha antes de compor. Paul disse que a maconha atrapalhou. Lennon disse a maconha ajudou.

Paul disse que eles queriam fazer uma canção com apenas uma nota, como Long Tall Sally. Ele disse que chegaram perto com The Word. George Martin tocou o solo de harmonium. Paul, John e George Harrison cantam os backing vocals e John canta uma parte sozinho, o que eles chamam de middle-eight.

Paul tocou-a ao vivo na sua turnê On the run.

John tocou guitarra rítmica, fez backing vocals e vocal principal. Paul tocou baixo, piano e Backing vocal. George Harrison tocou guitarra solo e backing vocal. Ringo tocou maracas e bateria. George Martin tocou o solo de harmonium.

A letra:

Say the word and you'll be free
Say the word and be like me
Say the word I'm thinking of
Have you heard the word is love?
It's so fine, it's sunshine
It's the word, love

In the beginning I misunderstood
But now I've got it, the word is good

Spread the word and you'll be free
Spread the word and be like me
Spread the work I'm thinking of
Have you heard the word is love?
It's so fine, it's sunshine
It's the word, love

Everywhere I go I hear it said
In the good and bad books that I have read

Say the word and you'll be free
Say the word and be like me
Say the word I'm thinking of
Have you heard the word is love?
It's so fine, it's sunshine
It's the word, love

Now that I know what I feel must be right
I'm here to show everybody the light

Give the word a chance to say
That the word is just the way
It's the word I'm thinking of
And the only word is love
It's so fine, it's sunshine
It's the word, love

Say the word, love
Say the word, love
Say the word, love
Say the word, love

A versão de Sweet Loretta Fat:

A versão dos Fab Four:

A versão de Jackie and Roy:

484 – Johnny Cash – Streets of Laredo (1965)

Streets of Laredo é também conhecida como Cowboy's Lament. Trata-se de uma famosa balada de cowboy americano, em que o cowboy que está morrendo conta sua história pra outro cowboy. O título se refere à cidade de Laredo, no Texas.

Frank H. Maynard, um cowboy nascido em 1853, que morreu em 1926, é o autor oficial da canção, embora ela tenha sofrido enormes variações. Ele era de Colorado Springs, no estado do Colorado.

Foi publicada pela primeira vez em 1910. Foi regravada por Johnny Cash, a nossa escolhida, mas também por Joan Baez, Jim Reeves, Chet Atkins, Arlo Guthrie, Willie Nelson, Waylon Jennings, Suzanne Vega, Bing Crosby, entre tantos outros. Foi gravada também pelo Kingston Trio.

A letra:

As I walked out on the streets of Laredo.
As I walked out on Laredo one day,
I spied a poor cowboy wrapped in white linen,
Wrapped in white linen as cold as the clay.

"I can see by your outfit that you are a cowboy."
These words he did say as I boldly walked by.
"Come an' sit down beside me an' hear my sad story.
"I'm shot in the breast an' I know I must die."

"It was once in the saddle, I used to go dashing.
"Once in the saddle, I used to go gay.
"First to the card-house and then down to Rose's.
"But I'm shot in the breast and I'm dying today."

"Get six jolly cowboys to carry my coffin.
"Six dance-hall maidens to bear up my pall.
"Throw bunches of roses all over my coffin.
"Roses to deaden the clods as they fall."

"Then beat the drum slowly, play the Fife lowly.
"Play the dead march as you carry me along.
"Take me to the green valley, lay the sod o'er me,
"I'm a young cowboy and I know I've done wrong."

"Then go write a letter to my grey-haired mother,
"An' tell her the cowboy that she loved has gone.
"But please not one word of the man who had killed me.
"Don't mention his name and his name will pass on."

When thus he had spoken, the hot sun was setting.
The streets of Laredo grew cold as the clay.
We took the young cowboy down to the green valley,
And there stands his marker, we made, to this day.

We beat the drum slowly and played the Fife lowly,
Played the dead march as we carried him along.
Down in the green valley, laid the sod o'er him.
He was a young cowboy and he said he'd done wrong.

A versão de Johnny Cash:

A versão de Jim Reeves:

A versão de

483 – Freddie and The Dreamers – I'm telling you now (1965)

Escrita Freddie Garrity e Mitch Murray, foi lançada em 1963, mas foi amplamente sem sucesso. O lançamento mesmo seria em 1965, por Freddie and The Dreamers, o que a fez chegar no numero 1 dos charts pop americanos.

A letra:

I'm telling you now
I'm telling you right away
I'll be staying for many a day
I'm in love with you now

I'm telling you now
I'll say what you wanna hear
I'll be telling you for many a year
I'm in love with you now

Do you think I'm foolin'
When I say "I love you"?
I love you
Maybe you'll believe me
When I'm finally through, through, through, through

I'm telling you now
I know it's been said before
Say you love me and I will be sure
I'm in love with you now

I'm telling you now
I'm telling you right away
I'll be staying for many a day
I'm in love with you now

Do you think I'm foolin'
When I say "I love you"?
I love you
Maybe you'll believe me
When I'm finally through, through, through, through

I'm telling you now
I know it's been said before
Say you love me and I will be sure
I'm in love with you now
I'm in love with you now
I'm telling you now

A versão de Freddie and The Dreamers:

A versão de Just Neal Band:

A versão de Go to Bread:

482 – The Beatles – What goes on? (1965)

Escrita por John Lennon, Paul McCartney e Ringo Starr. É a única do grupo a ser creditada dessa maneira. Foi gravada em 4 de novembro de 1965 e lançada em 3 de dezembro de 1965, no disco Rubber Soul. Foi lançada depois num compacto que tinha Nowhere man como Lado A.

A versão original foi escrita por John Lennon ainda no Quarrymen e pensaram em usá-la no disco Please please me, no começo de 1963, mas não o fizeram. Então faltava uma música pra Ringo cantar, como era costume, no disco Rubber Soul, então decidiram ressuscitá-la. Paul então deu uma nova roupagem na música. Ringo deu sua contribuição na letra.

Ringo cantou e tocou bateria. John tocou guitarra ritmica e fez backing vocal. Paul tocou baixo e fez backing vocal. George Harrison tocou guitarra solo. A guitarra de solo demonstra que ele era mesmo um discipulo de Carl Perkins. É bem parecida com a guitarra dele em Everybody's trying to be my baby.

A letra:

What goes on in your heart?
What goes on in your mind?
You are tearing me apart
When you treat me so unkind
What goes on in your mind?

The other day I saw you
As I walked along the road
But when I saw him with you
I could feel my future fold
It's so easy for a girl like you to lie
Tell me why

What goes on in your heart?
What goes on in your mind?
You are tearing me apart
When you treat me so unkind
What goes on in your mind?

I met you in the morning
Waiting for the tides of time
But now the tide is turning
I can see that I was blind
It's so easy for a girl like you to lie
Tell me why

What goes on in your heart?

I used to think of no one else
But you were just the same
You didn't even think of me
As someone with a name
Did you mean to break my heart and watch me die
Tell me why

What goes on in your heart?
What goes on in your mind?
You are tearing me apart
When you treat me so unkind
What goes on in your mind?

A versão de Ringo Starr:

A versão de The Sun Parade:

A versão de Teresa, Thomas e Kilian:

481 – The Animals – The story of Bo Diddley (1965)

Escrita pelo próprio Bo Diddley, foi lançada pelos Animals em Janeiro de 1965. Trata de um pequeno relato da história do rock e do próprio Bo Diddley. Conta que ele nasceu em McCoom, Mississipi em 1926 e em 1938 se mudou pra Chicago. Seu nome de batismo era Elias McDaniels.

Ele praticava muito a guitarra até que o pai dele disse que ele podia ficar na casa, mas que aquela guitarra tinha que sair. É melhor escutar a música.

A letra:

Now lets hear the story of Bo Diddley and the Rock n Roll scene in general
Bo Diddley was born Elias McDaniels in a place called McCoom,
Missississipi about 1926
He moved to Chicago about 1938
Where his name was eventually changed to Bo Diddley

He practiced the guitar everyday and sometimes into the night
Till his papa's hair began to turn white
His Pa said Son, listen hear, I know
You can stay but that guitar has just gotta go
So he pulled his hat down over his eyes
Headed out for them Western Skies
I think Bob Dylan said that
He hit New York City

He began to play at the Apollo in Harlem
Good scene there everybody raving
One day, one night, came a Cadillac with four head lights
Came a man with a big, long, fat, cigar said, C'mere son, I'm gonna make you a star
Bo Diddley said, Uh..whats in it for me?
Man said, Shut your mouth son , play the guitar and you just wait and see

Well, that boy made it, he made it real big
And so did the rest of the rock n roll scene along with him
And a white guy named Johnny Otis took Bo Diddleys rhythm
He changed it into hand-jive and it went like this
In a little old country town one day
A little old country band began to play
Add two guitars and a beat up saxophone
When the drummer said, boy, those cats begin to roam
Oh baby oh we oh oh
Ooh la la that rock and roll
Ya hear me oh we oh oh
Ooh la la that rock and roll

Then in the U.S. music scene there was big changes made
Due to circumstances beyond our control such as payola
The rock n roll scene died after two years of solid rock and you got discs like,
Ah...
Take good care of my baby
Please don't ever make her blue and so forth

About, ah, one year later in a place called Liverpool in England
Four young lads with mop haircuts began to sing stuff like, ah...
It's been a hard days night and I;ve been working like a dog and so on
In a place called Richmond in Surrey, whay down in the deep south
They got guys with long hair down their back singing
I wanna be your lover baby I wanna be your man yeah and all that jazz

Now we've doing this number, Bo Diddley, for quite some time now
Bo Diddley visited this country last year
We were playing at the Club A Gogo in Newcastle, our home town
The doors opened one night and to our surprise walked in the man himself, Bo Diddley
Along with him was Jerome Green, his maraca man, and the Duchess, his gorgeous sister

And a we were doing this number
Along with them came the Rolling Stones, the Mersey Beats,
They're all standing around diggin' it
And I overheard Bo Diddley talkin'
He turned around to Jermone Green
And he said, Hey, Jerome? What do you think these guys doin' our..our material?
Jerome said, Uh, where's the bar, man? Please show me to the bar...
He turned around the Duchess
And he said, Hey Duchess...what do you think of these young guys doin' our material?
She said, I don't know. I only came across here to see the changin' of the
Guards and all that jazz.

Well, Bo Diddley looked up and said to me, with half closed eyes and a smile,
He said Man, took off his glasses,
He said, Man, that sure is the biggest load of rubbish I ever heard in my life...

Hey Bo Diddley
Oh Bo Diddley
Yeah Bo Diddley
Oh Bo Diddley
Yeah Bo Diddley

A versão dos Animals:

480 – The Byrds – Set you free this time (1965)

Escrita por Gene Clark, foi gravada em 16 de setembro de 1965, em Hollywood, California e lançada em dezembro de 1965 no disco Turn, turn, turn!, dos Byrds. Foi lançada também como compacto em janeiro de 1966, com It won't be wrong no Lado B.

Clark contou que a canção foi escrita algumas horas após a turnê britânica dos Byrds em 1965, depois de uma noite na farra com Paul McCartney na boate Scoth of St James. Os vocais principais são feitos por Clark, que também tocou violão e gaita.

A letra fala de um rompimento de um relacionamento. A inflecção vocal de Clark e a letra densa sugere uma influencia de Bob Dylan. O compacto só chegou ao número 79 dos charts pop americanos. Ficaram de gravar um video clip pra BBC, mas no dia das filmagens, houve uma briga de murro entre David Crosby e o manager da banda, Jim Dickson e o clip não foi gravado.

Apesar do pouco sucesso comercial, a canção foi muito bem aceita pela crítica. Ringo Starr adorou a gravação. Em março de 1966, Clark deixou a banda e a música parou de ser tocada ao vivo.

A letra:

The first thing that I heard you say when you were standing there
Set in your way was that you were not blind
You were sure to make a fool of me cause there was nothing there
That you could see that could go beyond your mind
Now who's standing at the door remembering the days before
And asking please be kind
It isn't how it was set up to be but I've set you free this time

I have never been so far out in front that I could ever ask for what I want
And have it any time
Knowing this you found a thought for me that told you just what I should be
And there I stood behind
With all the ones that went before and memories that always seems to
Tear me from my mind
In front of what it is you seem me to be I've set you free this time

I could never find a chance to choose between a way to win or a
Thing to lose because there was your stand
On top of all the love you took
There was only something you can look at lying in your hand
Now who's wondering what has changed and why it can not be arranged
To have each thing work fine
It isn't how it was set up to be but I'll set you free this time

A versão dos Byrds:

A versão de Steve Almaas ao vivo:

A versão dos Improper Bostonians:

479 – The Beatles – Run for your life (1965)

Escrita por John Lennon mas creditada à dupla Lennon/McCartney, foi gravada em 12 de outubro de 1965 e lançada em 3 de dezembro de 1965 no disco Ruibber Soul. A letra da música é uma ameaça para a namorada do cantor, que ele chama de Little girl apenas, dizendo que ele prefere vê-la morta do que com outro homem.

A frase foi retirada de uma música de Elvis Presley chamada Baby, Let's play house, escrita por Arthur Gunter. John Lennon disse depois, em 1973, que Run for your life era a canção que ele menos gostava dos Beatles. Disse que se arrependia muito de tê-la escrito. Mas ao mesmo tempo, era uma das canções favoritas de George Harrison do álbum Rubber Soul. Na carreira solo, John voltaria ao tema ciúmes, na canção Jealous guy, mas dessa vez de maneira mais amena.

John cantou, tocou violão e slide guitar. Paul tocou baixo e fez backing vocal. George Harrison tocou guitarra solo e fez backing vocal. Ringo tocou bateria e pandeiro.

Nancy Sinatra regravou-a, Gary Lewis and The Playboys e Johnny Rivers, todos em 1966.

A letra:

Well I'd rather see you dead, little girl
Than to be with another man
You better keep your head, little girl
Or I won't know where I am

You better run for your life if you can, little girl
Hide your head in the sand little girl
Catch you with another man
That's the end ah little girl

Well I know that I'm a wicked guy
And I was born with a jealous mind
And I can't spend my whole life
Trying just to make you toe the line

You better run for your life if you can, little girl
Hide your head in the sand little girl
Catch you with another man
That's the end ah little girl

Let this be a sermon
I mean everything I've said
Baby, I'm determined
And I'd rather see you dead

You better run for your life if you can, little girl
Hide your head in the sand little girl
Catch you with another man
That's the end ah little girl

I'd rather see you dead, little girl
Than to be with another man
You better keep your head, little girl
Or you won't know where I am

You better run for your life if you can, little girl
Hide your head in the sand little girl
Catch you with another man
That's the end ah little girl
Nah nah nah
Nah nah nah
Nah nah nah
Nah nah nah (fade out)

A versão de Nancy Sinatra:

A versão de Gary Lewis and The Playboys:

A versão de Johnny Rivers:

478 – The Beach Boys – Girl, don't tell me (1965)

Escrita por Brian Wilson, foi gravada em 30 de abril de 1965 e lançada pelos Beach Boys em junho de 1965 no disco Summer days (And summer nights). E tambem em um compacto em dezembro de 1965, que tinha Barbara Ann no Lado A.

Foi uma das primeiras canções a ter Carl Wilson como vocalista principal e também uma das primeiras canções dos Beach Boys a não ter backing vocals. É uma das primeiras cancões em que Bruce Johnston participou como membro dos Beach Boys.

Sua estrutura é comparada à Ticket to ride, dos Beatles, por causa da guitarra e da bateria. Na Gravação, Bruce Johnston tocou celesta, Brian Wilson tocou baixo, Carl Wilson tocou as guitarras e cantou e Dennis Wilson tocou bateria. Ron Swallow tocou pandeiro como músico convidado.

Foi regravada por Keith Green, Tony Rivers and The Castways, The Smithereens, Truly, Souvenir, Al Jardine, entre outros.

A letra:

Hi little girl, it's me
Don't you know who I am?
I met you last summer when
When I came up to stay with my grand
I'm the guy-uy-uy who
Left you with tears in his eyes
You didn't answer my letters
So I figured it was just a lie

Your hair's getting longer and your shorts
Mmm they sure fit you fine
I'll bet you went out
Every night during ol' school time
But this ti-I-ime I'm not gonna count on you
I'll see you this summer
And forget you when I go back to school

Girl Don't tell me you'll write-ite-ite
Girl don't tell me you'll write-ite-ite
Girl don't tell me you'll write me again this time

Hi little girl, it's me
Don't you know who I am?
I met you last summer when
When I came up to stay with my grand
Said I'm the guy-uy-uy who
Left you with tears in his eyes
You didn't answer my letters
So I figured it was just a lie

Girl Don't tell me you'll write-ite-ite
Girl don't tell me you'll write-ite-ite
Girl don't tell me you'll write me again this time

Girl don't tell me you'll write me again this time

A versão dos Beach Boys:

A versão dos Oceanics:

A versão dos Smithereens:

477 – Paul Simon – A most peculiar man (1965)

Escrita por Paul Simon, foi gravada em junho e julho de 1965, em Londres e lançada em Agosto de 1965 no disco The Paul Simon Songbook.

A canção fala de um homem que vivia sozinho em uma casa, dentro de um quarto, dentro de si mesmo. Um homem que não tinha amigos, que pouco falava e estava bem assim. Este homem morrera no último sábado. Ligou o gás com a janela fechada e foi dormir. E nunca mais acordou pro seu mundo silencioso e seu quarto pequeno. Parece que ele tinha um irmão, mas ninguém sabia ao certo.

A letra:

He was a most peculiar man
That's what Mrs. Reardon says
and she should know
She lived upstairs from him
She said he was a most peculiar man

He was a most peculiar man
He lived all alone within a house
Within a room, within himself
A most peculiar man

He had no friends, he seldom spoke
And no one in turn ever spoke to him
'Cause he wasn't friendly and he didn't
care
And he wasn't like them
O, no-o-o!
He was a most peculiar man

He died last Sat-ur-day...
He turned on the gas! and he went to sleep!
With the windows closed!
So he'd never wake up!
To his silent world!
and his tiny room!
And Mrs Reardon says he has a brother somewhere!

Who should be notified so-oo-oon...

And all the people said,
What a shame that he's dead,
But wasn't he a most peculiar man?

A versão de Paul Simon:

A versão de Simon and Garfunkel:

A versão de Claus Ulrich: