Escrita por Bob Dylan, foi gravada em 2 de agosto de 1965 e lançada
em 30 de agosto de 1965 no disco Highway 61 Revisited.
Foi regravada por Gordon Lightfoot, Nina Simone, Barry McGuire, Judy
Collins, Linda Ronstadt, Grateful Dead, Neil Young, Black Crowes,
Townes Van Zandt, Bryan Ferry, entre outros.
Fala da experiencia do narrador quando foi a Juarez, Mexico, e
encontra pobreza, doença, desespero, mulheres disponíveis,
autoridades indiferentes, alcool, drogas... entao ele decide voltar a
New York City.
Mike Bloomfield tocou guitarra elétrica, Al Kooper tocou Hornet
Pianet, Paul Griffin tocou piano, Harvey Brooks tocou baixo e Bobby
Greg tocou bateria.
A letra:
When you're lost in the rain in Juarez when it's Easter time, too And
your gravity fails and negativity don't pull you through Don't put
on any airs when you're down on Rue Morgue Avenue They got some
hungry women there and they really make a mess outta you
Now, if you see Saint
Annie, please tell her thanks a lot I cannot move, my fingers are
all in a knot I don't have the strength to get up and take another
shot And my best friend, my doctor, won't even say what it is I've
got
Sweet Melinda, the
peasants call her the goddess of gloom She speaks good English and
she invites you up into her room And you're so kind and careful
not to go to her too soon And she takes your voice and leaves you
howling at the moon
Up on Housing Project
Hill, it's either fortune or fame You must pick one or the other,
though neither of them are to be what they claim If you're lookin'
to get silly, you better go back to from where you came Because
the cops don't need you, and man, they expect the same
Now, all the
authorities, they just stand around and boast How they blackmailed
the sergeant-at-arms into leaving his post And picking up Angel,
who just arrived here from the coast Who looked so fine at first
but left looking just like a ghost
I started out on
burgundy but soon hit the harder stuff Everybody said they'd stand
behind me when the game got rough But the joke was on me, there
was nobody even there to bluff I'm going back to New York City, I
do believe I've had enough
Escrita por Brian Wilson e Mike Love, foi gravada em 24 de maio de
1965 e lançada em 5 de junho de 1965 no disco Summer Days (And
Summer Nights!!!).
Al Jardine fez backing vocals, tocou baixo e guitarra. Bruce Johnston
fez backing vocals, tocou orgão Hammond e bateu palmas. Mike Love
fez backing vocals e bateu palmas. Brian Wilson cantou, fez backing
vocals, tocou piano e bateu palmas. Carl Wilson tocou guitarra solo e
fez backing vocals. Dennis Wilson tocou bateria e bateu palmas.
A letra:
You're kinda small And you're such a doll I'm glad you're
mine You're so good to me How come you are
You take my hand And
you understand When I get in a bad mood You're so good to
me And I love it, love it
You're my baby Oh
yeah Don't mean maybe Oh yeah
I know your eyes Are
not on the guys When we're apart You're so true to me How
come you are
And every night You
hold me so tight When I kiss you goodbye You're so good to
me And I love it, love it
Escrita por Bob Dylan, foi gravada em 2 de agosto de 1965 e lançada
em 30 de agosto de 1965 no disco Highway 61 Revisited.
Trata-se de uma das músicas de Dylan em que ele critica a pessoa da
música, dizendo que o mundo dela pode cair.
A letra:
When your mother sends back all your invitations And your father,
to your sister he explains That you're tired of yourself and all
of your creations Won't you come see me, Queen Jane Won't you
come see me, Queen Jane
Now, when all of the
flower ladies what back what they have lent you And the smell of
their roses does not remain And all of your children start to
resent you Won't you come see me, Queen Jane Won't you come see
me, Queen Jane
Now, when all the
clowns that you have commissioned Have died in battle or in
vain And you're sick of all this repetition Won't you come see
me, Queen Jane Won't you come see me, Queen Jane
When all of your
advisers heave their plastic At your feet to convince you of your
pain Trying to prove that your conclusions should be more
drastic Won't you come see me, Queen Jane Won't you come see
me, Queen Jane
Now, when all of the
bandits that you turn your other cheek to All lay down their
bandannas and complain And you want somebody you don't have to
speak to Won't you come see me, Queen Jane Ah won't you come
see me, Queen Jane
Escrita por Sam Cooke, foi lançada inicialmente por ele em 11 de
setembro de 1962. A nossa versão no entanto é de Otis Redding,
lançada em março de 1965 no disco The Great Otis Redding Sings Soul
Ballads. Esse foi o segundo disco da carreira de Otis. Teve o grande
Booker T Jones tocando Orgao, Piano e teclados e Steve Crooper
tocando guitarra, teclado e piano.
A letra:
If I go million miles away I'll write a letter each and every day
now Oh, honey, nothing, nothing, nothing Nothing is ever gonna
change this love I have for you, oh no, oh no
You can make me weep Or
you can make me moan Tell me you just got back, darling I'll
just say, "Well, welcome home now"
For honey, nothing,
nothing in this world Could ever stop this love Could ever stop
this love I have for you, oh no, oh no
Oh, you're the apple of
my eye My sweet little cherry pie [Incomprehensible], you can
be My cake and ice cream
Sugar and
spice Everything nice You can be the Girl of my dreams
If you would only
[Incomprehensible] When you get back, when you get back I'll
just say, "Well, welcome home now"
Oh my darling,
nothing Nothing, nothing Nothing could ever change This love
I have for you, oh no, oh no
Escrita por Bob Dylan, foi gravada em 14 de janeiro de 1965 nos
estudios da Columbia em New York City e lançada em 22 de março de
1965 em um compacto que tinha como Lado A Subterraneam homesick
blues.
Foi regravada por Barry McGuire, The Grateful Dead, Leon Russell,
Billy Preston, Ricky Nelson, Tina Turner, entre outros artistas.
A letra:
She's got everything she needs, she's an artist She don't look
back She's got everything she needs, she's an artist She don't
look back She can take the dark out of the nighttime And paint
the daytime black
You will start out
standing Proud to steal her anything she sees You will start
out standing Proud to steal her anything she sees But you'll
wind up peeking through her keyhole Down upon your knees
She never stumbles,
she's got no place to fall She never stumbles, she's got no place
to fall She's nobody's child, the Law can't touch her at all
She wears an Egyptian
ring that sparkles before she speaks She wears an Egyptian ring
that sparkles before she speaks She's a hypnotist collector, you
are a walking antique.
Bow down to her on
Sunday Salute her when her birthday comes Bow down to her on
Sunday Salute her when her birthday comes For Halloween give
her a trumpet And for Christmas, buy her a drum
Escrita por John Sebastian e Steve Boone, foi lançada em 13 de
novembro de 1965 no compacto que tinha My gal como Lado B.
Chegou ao número 10 dos charts pop americanos em janeiro de 1966.
Foi inspiração para God only knows, dos Beach Boys.
Foi regravada por The Grass Roots e por Astrud Gilberto, entre outros
artistas.
A letra:
You didn't have to be so nice I would have liked you anyway If
you had just looked once or twice And gone upon your quiet way
Today I said the time
was right for me to follow you I knew I'd find you in a day or
two And it's true
You came upon a quiet
day (ooh) You simply seemed to take your place (ooh) I knew
that it would be that way (ooh) The minute that I saw your face
And when we've had a
few more days (when we've had a few more days) I wonder if I'll
get to say (wonder if I'll get to say) You didn't have to be so
nice (be so nice) I would have liked you anyway (would have
liked...)
Today I said the time
was right for me to follow you (...today said that the time was
right to follow you) I knew I'd find you in a day or two (I
knew that I would find you in a day or two) And it's true
You didn't have to be
so nice (didn't have to be so nice) I would have liked you anyway
(would have liked you anyway) If you had just looked once or twice
(once or twice) And gone upon your quiet way (quiet way)
Escrita por Arthur Brooks, Richard Brooks e Jerry Butler, foi gravada
inicialmente por Jerry Butler and The Impressions em 1958. É a
canção número 335 da lista das 500 maiores canções de todos os
tempos da revista Rolling Stone.
Mas a nossa versão é a de Otis Redding, do seu disco de 1965
chamado The Great Otis Redding sings Souls Ballads.
Foi regravada também por Jerry Butler sem os Impressions, The
Rolling Stones, entre outros artistas.
A letra:
Your precious love, now, means more to
me Than any love, any love could ever be For when I wanted you,
oh now, I was so lonely and so blue For that's what love, that's
what love really made me do
And darling, oh, they keep saying that our love
won't grow, now But honey I wanna tell them And I just wanna
show them How in the world do they know?
It won't be long, oh now, oh now For as long as
you're in love with me, now I know our love will grow wider And
so deeper than any, any other sea, now
And all, all the things that I want, now In
this whole wide world is just For you to say, for you to say That
you would be my, my girl, now
And I'm calling, I'm
wanting you, I just keep wanting you, now, oh now I'm wanting you,
now, nobody but you, now, nobody but you, now
Escrita por John Lee Hooker, foi gravada pelos Animals em 1964 e
lançada no disco deles de estréia em setembro de 1964. Eric Burdon
cantou, Alan Price tocou seu orgão e fez backing vocals, Hilton
Valentine tocou guitarra e fez backing vocals, Chas Chandler tocou
baixo e fez backing vocals e John Steel tocou bateria.
A letra:
I had a friend one time, at least I thought he was my friend For
he came to me, said "I ain't got no place to go" I said
"take it easy man, you can come home to my house, I'll get
you a pillow where you can rest your head" Took him home with
me, let him in my house, Let him drive my Cadillac that I could
not afford When I found out he'd been messin' around with my baby
You know I'm mad like
Al Capone (I'm burnin' up) I said I'm mad (I'm burnin' up) Like
Sonny Liston yeah (I'm burnin' up) You know baby I'm mad (I'm
burnin' up) Like Cassius Clay (I'm burnin' up) You know I'm mad
(I'm burnin' up) you know I'm mad Yeah baby, alright baby (I'm
burnin' up) I'm mad, come on (I'm burnin' up)
Took him home with me,
introduced him to my baby, He began to talk to her, made her think
the moon was blue You know I think I ought to tell you daddy I'm
mad, I said I'm mad with you I don't know what I'm gonna do to
you I might drown you, I might shoot you I just don't know
because I'm mad
I said I'm mad (I'm
burnin' up) You know I'm mad (I'm burnin' up) I don't have to
tell you I'm mad (I'm burnin' up) I'm mad with you yeah (I'm
burnin' up) I said I'm mad (I'm burnin' up) Yeah yeah yeah (I'm
burnin' up) I said I'm mad (I'm burnin' up) You know I'm mad,
oh baby I'm mad Oh I said I'm mad, you know I'm mad, oh baby I'm
mad
Escrita por Jerry Leiber e Mike Stoller, foi gravada inicialmente
pelos Clovers em 1959, mas a nossa versão é a dos Searchers de
1964. Essa nossa versão chegou ao número 3 nos charts pop
americanos. Foi também regravada por Herb Alpert e pelos Coasters.
A canção fala de um homem que busca ajuda pra encontrar o amor,
então ele fala com uma cigana que diz que ele precisa de uma poção
do amor número 9. A poção é um afrodisíaco e ele se apaixona por
toda pessoa que vê, beijando tudo em frente a ele, até beijar um
policial numa esquina que quebra sua garrafa com a poção.
A letra:
I took my troubles down to Madame Ruth
You know that gypsy with
the gold-capped tooth
She's got a pad down on Thirty-Fourth and
Vine
Selling little bottles of love potion number nine
I told her that I was a
flop with chics
I've been this way since 1956
She looked at my
palm and she made a magic sign
She said "What you need is
love potion number nine"
She bent down and
turned around and gave me a wink
She said "I'm gonna make it
up right here in the sink"
It smelled like turpentine, it
looked like Indian ink
I held my nose, I closed my eyes, I took a
drink
I didn't know if it was
day or night
I started kissing everything in sight
But when I
kissed a cop down on Thirty-Fourth and Vine
He broke my little
bottle of Love Potion Number Nine
I held my nose, I
closed my eyes, I took a drink
I didn't know if it was
day or night
I started kissing everything in sight
But when I
kissed a cop down on Thirty-Fourth and Vine
He broke my little
bottle of Love Potion Number Nine
Love potion number nine
Love
Potion number nine
Love Potion number nine
Escrita por Charles Aznavour e Françoise Dorin, fala sobre Veneza.
Foi gravada em 1964 pelo próprio Aznavour, que deu a ele um número
1 na França e no Brasil e depois foi regravada em espanhol, em
alemão, em inglês por Bobby Darin e em italiano em 1971.
A letra:
Que c'est triste Venise
Au temps des amours mortes
Que c'est triste Venise
Quand
on ne s'aime plus
On cherche encore des mots
Mais l'ennui les emporte
On
voudrait bien pleurer
Mais on ne le peut plus
Que c'est
triste Venise
Lorsque les barcarolles
Ne viennent souligner
Que des silences creux
Et que le cœur se serre
En
voyant les gondoles
Abriter le bonheur
Des couples amoureux
Que c'est triste Venise
Au temps des amours mortes
Que
c'est triste Venise
Quand on ne s'aime plus
Les
musées, les églises
Ouvrent en vain leurs portes
Inutile
beauté
Devant nos yeux déçus
Que c'est triste Venise
Le soir sur la lagune
Quand on cherche une main
Que l'on
ne vous tend pas
Et que l'on ironise
Devant le clair de
lune
Pour tenter d'oublier
Ce qu'on ne se dit pas
Adieu
tous les pigeons
Qui
nous ont fait escorte
Adieu Pont des Soupirs
Adieu rêves
perdus
C'est trop triste Venise
Au temps des amours
mortes
C'est trop triste Venise
Quand on ne s'aime plus
Escrita por Sam Cooke, foi gravada em 30 de janeiro de 1964 e lançada
no meio de fevereiro de 1964 no disco dele chamado Ain't that good
news.
Foi inspirada em eventos que ocorreram na vida de Cooke. Um deles foi
que ele e sua entourage foi negado ficar em um hotel que era só pra
brancos na Louisiana.
Muitos consideram a melhor composição de Cooke e uma das melhores
de todos os tempos, apesar de ter sido um hit menor pra Cooke. Entru
na National Recording Registry, da Library of Congress em 2007.
Em 8 de outubro de 1963, Sam Cooke ligou pro Holiday Inn em
Shreveport em Louisiana e fez uma reserva pra ele e sua esposa, mas
quando chegou lá viram que eram negros e disseram que não tinham
vaga. Uma confusão foi instalada e Cooke, sua esposa e toda a
entourage foram presos por perturbar a paz. Foi uma grande confusão
por todo os Estados Unidos, os negro americanos ficaram enfurecidos.
Em 2019 o prefeito de Shreveport Adrian Perkins pediu desculpas à
família de Cooke e deu a ele a chave da cidade.
Além desse evento, Cooke estava muito impressionado com Blowin' in
the wind, de Bob Dylan, que havia sido escrita em 1963 e falava em
racismo. Ele ficou puto porque foi escrita por um branco e como que
ele não havia escrito nada sobre racismo e um branco havia? Na
verdade Cooke tinha medo de perder seus fãs brancos. Mas amou tanto
a canção de Dylan que a colocou no seu repertório.
Quando Cooke mostrou a canção à sua equipe, foi alertado que não
era uma canção pop igual as que ele fazia e que talvez não fosse
vender muito. Cooke respondeu que não importava, que ele queria
apenas deixar o pai dele orgulhoso.
O baterista de Cooke ficou intimidade pelo lindo trabalho de
orquestra feito pela canção e não quis gravar. No entanto, o
lendário Earl Palmer estava gravando uma canção no estúdio ao
lado e tocou felizmente.
Um amigo, Bobby Womack, disse a Cooke que a canção lembrava morte
pra ele e Cooke disse é assim mesmo que a vejo, por isso mesmo nunca
mais vou tocá-la na vida. Iriam no entando lançar a canção em um
compacto, mas em 11 de dezembro de 1964, duas semanas antes do
lançamento do compacto, Sam Cooke foi assassinado em um motel em Los
Angeles.
A
canção se transformou num hino pro movimento dos Direitos Civis
americanos.
A
letra:
I
was born by the river in a little tent Oh and just like the river
I've been running ev'r since It's been a long time, a long time
coming But I know a change gonna come, oh yes it will
It's been too hard
living, but I'm afraid to die 'Cause I don't know what's up there,
beyond the sky It's been a long, a long time coming But I know
a change gonna come, oh yes it will
I go to the movie and I
go downtown Somebody keep tellin' me don't hang around It's
been a long, a long time coming But I know a change gonna come, oh
yes it will
Then I go to my
brother And I say brother help me please But he winds up
knockin' me Back down on my knees, oh
There have been times
that I thought I couldn't last for long But now I think I'm able
to carry on It's been a long, a long time coming But I know a
change is gonna come, oh yes it will
Escrita por não se sabe quem, foi gravada inicialmente em 1937 por
Sonny Boy Williamson. A nossa versão no entanto é a de Muddy
Waters, de 1964. Foi regravada também por John Lee Hooker, Buddy
Guy, Larry Williams, Yardbirds, entre outros.
A letra:
Good morning little school girl Good morning little school
girl Can I go home with Can I go home with you? Tell your
mother and your father I once was a schoolboy too
Sometime I don't know
what Sometime I don't know what Woman, what in this world
to Woman what in this world to do I don't wanna hurt your
feelings Or even get mad with you
I'm gonna buy me a
airplane I'm gonna buy me a airplane I'm gonna fly all over
Chevy, man I'm gonna fly over Chevy man town If I don't find my
baby Ain't gonna let my airplane down
Now who's that coming,
yonder? Now who's that coming, yonder? She all dressed up and
pretty She all dressed up and pretty, yeah Now, if she don't be
my baby I'd soon to see her dead
Escrita por Bart Howard, foi lançada inicialmente por Kaye Ballard
em 1954, mas a nossa versão é a de Frank Sinatra, de 1964. Foi
regravada também por Johnny Mathis, Peggy Lee, entre outros
artistas.
A letra:
Fly me to the moon Let me play among the stars Let me see what
spring is like on A-Jupiter and Mars In other words, hold my
hand In other words, baby, kiss me
Fill my heart with song
and let me sing for ever more You are all I long for All I
worship and adore In other words, please be true In other
words, I love you
Fill my heart with
song Let me sing for ever more You are all I long for, all I
worship and adore In other words, please be true In other
words In other words I love you
Escrita por Smokey Robinson, foi gravada pelos Temptations em 31 de
janeiro e 1 de fevereiro de 1963 e lançada em 18 de março de 1963
no compacto que tinha The further you look the less you see como Lado
B.
O compacto foi o primeiro Lado A do grupo escrito e produzido por
Smokey Robinson.
Paul Williams fez os vocais principais, enquanto que o background
vocals foi feito por Eddie Kendricks, Al Bryant e Otis Williams. A
instrumentação foi feita pelos Funk Brothers.
A letra:
I want a love I can see. (Ah-Pow-Pow) That's the only kind that
means a thing to me. (Ah-Pow-Pow) Don't want a love you have to
tell me about. (Ah-Pow-Pow) That kind of loving I can sure do
without. (I can sure do without)
Yeah, yeah, yeah, yeah
I want a love I can
feel. (Doo-Doo) That's the only kind of loving I think it's real.
(Doo-Doo) Don't want to be quoted by something I heard now.
(Doo-Doo) 'Cause baby action speaks louder than words. (Ah, louder
than words)
Yeah, yeah, yeah
I want a love that's
mine. (I want a love, that's mine) In the rain or in sun, sun,
sunshine. (I want a love, that's mine) A love to keep warm when
it's cold. (I want a love, that's mine) The kind of love that will
never grow old. (Never grow old)
Yeah, yeah, yeah, yeah,
yeah, yeah, oh-uh-huh
Yeah, yeah, yeah
Want a love I can see.
(I wanna love I can see) The kind of love you can give to me.
(Give to me) The kind of kisses to make, make me melt. (Ooo, make
me melt) The kind of love that can really be felt, now. (Really be
felt)
Yeah, yeah, baby, baby,
baby, baby, baby... I Yeah, I want her love now. The kind of
love that can be felt. Uh-huh. Yeah
Yeah, yeah, baby, baby,
baby, baby, baby... I Yeah No I, I, I, I... I wanna love
her. Uh-huh. Yeah
