1281 – The ChiLites – Oh girl! (1972)

 

Escrita por Eugene Record, foi gravada em 1971 e lançada em 2 de março de 1972 no compacto que tinha Being in love como Lado B. Foi depois lan;cada no disco A lonely man em abril de 1972.

Fala de um relacionamento em vias de terminar. Chegou ao número 1 no Billboard Hot 100 e nos charts de R&B. Chegou também ao número 14 dos charts britânicos. A canção tem uma gaita que ficou pra eternidade.

Eugene Record cantou, tocou guitarra, baixo, compôs e foi o produtor. Robert Squirrel Lester cantou. Creadel Red Jones cantou. Marshall Thompson cantou e tocou gaita. Floyd Morris tocou piano. Quinton Joseph tocou bateria. Thomas Washington fez os arranjos.

Foi regravada por Smokey Robinson and The Miracles e Seal, entre outros artistas.

A letra:

Oh, girl
I'd be in trouble if you left me now
'Cause I don't know where to look for love
I just don't know how

Oh, girl
How I depend on you
To give me love when I need it
Right on time you would always be

All my friends call me a fool
They say, "Let the woman take care of you"
So I, I try to be hip and think like the crowd
But even the crowd can't help me now, oh, oh, oh, oh, oh, oh

Oh, girl
Tell me what am I gonna do
I know I've got a guilty face
Girl, I feel so out of place, oh, yeah, yeah

Don't know where to go and who to see, yeah

Oh, girl
I guess I better go
I can save myself a lot of useless tears
Girl, I've gotta get away from here

Oh, girl
Pain will double if you leave me now
'Cause I don't know where to look for love
And I don't, I don't know how

Oh, oh
Oh, girl
Why do I love you so, yeah
Better be on my way, I can't stay, yeah
Oh yeah
Uh huh
Have you ever seen such a helpless man

A versão dos Chi-Lites:

A versão de Smokey Robinson and The Miracles:

A versão de Seal:

1280 – Bill Withers – Lean on me (1972)

 

Escrita por Bill Withers, foi gravada por ele em 1972 e lançada em 21 de abril ed 1972 no compacto que tinha Better off dead como Lado B. Depois foi lançada no disco Still Bill em maio de 1972. Foi número 1 nos charts Billboard Hot 100 e de soul music. É o número 208 da lista da revista Rolling Stone das 500 greates songs of all time.

A cidade de Slab Fork, em West Virginia, onde Bill cresceu, foi a inspiração pra essa música. Ele a escreveu quando se mudou pra Los Angeles e passou a sentir falta do forte senso de ética e de comunidade da sua cidade. Ele morava numa casa pobre no lado pobre da cidade.

Bill Withers tocou piano e cantou. Benorce Blackmon tocou guitarra. Raymond Jackson tocou um piano eletrico Wurlitzer e fez os arranjos das cordas. Melvin Dunlap tocou baixo e James Gadson tocou bateria.

Foi regravada por Tina e Ike Turner, Al Jarreau, Michael Bolton e The Temptations e Glen Campbell, entre outros artistas.

A letra:

Hmm... hmm-hmm-hmm-hmm
Hmm-hmm-hmm-hmm
Hmm-hmm-hmm-hmm-hmm
Sometimes in our lives
We all have pain
We all have sorrow

But if we are wise
We know that there's always tomorrow

Lean on me
When you're not strong
And I'll be your friend
I'll help you carry on...

For it won't be long
Till I'm gonna need somebody to lean on

Please swallow your pride
If I have things you need to borrow

For no one can fill
Those of your needs that you won't let show

You just call on me brother when you need a hand
We all need somebody to lean on

I just might have a problem that you'll understand
We all need somebody to lean on

Lean on me
When you're not strong
And I'll be your friend
I'll help you carry on...

