698 – Donovan – Wear your love like heaven (1967)

Escrita por Donovan, foi lançada em dezembro de 1967 no compacto que tinha Oh Gosh como Lado B. Se tornou a música de abertura do seu disco A gift from a flower to a garden. Chegou ao número 23 nos Estados Unidos.

A canção cita sete tipos de cores e pigmentos: Prussian blue, scarlet, crimson, havana lake, carmine, rose carmethene e alizarin crimson.

Foi regravada por Sarah McLachlan e Richie Havens, entre outros artistas.

A letra:

Color in sky, prussian blue
Scarlet fleece changes hue
Crimson ball sinks from view
Wear your love like heaven (Wear your love like)
Wear your love like heaven (Wear your love like)
Wear your love like heaven (Wear your love)

Lord, kiss me once more
Fill me with song
Allah, kiss me once more
That I may, that I may
Wear my love like heaven (Wear my love like)
Wear my love like heaven (Wear my love)
La-la, la-la-la, la-la-la, la-la-la

Color sky, havana lake
Color sky, rose carmethene
Alizarin crimson
Wear your love like heaven (Wear your love like)
Wear your love like heaven (Wear your love like)
Wear your love like heaven (Wear your love)

Lord, kiss me once more
Fill me with song
Allah, kiss me once more
That I may, that I may
Wear my love like heaven (Wear my love like)
Wear my love like heaven (Wear my love)
La-la, la-la-la, la-la-la, la-la-la

Cannot believe what I see
All I have wished for will be
All our race proud and free
Wear your love like heaven (Wear your love like)
Wear your love like heaven (Wear your love like)
Wear your love like heaven (Wear your love)

Lord, kiss me once more
Fill me with song
Allah, kiss me once more
That I may, that I may
Wear my love like heaven (Wear my love like)
Wear my love like heaven (Wear my love)
Carmine
Carmine

A versão de Donovan:

A versão de Sarah McLachlan:

A versão de Richie Havens:

697 – Traffic – Hole in my shoe (1967)

Escrita por Dave Mason, foi lançada em agosto de 1967 pelo Traffic, em um compacto que tinha Smiling phases como Lado B. Chegou ao número 2 nos charts britânicos e número 22 nos charts alemães.

Nenhum membro da banda alem de Mason gostou da música. Disseram que não representava o som do Traffic.

A letra:

I looked to the sky
Where an elephant's eye
Was looking at me
From a bubblegum tree
And all that I knew
The hole in my shoe
Was letting in water (letting in water)

I walked through a field
That just wasn't real
Where 100 tin soldiers
Would shoot at my shoulder
And all that I knew
The hole in my shoe
Was letting in water (letting in water)

(I climbed on the back of a giant albatross
Which flew through a crack in the cloud
To a place where happiness reigned all year round
Where music played ever so loudly)

I started to fall
And suddenly woke
And the dew on the grass
It stuck to my coat
And all that I knew
The hole in my shoe
Was letting in water (letting in water)

A versão do Traffic:

A versão de Neil:

A versão de Joe Giddings:

696 – The Velvet Underground – There she goes again (1967)

Escrita por Lou Reed, foi gravada em 25 de abril de 1966, em New York City e lançada e 12 de março de 1967 no disco The Velvet Underground And Nico.

O riff sincopado de guitarra foi tirado da canção de Marvin Gaye de 1962 chamada Hitch Hike.

Foi regravada pelo R.E.M., em 1983.

Lou Reed cantou e tocou guitarra solo. John Cale tocou baixo e fez backing vocals. Sterling Morrison tocou guitarra base e fez backing vocals. Maureen Tucker tocou percussão.

A letra:

There she goes again
She's out on the streets again
She's down on her knees, my friend
But you know she'll never ask you please again
Now take a look, there's no tears in her eyes
She won't take it from just any guy, what can you do
You see her walkin' on down the street
Look at all your friends she's gonna meet
You better hit her
There she goes again
She's knocked out on her feet again
She's down on her knees, my friend
But you know she'll never ask you please again
Now take a look, there's no tears in her eyes
Like a bird, you know she would fly, what can you do
You see her walkin' on down the street
Look at all your friends that she's gonna meet
You better hit her
Now take a look, there's no tears in her eyes
Like a bird, you know she will fly, fly, fly away
See her walking on down the street
Look at all your friends that she's gonna meet
She's gonna bawl and shout
She's gonna work it
She's gonna work it out, bye bye
Bye bye baby
All right

A versão do Velvet Underground:

A versão de R.E.M.:

A versão de Lou Reed solo ao vivo:

695 – Cat Stevens – Here comes my babe (1967)

Escrita por Cat Stevens, foi gravada inicialmente pelos Tremeloes e lançada por eles em Janeiro de 1967. Mas a versão que escolhemos foi a do próprio Cat Stevens, gravada em primeiro de fevereiro de 1967 e lançada em 10 de março de 1967, no disco Matthew and Son.

A letra:

In the midnight moonlight I'll be walking a long and lonely mile.
And every time I do, I keep seeing this picture of you.

Here's comes my baby, here she comes now,
And it comes as no surprise to me, with another guy.
Here's comes my baby, here she comes now,
Walking with a love, with a love that's all so fine,
Never could be mine, no matter how I try.

You never walk alone, and you're forever talking on the phone.
I've tried to call you names, but every time it comes out the same.

Here's comes my baby, here she comes now,
And it comes as no surprise to me, with another guy.
Here's comes my baby, here she comes now,
Walking with a love, with a love that's all so fine,
Never could be mine, no matter how I try.

I'm still waiting for your heart, cuz I'm sure that some day it's gonna start.
You'll be mine to hold each day, but 'til then this is all that I can say.

Here's comes my baby, here she comes now,
And it comes as no surprise to me, with another guy.
Here's comes my baby, here she comes now,
Walking with a love, with a love that's all so fine,
Never could be mine, no matter how I try.

A versão de Cat Stevens:

A versão dos Tremeloes:

A versão dos Mavericks:

694 – Tommy James and The Shondells – I think we're alone now (1967)

Escrita por Ritchie Cordell, foi lançada por Tommy James and The Shondells em 5 de janeiro de 1967, num compacto que tinha Gone, gone, gone como Lado B. Chegou ao número 4 dos charts pop americanos. Foi regravada por vários artistas. Em 1987, Tiffany chegou ao número 1 em vários países, incluindo Estados Unidos, Reino Unido, Canadá e Nova Zelândia.

Apenas Tommy James e Eddie Gray, da banda, participaram da gravação. O resto dos membros fizeram backing vocals. O resto dos músicos na gravação foram músicos de estúdio. Al Gorgoni tocou guitarra e Paul Griffin tocou piano, entre outros músicos.

A letra fala de fazer coisas proibidas.

Foi regravada por Lene Lovich em 1978, por Tiffany, em 1987, como dito anteriormente, Snuff gravou-a em 1989 e novamente em 1998, foi também regravada pelas Girls Aloud, em 2006. Além dessas versões, ainda foi regravada pelos Turtles, por Gary Lewis and The Playboys, entre outros artistas.

A letra:

"Children, behave"
That's what they say when we're together
"And watch how you play"
They don't understand

And so we're running just as fast as we can
Holding on to one another's hand
Trying to get away into the night
And then you put your arms around me
As we tumble to the ground and then you say

I think we're alone now
There doesn't seem to be anyone around
I think we're alone now
The beating of our hearts is the only sound

Look at the way
We gotta hide what we're doing
'Cause what would they say
If they ever knew

And so we're running just as fast as we can
Holding on to one another's hand
Trying to get away into the night
And then you put your arms around me
As we tumble to the ground and then you say

I think we're alone now
There doesn't seem to be anyone around
I think we're alone now
The beating of our hearts is the only sound

I think we're alone now
There doesn't seem to be anyone around
I think we're alone now
The beating of our hearts is the only sound
I think we're alone now
There doesn't seem to be anyone around
I think we're alone now

A versão de Tommy James and The Shondells:

A versão de Tiffany:

A versão de Gary Lewis and The Playboys:

693 – Leonard Cohen – One of us cannot be wrong (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. Ele disse que a escreveu enquanto estava sob o efeito de anfetamina e perseguindo uma loira que ele havia visto num poster nazista.

A letra:

I lit a thin green candle, to make you jealous of me.
But the room just filled up with mosquitos,
they heard that my body was free.
Then I took the dust of a long sleepless night
and I put it in your little shoe.
And then I confess that I tortured the dress
that you wore for the world to look through.
I showed my heart to the doctor: he said I just have to quit.
Then he wrote himself a prescription,
and your name was mentioned in it!
Then he locked himself in a library shelf
with the details of our honeymoon,
and I hear from the nurse that he's gotten much worse
and his practice is all in a ruin.

I heard of a saint who had loved you,
so I studied all night in his school.
He taught that the duty of lovers
is to tarnish the golden rule.
And just when I was sure that his teachings were pure
he drowned himself in the pool.
His body is gone but back here on the lawn
his spirit continues to drool.

An Eskimo showed me a movie
he'd recently taken of you:
the poor man could hardly stop shivering,
his lips and his fingers were blue.
I suppose that he froze when the wind took your clothes
and I guess he just never got warm.
But you stand there so nice, in your blizzard of ice,
oh please let me come into the storm.

A versão de Leonard Cohen:

A versão de Beck:

A versão de Gregory Alan Isakov:

0047 – Back street girl - The Rolling Stones (1967)

Compositores: Mick Jagger/Keith Richards

• Foi gravada entre agosto e novembro de 1966 e lançada em 20 de janeiro de 1967 no disco Between the buttons.

• É a única canção do disco que Mick Jagger disse que gosta.

• Mick Jagger cantou e estalou os dedos. Keith Richards tocou violão. Brian Jones tocou vibraphone. Bill Wyman tocou baixo. Charlie Watts tocou pandeiro e claves. Nick de Caro tocou Acordeon e Jack Nitzsche tocou harpsichord.

• Foi regravada por Bobby Darin e Marianne Faithfull , entre outros artistas.

A letra:

I don't want you to be high
I don't want you to be down
Don't want to tell you no lie
Just want you to be around

Please come right up to my ears
You will be able to hear what I say

Don't want you out in my world
Just you be my backstreet girl

Please don't be part of my life
Please keep yourself to yourself
Please don't you bother my wife
That way you won't get no help

Don't try to ride on my horse
You're rather common and coarse anyway

Don't want you out in my world
Just you be my backstreet girl

Please don't you call me at home
Please don't come knocking at night
Please never ring on the phone
Your manners are never quite right

Please take the favors I grant
Curtsy and look nonchalant, just for me

Don't want you part of my world
Just you be my backstreet girl

A versão dos Rolling Stones:

A versão de Bobby Darin:

A versão de Marianne Faithfull e Fernando Saunders:

691 – Procol Harum – Homburg (1967)

Escrita por Gary Brooker and Keith Reid, foi lançada pelo Procol Harum em 22 de setembro de 1967, no compacto que tinha Good captain Clack como Lado B.

Foi o compacto que veio logo após o hit gigante deles, A whiter shade of pale. Homburg chegou ao número 6 nos charts britânicos, número 15 no Canadá e número 34 nos Estados Unidos. Foi número 1 em vários países, incluindo Austrália, África do Sul e Holanda. Uma versão em italiano chegou ao número da Itália e ficou nessa posição por 10 semanas.

A letra:

Your multilingual business friend
has packed her bags and fled
Leaving only ash-filled ashtrays
and the lipsticked unmade bed
The mirror on reflection
has climbed back upon the wall
for the floor she found descended
and the ceiling was too tall
Your trouser cuffs are dirty
and your shoes are laced up wrong
you'd better take off your homburg
'cos your overcoat is too long
The town clock in the market square
stands waiting for the hour
when its hands they both turn backwards
and on meeting will devour
both themselves and also any fool
who dares to tell the time
And the sun and moon will shatter
and the signposts cease to sign

A versão do Procol Harum:

Procol Harum com orquestra, em 2006:

A versão de Mike Evans:

690 – The Mamas and The Papas – Creeque Alley (1967)

Escrita por John Phillips and Michelle Phillips, foi lançada pelos The Mamas and The Papas em abril de 1967, em um compacto que tinha Did you ever want to cry como Lado B.

É uma canção autobiográfica, que conta como o grupo foi formado, anos antes. Chegou ao número 5 dos charts pop americanos, número 9 no Reino Unido e número 4 no Canadá.

O nome se deu ao nome de um e nas Ilhas Virgens, aonde alguns membros do grupo passavam suas férias.

A letra:

John and Mitchie were gettin' kind of itchy
Just to leave the folk music behind;
Zal and Denny workin' for a penny
Tryin' to get a fish on the line.
In a coffee house Sebastian sat,
And after every number they'd pass the hat.
McGuinn and McGuire just a-gettin' higher in L.A.,
You know where that's at.
And no one's gettin' fat except Mama Cass.
Zallie said, "Denny, you know there aren't many
Who can sing a song the way that you do; let's go south."
Denny said, Zallie, golly, don't you think that I wish
I could play guitar like you."
Zal, Denny, and Sebastian sat (at the Night Owl)
And after every number they'd pass the hat.
McGuinn and McGuire still a-gettin higher in L.A.,
You know where that's at.
And no one's gettin' fat except Mama Cass.

When Cass was a sophomore, planned to go to Swathmore
But she changed her mind one day.
Standin' on the turnpike, thumb out to hitchhike,
"Take me to New York right away."
When Denny met Cass he gave her love bumps;
Called John and Zal and that was the Mugwumps.
McGuinn and McGuire couldn't get no higher
But that's what they were aimin' at.
And no one's gettin' fat except Mama Cass.

Mugwumps, high jumps, low slumps, big bumps -
Don't you work as hard as you play.
Make up, break up, everything is shake up;
Guess it had to be that way.
Sebastian and Zal formed the 'Spoonful;
Michelle, John, and Denny gettin' very tuneful.
McGuinn and McGuire just a-catchin' fire in L.A.,
You know where that's at.
And everybody's gettin' fat except Mama Cass.

Broke, busted, disgusted, agents can't be trusted,
And Mitchie wants to go to the sea.
Cass can't make it; she says we'll have to fake it -
We knew she'd come eventually.
Greasin' on American Express cards;
Tents low rent, but keeping out the heat's hard.
Duffy's good vibrations and our imaginations
Can't go on indefinitely.
And California dreamin' is becomin' a reality...

A versão dos Mamas and Papas:

A versão dos Rebels:

A versão de Melody 101:

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: