Escrita
por Paul Simon, foi gravada em 1972 no Muscle Shoals Sound Studio, em
Mucle Shoals, Alabama e lançada em 5 de maio de 1973 no disco There
goes rhymin' Simon e tambem em um compacto que tinha Something so
right como Lado B. Chegou ao número 7 dos charts britânicos e
número 1 na Africa do Sul. Paul Simon cantou e tocou violão. Jimmy
Johnson e Pete Carr tocaram guitarra. David Hood tocou bateria. Barry
Beckett tocou orgao Hammon e piano elétrico Wurlitzer. The Onward
Brass Band tocaram os metais e o Reverendo Claude Jeter fez as vocal
bridges.
A
letra:
C'mon
take me to the Mardi Gras Where the people sing and play Where
the dancing is elite And there's music in the street Both night
and day
Hurry take me to the Mardi Gras In the city of my
dreams You can legalize your lows You can wear your summer
clothes In the New Orleans
And I will lay my burden
down Rest my head upon that shore And when I wear that starry
crown I won't be wanting anymore
Take your burdens to the
Mardi Gras Let the music wash your soul You can mingle in the
street You can jingle to the beat Of Jelly Roll
Escrita
por Bob Marley, foi gravada entre maio e outubro de 1972 e foi
lançada em 13 de abril de 1973 no disco Catch a fire. Bob Marley
tocou guitarra e cantou. Peter Tosh tocou orgao, guitarra, piano e
cantou. Bunny Wailer tocou bongôs, congas e cantou. Aston Barrett
tocou baixo. Carlton Barrett tocou bateria. Rita Marley e Marcia
Griffiths fizeram backing vocals.
A
letra:
(Can't
tell the woman from the man) No, I say you can't, 'cause they're
dressed in the same pollution; (dressed in the same
pollution) Their mind is confused with confusion With their
problems since they've no solution: They become the midnight
ravers.
Someone say: (Please, don't let me down!) Oh,
please, don't let me - oh, please don't let me down! (Midnight)
Midnight ravers! (ravers) Midnight ravers! (Please don't) Oh,
please, please, don't let me down, down, down, down, down! Don't
let me down; Don't let me down.
I see ten thousand chariots
(ah-ah-ah-ah) And they coming without horses; (coming without
horses) The riders - they cover their face, (ah-ah-ah-ah) So
you couldn't make them out in smoky place - (make them out in
smoky places) In that musical stampede, where everyone is doing
their thing. Musical stampede - people swingin'; Musical
stampede. Someone say: People, ride on! (keep a-ridin'!) (keep
a-ridin'!) Ride on! (keep a-ridin'!) Midnight ravers! People,
ride on! (keep a-ridin'!) (keep a-ridin'!) Ride on! (keep
a-ridin'!) Midnight ravers!
I can't tell my woman from the
man: She is dressed in the same pollution; (dressed in the same
pollution) Her mind is confused with confusion: To my problem
seems there's never - never no solution!
I've become a
night-life raver And I'm beggin' you, (please) please, please
- please don't ya let me down!
(Night-life ravers)
Night-life ravers! Night-life ravers! Oh, please, please, please,
please, don't let me down. Don't let me down; Don't let me
down!
I see ten thousand chariots (ah-ah-ah-ah) And they
coming without horses; (coming without horses) The riders they
cover their face, (ah-ah-ah-ah) So you couldn't make them out in
smoky place - In that musical stampede, oh! It's the musical
stampede. Ride on! It's the musical stampede, some preacher say!
People
ride on! (keep a-ridin'!) (keep a-ridin'!) Ride on! (keep
a-ridin'!) Midnight ravers! A-ride on! (keep a-ridin'!) (keep
a-ridin'!) Ride on! (keep a-ridin'!) Midnight ravers! Ride on,
y'all! (keep a-ridin'!) (keep a-ridin'!) Ride on! (keep
a-ridin'!) Midnight ravers! Ride on! (keep a-ridin'!) (keep
a-ridin'!) Don't let me down, midnight ravers! (keep
a-ridin'!) Midnight ravers, don't let me down! (keep
a-ridin'!) Don't let me down - don't let me down! (keep
a-ridin'!) Well, I'm comin'! I got too much talkin'.
Escrita
por John Lennon, foi gravada entre julho e agosto de 1973 e lançada
no disco Mind games, em 29 de outubro de 1973. É uma música onde
John canta sua devoção à Yoko Ono. John fala que Yoko é a
frawueza e a força dele. Diz que nada no mundo faz tanto sentido pra
ele no mundo quanto ela. Ele diz que é um peixe e ela é o oceano.
Ele diz que é a maça e ela a árvore. Ele é a porta e ela é a
chave. Ela é o mel e ele a abelha.
A
letra:
You
are my weakness You are my strength Nothing I have in the
world Makes better sense 'Cause I'm a fish and you're the sea
When we're together Oh,
when we're apart There's never a space in between The beat of
our hearts 'Cause I'm the apple and you're the tree
One day at a time is
all we do One day at a time is good for
You yeah,
You yeah
you yeah
Oh-oh
You are my woman I
am your man Nothing else matters at all Now I understand That
I'm the door and you're the key
And every morning I
wake in your smile Feeling your breath on my face And the love
in your eyes 'Cause you're the honey and I'm the bee
One day at a time is
all we do One day at a time is good for Us two yeah You too
yeah
You yeah Oh-oh
'Cause I'm the fish and
you're the sea 'Cause I'm the apple and you're the tree 'Cause
I'm the door and you're the key 'Cause you're a honey and I'm the
bee
Escrita
por Bruce Springsteen, foi gravada em 27 de junho de 1972 no 914
Sound Studios em Blauvet, New York e lançada em 5 de janeiro de
1973, no disco Greetings from Asbury Park, N.J., e ao mesmo tempo no
compacto que tinha Spirit in the air como Lado A. Foi regravada por
Manfred Mann's Earth Band, entre outros artistas. É sobre uma mulher
que tentou se suicidar. Ela não precisa da urgência do cantor,
apesar da vida dela ser uma longa emergencia. Tudo o que o cantor
quer fazer é ajudá-la. Bruce vantou e tocou guitarra. Vini Mad Dog
Lopez tocou bateria. Garry Tallent tocou baixo e David Sancious tocou
piano e teclado.
A
letra:
Princess
cards she sends me with her regards Oh, barroom eyes shine
vacancy, to see her you gotta look hard Wounded deep in battle, I
stand stuffed like some soldier undaunted To her Cheshire smile,
I'll stand on file, she's all I ever wanted
Oh,
But you let your blue walls get in the way of these facts Honey,
get your carpetbaggers off my back You wouldn't even give me time
to cover my tracks You said, "Here's your mirror and your
ball and jacks" But they're not what I came for, and I'm
sure you see that too
I came for you, for you, I came for you
But you did not need my urgency I came for you, for you, I
came for you But your life was one long emergency And your
cloud line urges me Oh, and my electric surges free
Oh,
Crawl into my ambulance, your pulse is getting weak Oh, Reveal
yourself all now to me, girl, while you've got the strength to speak
'Cause they're waiting for you at Bellevue with their oxygen
masks But I could give it all to you now, if only you could ask
Oh,
And don't call for your surgeon, even he says it's too late It's
not your lungs this time, it's your heart that holds your fate Don't
give me my money, honey, I don't want it back You and your pony
face and your Union Jack
Well,
take your local joker and teach him how to act I swear I was
never that way, even when I really cracked Didn't you think I
knew that you were born with the power of a locomotive Able to
leap tall buildings in a single bound? And your Chelsea suicide
with no apparent motive You could laugh and cry in a single sound
(all right)
And your strength is devastating in the face of
all these odds Remember how I kept you waiting when it was my
turn to be the god? You were not quite half so proud when I found
you broken on the beach Remember how I poured salt on your tongue
and hung just out of reach And the band, they played the
homecoming theme as I caressed your cheek And that ragged, jagged
melody, she still clings to me like a leech
But
that medal you wore on your chest always got in the way Like a
little girl with a trophy so soft to buy her way We were both
hitchhikers but you had your ear tuned to the roar Of some
metal-tempered engine on an alien, distant shore So you left to
find a better reason than the one we were living for And it's not
that nursery mouth that I came back for It's not the way you're
stretched out on the floor 'Cause I've broken all your windows
and I've rammed through all your doors And who am I to ask you to
lick my sores? And you should know that's true
I came for
you, for you, I came for you But you did not need my urgency I
came for you, for you, I came for you But your life was one long
emergency And your cloud line urges me And my electric surges
free
Escrita
por Roger Waters, foi gravada em janeiro de 1973 no Abbey Road
Studios, em Londre e lançada em primeiro de março de 1973 no disco
The dark side of the moon. Foi cantada por Roger com David Gilmour
fazendo as harmonias vocais. Roger falou que se inspirou no antigo
membro da banda Syd Barrett e sua instabilidade mental. A parte que
fala “Se a banda que você está começar a tocar músicas
diferentes da sua...” se refere as vezes em que Syd cantava uma
música totalmente diferente da que eles estavam tocando. Roger toca
baixo, canta e faz os efeitos de tape. David Gilmour toca as
guitarras e faz harmonia vocal. Richard Wright tocou orgao Hammond e
EMS VCS 3. Nick Mason tocou bateria, efeitos de tape e sinos
tubulares. Lesley Duncan, Doris Troy, Barry St. John e Liza Strike
fazem backing vocals. Peter Watts, road manager da banda, faz a
risada do maníaco.
A
letra:
The
lunatic is on the grass The lunatic is on the grass Remembering
games And daisy chains and laughs Got to keep the loonies on
the path
The lunatic is in the
hall The lunatics are in my hall The paper holds their folded
faces to the floor And every day the paper boy brings more
And if the dam breaks
open many years too soon And if there is no room upon the hill And
if your head explodes with dark forebodings too I'll see you on
the dark side of the moon
The lunatic is in my
head The lunatic is in my head You raise the blade You make
the change You rearrange me 'till I'm sane
You lock the door And
throw away the key And there's someone in my head, but it's not
me
And if the cloud bursts
thunder in your ear You shout and no one seems to hear And if
the band you're in starts playing different tunes I'll see you on
the dark side of the moon
A
versão do Pink Floyd:
A
versão de Mike Masse e Sterling Cottam:
A
versão de David Gilmour com Pink Floyd sem Roger Waters:
Escrita
por Paul e Linda McCartney, foi gravada em setembro de 1973 e lançada
em 5 de dezembro de 1973 no disco Band on the run. Depois sairia em
compacto, em janeiro de 1974, com Let me roll it como Lado B. Jet era
o nome do labrador preto que Paul tinha na época. Chegou ao número
7 no Billboard Hot 100 e também nos charts britânicos. Foi também
número 5 no Canadá, número 6 na Alemanha e número 2 na
NovaZelandia. Número 8 na Africa do Sul e número 9 na Noruega. Foi
gravada no Abbey Road Studios, em Londres. Paul cantou, tocou
guitarra, baixo, bateria e piano. Linda tocou teclado e fez backing
vocals. Denny Laine tocou guitarra e fez backing vocals. Howie Casey
tocou sax.
A
letra:
Jet,
Jet, Jet
I can almost
remember The funny faces That time you told me That you were
going to be marrying soon
And jet, I thought The
only lonely place was on the moon
Jet, ooh, Jet, ooh
Jet, was your father as
bold As a Sergeant Major? Oh, how come he told you That you
hardly old enough yet?
And Jet, I thought the
Major Was a Lady Suffragette
Jet, ooh, Jet, ooh
Ah, mater, want Jet to
always love me Ah, mater, want Jet to always love me Ah, mater,
much later
Jet
And Jet, I thought the
Major Was a little Lady Suffragette
Jet, ooh, Jet, ooh
Ah, mater, want Jet to
always love me Ah, mater, want Jet to always love me Ah, mater,
much later
Jet, with the wind in
your hair Of a thousand laces Climb on the back and we'll Go
for a ride in the sky
And Jet I thought that
the Major Was a little Lady Suffragette
Jet, ooh, Jet, ooh
And Jet, you know, I
thought You was a little Lady Suffragette
Escrita
por Paul Simon, foi gravada nos estúdios da Columbia em New York
City em 1972 e lançada em 5 de maio de 1973 no disco There goes
Rhymin' Simon. Foi regravada por Annie Lennox, entre outros artistas.
Paul Simon cantou e tocou violão. David Spinozza tocou guitarra. Al
Gafa tocou guitarra. Richard Davis tocou baixo. Bob Cranshaw tocou
baixo. Grady Tate tocou bateria. Bob James tocou piano eletrico
Fender Rhodes. Bobby Scott tocou piano. Don Elliott tocou vibraphone.
Quincy Jones fez oa arranjos das cordas.
A
letra:
You've
got the cool water When the fever runs high You've got the look
of love light In your eyes And I was in crazy motion 'Til
you calmed me down It took a little time But you calmed me down
When something goes
wrong I'm the first to admit it I'm the first to admit it But
the last one to know When something goes right Oh it's likely
to lose me It's apt to confuse me It's such an unusual
sight Oh, I can't, I can't get used to something so
right Something so right
They've got a wall in
China It's a thousand miles long To keep out the
foreigners They made it strong And I've got a wall around
me That you can't even see It took a little time To get next
to me
When something goes
wrong I'm the first to admit it I'm the first to admit it But
the last one to know When something goes right Oh it's likely
to lose me It's apt to confuse me Because It's such an unusual
sight Oh I swear I can't get used to something so right Something
so right
Some people never say
the words I love you It's not their style To be so bold Some
people never say those words I love you But like a child
they're longing To be told
When something goes
wrong I'm the first to admit it I'm the first to admit it But
the last one to know When something goes right Oh it's likely
to lose me It's apt to confuse me Because It's such an unusual
sight
I swear I can't, I
can't get used to something so right Something so right
Escrita
por por Bob Marley, foi lançada no disco Burnin', em 19 de outubro
de 1973. O narrador diz que agiu em legitima defesa quando um sherife
veio tentar matá-lo. Foi regravada por Eric Clapton logo em 1974.
A
letra:
(I
shot the sheriff But I didn't shoot no deputy, oh no! Oh! I
shot the sheriff But I didn't shoot no deputy, ooh, ooh, oo-ooh.)
Yeah!
All around in my home town, They're tryin' to track me down; They
say they want to bring me in guilty For the killing of a
deputy, For the life of a deputy. But I say:
Oh, now,
now. Oh! (I shot the sheriff.) - the sheriff. (But I swear it
was in selfdefence.) Oh, no! (Ooh, ooh, oo-oh) Yeah! I say: I
shot the sheriff - Oh, Lord! - (And they say it is a capital
offence.) Yeah! (Ooh, ooh, oo-oh) Yeah!
Sheriff John Brown
always hated me, For what, I don't know: Every time I plant a
seed, He said kill it before it grow - He said kill them before
they grow. And so, and so:
Read it in the news: (I shot
the sheriff.) Oh, Lord! (But I swear it was in
self-defence.) Where was the deputy? (Oo-oo-oh) I say: I shot
the sheriff, But I swear it was in selfdefence. (Oo-oh)
Yeah!
Freedom came my way one day And I started out of
town, yeah! All of a sudden I saw sheriff John Brown Aiming to
shoot me down, So I shot - I shot - I shot him down and I say: If
I am guilty I will pay.
(I shot the sheriff,) But I say
(But I didn't shoot no deputy), I didn't shoot no deputy (oh,
no-oh), oh no! (I shot the sheriff.) I did! But I didn't shoot
no deputy. Oh! (Oo-oo-ooh)
Reflexes had got the better of
me And what is to be must be: Every day the bucket a-go a
well, One day the bottom a-go drop out, One day the bottom a-go
drop out. I say:
I - I - I - I shot the sheriff. Lord, I
didn't shot the deputy. Yeah! I - I (shot the sheriff) - But I
didn't shoot no deputy, yeah! No, yeah!
Escrita
por John Lennon, foi gravada entre julho e agosto de 1973 e lançada
no disco Mind games, em 16 de novembro. A letra trata de John se
desculpando pra Yoko. Ai sumimasen significa I'm sorry em japonês. O
que Lennon entendeu como Aisumasen. É similar a I want you (She's so
heavy), do disco Abbey Road. John vinha lutando com a harmonia dessa
canção desde 1971, para poder aprontar. O solo de guitarra dessa
música, feita por David Spinozza, é incrivel. John cantou e tocou
violão. David Spinozza tocou guitarra. Pete Kleinoew tocou pedal
steel guitar. Ken Asher tocou teclado. Gordon Edwrads tocou baixo.
Jim Keltner tocou bateria.
A
letra:
When
I'm down really yin And I don't know what I'm doing Aisumasen
Aisumasen
Yoko
All
I had to do was call your name
All
I had to do was call your name
And when I hurt you and
cause you pain Darling I promise I won't do it again
Aisumasen
Aisumasen Yoko It's
hard enough I know just to feel your own pain
It's hard enough I know
to feel, to feel your own pain
All that I know is just
what you tell me All that I know is just what you show me
And when I'm down real
sanpaku And I don't know what to do Aisumasen
Aisumasen Yoko san All
I had to do was call your name Yes, all I had to do was call your
name
Escrita
por Bruce Springsteen, foi gravada em agosto e setembro de 1972 e
lançada no disco Greetings from Asbury Park, N.J., em 5 de janeiro
de 1973. Foi a música que Bruce tocou pra John Hammond da CBS
Records, que assinou um contrato com ele em 2 de maio de 1972. A
canção tem Bruce e seu violão e tem letra densa e com estilo de
Bob Dylan. Além do violão, Bruce toca gaita.
A
letra:
Mary
queen of Arkansas, it's not too early for dreamin' The sky is
grown with cloud seed sown and a bastard's love can be redeeming
Mary, my queen, your soft hulk is reviving No, you're not too
late to desecrate, the servants are just rising
Well, I'm
just a lonely acrobat, the live wire is my trade I've been a
shine boy for your acid brat and a wharf rat of your state Mary,
my queen, your blows for freedom are missing Oh you're not man
enough for me to hate or woman enough for kissing
Oh, the big
top is for dreamers, we can take the circus all the way to the border
And the gallows wait for martyrs whose papers are in order But
I was not born to live to die, and you were not born for queenin'
Oh, It's not to late to infiltrate, the servants are just leavin'
Mary queen of Arkansas, your white skin is deceivin' You
wake and wait who to lie in bait and you almost got me believin' But
on your bed, Mary, I can see the shadow of a noose Oh, I don't
understand how you can hold me so tight and love me so damn loose
But I know a place where we can go, Mary Where I can get
a good job and start out all over again clean Oh, I got contacts
deep in Mexico where the servants have been seen
Escrita
por Roger Waters e Richard Wright, sendo a música de Richard e a
letra de Roger, foi gravada em 1 de junho de 1972 e terminada em 9 de
janeiro de 1973. Foi lançada em 1 de março de 1973 no disco The
dark side of the moon e depois foi lançada em 4 de fevereiro de
1974, com Time no Lado B. Trata-se de uma canção calma no tom e na
dinâmica, com uma forte influência de jazz, ainda que no refrão
fique mais barulhenta. Tem dois solos de sax. A música foi escrita
ainda 1969 e tinha o título de The Violet Sequence. A letra fala da
natureza da guerra e da ignorancia do dia-a-dia dos humanos que foram
tomados pelos consumismo e materialismo. O primeiro verso é sobre ir
pra uma guerra. Como no front não temos a chance de se comunicar com
os outros, porque alguém decidiu que não devemos. O segundo verso é
sobre liberdade civil e racismo. O terceiro verso é sobre passar por
um sujeito na rua que pede esmola e não ajudá-lo. David Gilmour
toca guitarra elétrica e canta os versos e refrão. Richard Wright
toca orgao Hammond, piano e faz harmonias vocais no refrão. Roger
Waters toca baixo e Nick Mason toca bateria. Dick Parry toca sax.
Lesley Dundan, Doris Troy, Barry St. John e Liza Strike fizeram
backing vocals.
A
letra:
Us
and them And after all, we're only ordinary men Me and you God
only knows, it's not what we would choose to do
Forward he cried from
the rear And the front rank died The General sat, and the lines
on the map Moved from side to side
Black and blue And
who knows which is which and who is who Up and down And in the
end, it's only round and round and round
Haven't you heard it's
a battle of words The poster bearer cried Listen son, said the
man with the gun There's room for you inside
(Well I mean, They're
maybe gonna kill ya. So like, if you give 'em a quick, short,
sharp, shock, they don't do it again. Dig it? I mean he get off
light, come to think. Of rationalising it, once. It's only a
difference, but why go and ruin it? I mean good manners don't cost
nothing, do they, eh?)
Down and out It
can't be helped, but there's a lot of it about With, without And
who'll deny it's what the fighting's all about
Out of the way, it's a
busy day I've got things on my mind For want of the price of
tea and a slice The old man died