For it won't be long
Till I'm gonna need somebody to lean on

You just call on me brother
When you need a hand
We all need somebody to lean on

I just might have a problem that you'll understand
We all need somebody to lean on

If there is a load you have to bear
That you can't carry

I'm right up the road
I'll share your load
If you just call me

Call me
If you need a friend
(Call me)
Call me (call me)
If you need a friend
(Call me)
If you ever need a friend
(Call me)
Call me
(Call me) Call me
(Call me) Call me
(Call me) Call me
(Call me)

If you need a friend
(Call me)
Call me
(Call me) Call me
(Call me) Call me
(Call me) Call me
(Call me)

A versão de Bill Withers:

A versão de Michael Bolton:

A versão de John Legend:

1279 – Michael Jackson – Ben (1972)

Escrita por Don Black e Walter Scharf, foi gravada por Michael Jackson em novembro de 1971 e lançada em 12 de julho de 1972 no compecto que tinha You can cry on my shoulder como Lado B. Depois saiu no disco de mesmo nome em 4 de agosto de 1972.

Chegou ao número 1 dos charts pop americanos, Australianos e número 7 no Reino Unido. Ganhou um Globo de Ouro. Foi o primeiro número 1 de Michael nos Estados Unidos como artista solo.

A letra:

Ben, the two of us need look no more
We both found what we were looking for
With a friend to call my own
I'll never be alone
And you my friend will see
You've got a friend in me
(You've got a friend in me)

Ben, you're always running here and there
(Here and there)
You feel you're not wanted anywhere
(Anywhere)
If you ever look behind
And don't like what you find
There's something you should know
You've got a place to go
(You've got a place to go)

I used to say "I" and "me"
Now it's "us", now it's "we"
I used to say "I" and "me"
Now it's "us", now it's "we"

Ben, most people would turn you away
(Turn you away)
I don't listen to a word they say
(A word they say)
They don't see you as I do
I wish they would try to
I'm sure they'd think again
If they had a friend like Ben
(A friend)
Like Ben
(Like Ben)
Like Ben

A versão de Michael Jackson:

A versão de Silvia Amaru:

A versão de Billy Gilman:

 

1278 – The Kinks – Supersonic rocket ship (1972)

 

Escrita por Ray Davies, foi gravada em março de 1972 em Londres e lançada em compacto em 5 de maio de 1972, que tinha You don't know my name como Lado B. .Depois saiu em 25 de agosto de 1972 no disco Everbody's in show-biz.

O narrador fala sobre o seu foguete supersonico, que significa um paraíso ou refúgio de todos os problemas da terra, onde ninguem viaja de segunda classe e que terá igualdade e não supressão das minorias.

Ray Davies tocou violão e cantou. Dave Davies tocou guitarra solo e fez backing vocals. John Dalton tocou baixo. Mich Avory tocou bateria e percussão. John Gosling tocou teclados. Mike Cotton tocou trompete e John Beecham tocou trombone e tuba.

A letra;

Let me take you on a little trip
My supersonic ship's at your disposal
If you feel so inclined. Well alright.
We're gonna travel faster than light
So do up your overcoat tight
And you'll go anywhere you want to decide. Well alright.
Too many people side by side
Got no place to hide.

On my supersonic rocket ship
Nobody has to be hip
Nobody needs to be out of sight. Out of sight.
Nobody's gonna travel second class
There'll be equality
And no suppression of minorities. Well alright.
We'll take this planet, shake it round
And turn it upside down.
My supersonic rocket ship.

It ain't no magic, ain't no lie,
You'll laugh so loud you'll cry.
Up and down, round and round
On my supersonic rocket ship.

Let me take you on a little trip
My supersonic ship's at your disposal
If you feel so inclined. Well alright.
Nobody's gonna travel second class
There'll be equality
And no suppression of minorities. Well alright.
Let me take you on a little trip
On my supersonic rocket ship.

A versão dos Kinks:

A versão de Malkulele:

A versão de Kast Off Kinks:

1277 – Bee Gees – Run to me (1972)

 

Escrita por Barry Gibb, Robin Gibb e Maurice Gibb, foi gravada em 12 de abril de 1972 e foi lançada em 7 de julho de 1972 em um compacto que tinha Road to Alaska como Lado B. Depois saiu no disco To whom it may concern, em outubro de 1972.

Barry canta os vocais principais nos versos e Robin no refrão. Barry regravou-a com Brandi Carlile em 2021. Foi regravada por Andy Williams logo após os Bee Gees.

Chegaram ao número 9 dos charts britânicos e número 16 nos charts pop americanos. Foi o primeiro compacto sem o baterista Geoff Bridgford.

Barry cantou e tocou guitarra. Robin cantou e fez harmonia vocal. Maurice fez harmonia vocal e tocou baixo, piano e guiatrra. Clem Cattini tocou bateria. Alan Kendall tocou guitarra.

Foi regravada também por Dionne Warwick com Barry Manilow, entre outros artistas.

A letra:

In the event of something happening to me
There is something I would like you all to see
It's just a photograph of someone that I knew

Have you seen my wife, Mr. Jones?
Do you know what it's like on the outside?
Don't go talking too loud, you'll cause a landslide,
Mr. Jones.

I keep straining my ears to hear a sound
Maybe someone is digging underground
Or have they given up and all gone home to bed?
Thinking those who once existed must be dead?

Have you seen my wife, Mr. Jones?
Do you know what it's like on the outside?
Don't go talking too loud, you'll cause a landslide,
Mr. Jones

In the event of something happening to me
There is something I would like you all to see
It's just a photograph of someone that I knew

Have you seen my wife, Mr. Jones?
Do you know what it's like on the outside?
Don't go talking too loud, you'll cause a landslide,
Mr. Jo - o - o - o - ones

Ooh you're a holiday, such a holiday
Ooh you're a holiday, such a holiday

It's something I thinks worthwhile
If the puppet makes you smile
If not then you're throwing stones
Throwing stones, throwing stones

Ooh it's a funny game
Don't believe that it's all the same
Can't think what I've just said
Put the soft pillow on my head

Millions of eyes can see
Yet why am I so blind
When the someone else is me
It's unkind, it's unkind

De de de de de de de de de de de de de
De de de de de de de de de de de de de

Yet millions of eyes can see
Yet why am I so blind
When the someone else is me
It's unkind, it's unkind

Ooh you're a holiday, ev'ry day, such a holiday
Now it's my turn to say, and I say you're a holiday
It's something I thinks worthwhile
If the puppet makes you smile
If not then you're throwing stones
Throwing stones, throwing stones

De de de de de de de de de de de de de de

A versão dos Bee Gees:

A versão de Dionne Warwick e Barry Manilow:

A versão de Barry Gibb e Brandi Carlile:

1276 – Ricky Nelson – Garden party (1972)

Escrita por Ricky Nelson, foi lançada em março de 1972 no disco Garden Party e saiu depois em compacto que tinha So long mama como Lado B. Fala sobre o episódio em que Ricky foi vaiado num show no Madison Square Garden. Chegou número 6 nos charts pop americanos. Foi o último compacto de Ricky que ficou no TOP40 antes do acidente de avião que tirou sua vida.

O fato ocorreu em 15 de outubro de 1971 num show com artistas da era do rock. Tinha artistas como Chuck Berry, Bo Diddley e Bobby Rydell. Ricky tocou Hello Mary Lou sem problemas, mas quando tocou Country honk, a vaia começou. Uns dizem que a vaia foi pra policiais que brigavam com alguns espectadores, mas Ricky achou que era pra ele e foi embora.

Ele fala que Yoko foi e levou seu Walrus, se referindo a John Lennon. Em outra parte ele diz: Mr. Hughes hid in Dylan's shoes, wearing a disguise. Mr. Hughes era o nome que George Harrison usava pra viajar. George era vizinho de porta e amigo muito próximo de Ricky. Hid in Dylan's shoes era sobre um disco que George iria gravar só com covers de Dylan, mas nunca o fez.

Fala também de Johnny B. Goode. E quando ele fala sobre preferir ser um motorista de caminhão, é referente à Elvis ter sido um motorista de caminhão e quando foi fazer um teste pra cantar, disseram a ele pra continuar como motorista pois pra cantar ele não daria certo.

Foi regravada por John Fogerty, entre outros artistas.

A letra:

I went to a garden party
To reminisce with my old friends
A chance to share old memories
And play our songs again
When I got to the garden party
They all knew my name
No one recognized me
I didn't look the same

But it's all right now
I learned my lesson well
You see ya can't please everyone
So ya got to please yourself

People came from miles around
Everyone was there
Yoko brought her walrus
There was magic in the air
N' over in the corner
Much to my surprise
Mr Hughes hid in Dylan's shoes
Wearing his disguise

But it's all right now
I learned my lesson well
You see, ya can't please everyone
So ya got to please yourself

Lott-in-dah-dah
Lot-in-dah-dah-dah

Played them all the old songs
Thought that's why they came
No one heard the music
We didn't look the same
I said hello to "Mary Lou"
She belongs to me
When I sang a song about a honky-tonk
It was time to leave

But it's all right now
I learned my lesson well
You see ya can't please everyone
So ya got to please yourself

Lot-dah-dah (lot-dah-dah-dah)
Lot-in-dah-dah-dah

Someone opened up a closet door
And out stepped "Johnny B Goode"
Playing guitar
Like a-ringin' a bell
And lookin' like he should
If you gotta play at garden parties
I wish you a lotta luck
But if memories were all I sang
I rather drive a truck

But it's all right now
I learned my lesson well
You see, ya can't please everyone
So ya got to please yourself

Lot-dah-dah (lot-dah-dah-dah)
Lot-in-dah-dah-dah

N' it's all right now
Learned my lesson well
You see, ya can't please everyone
So you got to please yourself

A versão de Ricky Nelson:

A versão de John Fogerty:

A versão de Matthew, Gunnar e Sam, os três filhos de Ricky Nelson:

1275 – Rod Stewart – You wear it well (1972)

 

Escrita por Rod Stewart e Martin Quittenton, foi lançada em 21 de julho de 1972 no disco Never a dull moment e depois saiu em compacto em 12 de agosto de 1972 e tinha Los Paraguayos como Lado B. Se tornou um hit internacional, chegando ao número 1 nos charts britânicos e número 13 nos charts pop americanos. Chegou também ao número 7 no Canadá, número 4 na Nova Zelandia e número 2 na Irlanda.

A letra:

I had nothing to do on this hot afternoon
But to settle down and write you a line
I've been meaning to phone you but from Minnesota
Hell it's been a very long time
You wear it well
A little old fashioned but that's all right

Well I suppose you're thinking I bet he's sinking
Or he wouldn't get in touch with me
Oh I ain't begging or losing my head
I sure do want you to know that you wear it well
There ain't a lady in the land so fine, oh my

Remember them basement parties, your brother's karate
The all day rock and roll shows
Them homesick blues and radical views
Haven't left a mark on you, you wear it well
A little out of time but I don't mind

But I ain't forgetting that you were once mine
But I blew it without even tryin'
Now I'm eatin' my heart out
Tryin' to get a letter through

Since you've been gone it's hard to carry on
I'm gonna write about the birthday gown that I bought in town
When you sat down and cried on the stairs
You knew it did not cost the earth, but for what it's worth
You made me feel a millionaire and you wear it well
Madame Onassis got nothing on you, no no

Anyway, my coffee's cold and I'm getting told
That I gotta get back to work
So when the sun goes low and you're home all alone
Think of me and try not to laugh and I wear it well
I don't object if you call collect

'Cause I ain't forgetting that you were once mine
But I blew it without even tryin'
Now I'm eatin' my heart out tryin' to get back to you

I love you, I love you, I love you, I Love you...

Oh yeah

After all the years I hope it's the same address
Since you've been gone it's hard to carry on

A versão de Rod Stewart:

A versão de Ali Campbell:

A versão de Acoustic Axis:

1274 – Stealers Wheel – Stuck in the middle with you (1972)

 

Escrita por Gerry Rafferty e Joe Egan, foi lançada em outubro de 1972 no disco Stealers Wheel e depois saiu em compacto com Jose como Lado B. Foi produziada nada mais nada menos pela dupla Jerry Leiber e Mike Stoller. Chegou ao número 8 no Reino Unido e número 6 nos charts HOT100. Rafferty cantou e Egan cantou harmonias vocais. Vendeu mais de um milhão de cópias. Chegou também ao número 2 no Canadá.

A letra:

Well I don't know why I came here tonight.
I've got the feeling that something ain't right.
I'm so scared in case I fall off my chair,
And I'm wondering how I'll get down the stairs.

Clowns to the left of me!
Jokers to the right!
Here I am stuck in the middle with you.

Yes I'm stuck in the middle with you,

And I'm wondering what it is I should do.
It's so hard to keep this smile from my face.
Losing control and running all over the place.

Clowns to the left of me!
Jokers to the right!
Here I am stuck in the middle with you.

When you started off with nothing
And you're proud that your a self-made man.
Ooooo-ooo-oooh
And your friends they all come crawling,
Slap you on the back and say
Please . . .
Please . . .

Trying to make some sense of it all
But I see it makes no sense at all.
Is it cool to go to sleep on the floor?
I don't think that I can take anymore.

Clowns to the left of me!
Jokers to the right!
Here I am stuck in the middle with you.

When you started off with nothing
And you're proud that your a self-made man.
Ooooo-ooo-oooh
And your friends they all come crawling,
Slap you on the back and say
Please . . .
Please . . .

Well I don't know why I came here tonight.
I've got the feeling that something ain't right.
I'm so scared in case I fall off my chair,
And I'm wondering how I'll get down the stairs.

Clowns to the left of me!
Jokers to the right!
Her I am stuck in the middle with you.
Yes I'm stuck in the middle with you . . .
Yes I'm stuck in the middle with you . . .
Yes I'm stuck in the middle with you . . .
Yes I'm stuck in the middle with you . . .

A versão do Stealers Wheel:

A versão de Susanna Hoffs:

A versão de Mary Spender:

1273 – Stevie Wonder – Superstition (1972)

 

 

Escrita por Stevie Wonder, foi gravada em 1972 em New York City e lançada em 24 de outubro de 1972 em um compacto que tinha You've got it bad girl como Lado B. Quatro dias depois foi lançada no LP Talking Book. A letra fala das superstições populares e seus efeitos negativos.

Chegou ao número 1 dos charts pop americanos e nos charts de Soul. Chegou tambem ao número 11 nos charts birtânicos e número 6 no Canadá. É o número 74 da lista da revista Rolling Stone das 500 greatest songs of all time.

Stevie Wonder cantou. Tocou Hohner Clavinet, bateria e Baixo Moog. Trevor Lawrence tocou sax tenor e Steve Madaio tocou trompete.

Foi regravada por Jeff Beck, Stevie Ray Vaughn e U40, entre outros artistas.

A letra:

Very superstitious,
Writing's on the wall,
Very superstitious,
Ladders bout' to fall,
Thirteen month old baby,
Broke the lookin' glass
Seven years of bad luck,
The good things in your past

When you believe in things
That you don't understand,
Then you suffer,
Superstition aint the way

Hey

Very superstitious,
Wash your face and hands,
Rid me of the problem,
Do all that you can,
Keep me in a daydream,
Keep me goin' strong,
You don't wanna save me,
Sad is the soul

When you believe in things
That you don't understand,
Then you suffer,
Superstition ain't the way,
Yeh, yeh

Very superstitious,
Nothin' more to say,
Very superstitious,
The devil's on his way,
Thirteen month old baby,
Broke the lookin' glass,
Seven years of bad luck,
Good things in your past

When you believe in things
That you don't understand,
Then you suffer,
Superstition ain't the way,
No, no, no

A versão de Stevie Wonder:

A versão de Stevie Ray Vaughn:

A versão de Stevie Wonder ao vivo com Jeff Beck na guitarra:

1272 – The Kinks - Celluloid Heroes (1972)

 

Escrita por Ray Davies, foi gravada em maio de 1972 e lançada em 25 de agosto de 1972 no disco Everybody's in show-biz e depois lançada em compacto em 24 de novembro de 1972, que tinha Hot potatoes como Lado B.

A canção cita o nome de vários artistas do cinema do século 20 e até cita a rua de Los Angeles chamada Hollywood Boulevard e sua Walk of Fame. Fala sobre Greta Garbo, Rudolph Valentino, Bela Lugosi, Bette Davis, Marilyn Monroe, George Sanders e Mickey Rooney.

Foi regravada por Joan Jett, Seteve Vai e Jon Bon Jovi com Ritchie Sambora, entre outros artistas.

A letra:

Everybody's a dreamer
And everybody's a star
And everybody's in movies
It doesn't matter who you are
There are stars in every city
In every house and on every street
And if you walk down Hollywood Boulevard
Their names are written in concrete

Don't thread on Greta Garbo
As you walk down the boulevard
She looks so weak and fragile
That's why she tried to be so hard
But they turned her into a princess
And they sat her on a throne
But she turned her back on stardom
Because she wanted to be alone

Well You can see all the stars as you walk down Hollywood Boulevard
Some that you recognise, some that you've hardly even heard of
People who worked and suffered and struggled for fame
Some who succeeded and some who suffered in vain

Rudolph Valentino
Looks very much alive
And he looks up ladies' dresses
As they sadly pass him by
Avoid stepping on Bela Lugosi
Because he's liable to turn and bite
But stand close by Bette Davis
Because hers was such a lonely life

Well You can see all the stars as you walk down Hollywood Boulevard
Some that you recognise, some that you've hardly even heard of
People who worked and suffered and struggled for fame
Some who succeeded and some who suffered in vain

Everybody's a dreamer
And everybody's a star
And everybody's in show-biz
It doesn't matter who you are
But those who are successful
Be always on your guard
Success walks hand in hand with failure
Along Hollywood Boulevard

I wish my life was a non-stop Hollywood movie show
A fantasy world of celluloid villains and heroes
'Cause celluloid heroes never feel any pain
And celluloid heroes never really die

You can see all the stars as you walk along Hollywood Boulevard
Some that you recognise, some that you've hardly even heard of
People who worked and suffered and struggled for fame
Some who succeeded and some who suffered in vain

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 la la la la la la la la la
La la la la la la la la la la la la la
Oh, celluloid heroes never feel any pain
Oh, celluloid heroes never really die

I wish my life was a non-stop Hollywood movie show
A fantasy world of celluloid villains and heroes
Because celluloid heroes never feel any pain
And celluloid heroes never really die

A versão dos Kinks:

A versão de Joan Jett:

 

A versão de Jon Bon Jovi e Ritchie Sambora:

1271 – Bee Gees – Alive (1972)

 

Escrita por Barry Gibb e Maurice Gibb, foi gravada em 21 de outubro de 1971, em Londres e lançada em outubro de 1972 no disco To whom it may concern e posteriormente saiu em compacto em novembro de 1972 com Paper Mache, Cabbages and Kings como Lado B.

Foi o último trabalho de Geoff Bridgeford como baterista da banda. O compacto chegou ao número 34 nos charts pop americanos, número 28 no Canadá e número 17 na Holanda.

Barry Gibb cantou. Maurice Gibb tocou piano e baixo. Geoff Bridgeford tocou bateria.

A letra:

Maybe you talk too high, man
Maybe I talk too slow
But you've got to live a little bit faster
'Cause you've got a little less time to go
I ain't lost and I ain't searching
But then you know me very well
And I can't change the wind and make it blow the other way
I'm a fool and I can tell
That I'm alive and that's all
That I can get up just as fast as I fall
And I can walk and run but I'll never crawl
And in the end it doesn't matter at all
I don't know about the people that I read about in books
And the kings and queens around my room with their quiet dirty looks
I know I should be going somewhere, I just can't arrive
There's a reason for believing that I've never been alive, alive
I ain't lost and I ain't searching
But then you know me very well
And I can't change the world and make it go the other way
I'm a fool and I can tell
That I'm alive and that's all
That I can get up just as fast as I fall
And I can walk and run but I'll never crawl
And in the end it doesn't matter at all
I don't know about the people that I read about in books
And the kings and queens around my room with their quiet dirty looks
I know I should be going somewhere, I just can't arrive
There's a reason for believing that I've never been alive
I know I should be going somewhere I just can't arrive
There's a reason for believing that I've never been alive, alive, alive

A versão dos Bee Gees:

1270 – Al Green – Simply beautiful (1972)

Escrita por Al Green, foi lançada no disco I”m still in love with you em 23 de outubro de 1972.

Foi regravada por Queen Latifah, entre outros artistas.

A letra:

If I gave you my love,
I tell you what I'd do
I'd expect a whole lot of love out of you

You gotta be good to me
I'm gonna be good to you
There's a whole lot of things you and I
Could do
Hey hey

Hey hey hey

Simply beautiful, simply beautiful, simply
Beautiful
Simply beautiful, simply beautiful, simply
Beautiful
Simply beautiful [Repeat: x4]

What about the way you love me
And the way you squeeze me
Hey
Hey simply beautiful hey

And you get right down it
And the love is getting you through it

Simply beautiful [Repeats]

A versão de Al Green:

A versão de Jennifer Hudson:

A versão de Queen Latifah:

1269 – John Lennon – Woman is the nigger of the world (1972)

 

Escrita por John Lennon e Yoko Ono, foi gravada em novembro de 1971 e mixada em março de 1972, no Record Plant East, em New York City e lançada em 24 de abril de 197 no compacto que tinha Sisters, O Sisters como Lado B. Posteriormente saiu no disco Some time in New York City, em 1 de junho de 1972.

O título foi criado por Yoko e fala sobre subserviencia da mulher e misoginia em todas as culturas. Porque usou um termo racista no título, mesmo sendo pra comparar o sofrimento da mulher com o do negro, as rádios se recusaram a tocar e a música só chegou ao numero 57 nos charts pop americanos. Foi o compacto que ficou em pior posição nos Estados Unidos em toda a vida de Lennon.

John cantou e tocou guitarra. Stan Bronstein tocou sax tenor. Gary Van Scyoc tocou baixo. Adam Ippolito tocou piano e orgao. Wayne Tex Gabriel tocou guitarra. Richard Frank Jr. tocou bateria e percussão e Jim Keltner tocou bateria.

A letra:

Woman is the nigger of the world
Yes, she is, think about it
Woman is the nigger of the world
Think about it, do something about it

We make her paint her face and dance
If she won't be a slave, we say that she don't love us
If she's real, we say she's trying to be a man
While puttin' her down, we pretend that she's above us

You know, woman is the nigger of the world, yeah
If you don't believe me, take a look at the one you're with
Woman is the slave to the slave
Ah, yeah, if you believe me, scream about it

We make her bear and raise our children
And then we leave her flat for being a fat old mother hen
We tell her, home is the only place she should be
Then we complain that she's too unworldly to be our friend

Well, now, woman is the nigger of the world, yeah, she is
If you don't believe me, take a look at the one you're with
Woman is the slave to the slave
Yeah, if you believe me, you better scream

We insult her every day on TV
And wonder why she has no guts or confidence
When she's young we kill her will to be free
This is the one that I can never remember
But you get the message anyway

You know that woman is the nigger of the world
Yes, she is, if you don't believe me, take a look at the one you're with
Woman is the slave to the slave
Yeah, Connely was right, we scream it

We make her paint her face and dance
We make her paint her face and dance
We make her paint her face and dance

You know, we make her paint her face and dance
Dance, dance, dance, dance, dance, dance
We make her paint her face and dance

A versão de John Lennon:

A versão de Sharnette Hyter:

A versão de Danny McEvoy:

1268 – John Denver – Rocky mountain high (1972)

Escrita por John Denver e Mike Taylor, foi gravada em agosto de 1972 e lançada em 15 de setembro de 1972 no disco de mesmo nome. Depois sairia em compacto em 30 de outubro de 1972 com Spring como Lado B. Se transformou em uma das duas canções oficiais do Estado do Colorado.

Chegou ao número 9 nos charts pop americanos e número 8 no Canada. Denver disse que levou 9 meses pra terminar de compor a canção. A Western Writers of America disse que era uma das 100 maiores canções de country de todos os tempos.

Tem a ver com a mudança de Denver pra Aspen, Colorado três antes antes.

A letra:

He was born in the summer of his 27th year
Coming home to a place he'd never been before
He left yesterday behind him, you might say he was born again
You might say he found a key for every door

When he first came to the mountains his life was far away
On the road and hanging by a song
But the string's already broken and he doesn't really care
It keeps changing fast and it don't last for long

But the Colorado rocky mountain high
I've seen it rainin' fire in the sky
The shadow from the starlight is softer than a lullabye
Rocky mountain high (Colorado)

He climbed cathedral mountains, he saw silver clouds below
He saw everything as far as you can see
And they say that he got crazy once and he tried to touch the sun
And he lost a friend but kept his memory

Now he walks in quiet solitude the forest and the streams
Seeking grace in every step he takes
His sight has turned inside himself to try and understand
The serenity of a clear blue mountain lake

And the Colorado rocky mountain high
I've seen it raining fire in the sky
You can talk to God and listen to the casual reply
Rocky mountain high

Now his life is full of wonder but his heart still knows some fear
Of a simple thing he cannot comprehend
Why they try to tear the mountains down to bring in a couple more
More people, more scars upon the land

And the Colorado rocky mountain high
I've seen it rainin' fire in the sky
I know he'd be a poorer man if he never saw an eagle fly
Rocky mountain high

It's Colorado rocky mountain high
I've seen it rainin' fire in the sky
Friends around the campfire and everybody's high
Rocky mountain high
Rocky mountain high
Rocky mountain high
Rocky mountain high
Rocky mountain high
Rocky mountain high

A versão de John Denver:

A versão de Mike Sinatra:

A versão de Carly Lackey:

1267 – Graham Nash and David Crosby – Immigration man (1972)

 

Escrita por Graham Nash e gravada por Nash e Croby, foi lançada em março de 1972 no compacto que tinha Whole cloth como Lado B. Foi lançada também em 5 de abril de 1972 no LP da dupla chamado Graham Nash David Crosby.

Chegou ao número 36 nos charts pop americanos.

Nash escreveu a música quando ficou preso por muito tempo na Imigração dos Estados Unidos. E só foi solto quando as pessoas começaram a pedir autografo a ele e o sujeito achou melhor deixa-lo entrar.

O solo de guitarra é feito por Dave Mason. David Crosby cantou e tocou guitarra. Graham Nash cantou e tocou piano. Greg Reeves tocou baixo e Johnny Barbata tocou bateria.

A letra:

There I was at the immigration scene
Shining and feeling clean, could it be a sin?
I got stopped by the immigration man
He said he doesn't know if he can let me in
Let me in, immigration man
Can I cross your line and pray?
I can stay another day, won't you let me in, immigration man?
I won't toe your line today, I can't see it anyway
There he was with his immigration face
Giving me a paper chase but the sun was coming
'Cos all at once he looked into my space
And stamped a number all over my face and he sent me running
Come on and let me in, immigration man
Can I cross your line and pray?
I can stay another day, won't you let me in, immigration man?
I won't toe your line today, I can't see it anyway
Here I am with my immigration form and it's big enough to keep me warm
When a cold wind's coming, go where you will
As long as you think you can, you'd better watch out
Watch out for the man anywhere you're going
Come on and let me in, immigration man
Can I cross your line and pray?
I can stay another day, won't you let me in, immigration man?
I won't toe your line today, I can't see it anyway

A versão de Nash e Crosby:

A versão de Yorick Van Norden:

A versão de Deja Vu: