Escrita
por Bruce Springsteen, foi gravada em agosto e setembro de 1972 e
lançada em 5 de janeiro de 1973 no disco Greetings from Asbury Park,
N.J. É inspirada em uma viagem de onibus que Bruce fez de New Jersey
pra visitar uma namorada em Manhattan. A história se passa no
Spanish Harlem. Fala de um cartaz que ele viu com a foto da atriz
Joan Fontaine em um trem. É um passeio pelas ruas e não tem refrão.
Bruce cantou e tocou guitarra. Vini Mad Dog Lopez tocou bateria. Gary
Tallent tocou baixo e David Sancious tocou piano.
A
letra:
Hey
bus driver, keep the change Bless your children, give them names
Don't trust men who walk with canes Drink this and you'll
grow wings on your feet Broadway Mary, Joan Fontaine Advertiser
on a downtown train Oh, Christmas crier bustin' cane He's in
love again
Where dock worker's dreams mix with panther's
schemes To someday own the rodeo Tainted women in VistaVision
Perform for out-of-state kids at the late show
Wizard
imps and sweat sock pimps Interstellar mongrel nymphs Oh, Rex
said that lady left him limp Love's like that (sure it is) Oh,
Queen of diamonds, ace of spades Newly discovered lovers of the
Everglades They take out a full-page ad in the trades To
announce their arrival
And
Mary Lou, she found out how to cope She rides to heaven on a
gyroscope The Daily News asks her for the dope She said,
"Man, the dope's that there's still hope"
Senorita,
Spanish rose Wipes her eyes and blows her nose Uptown in
Harlem she throws a rose To some lucky young matador
Escrita
por Roger Waters, foi gravada em janeiro de 1973 e lançada em 1 de
março de 1973 no disco The dark side of the moon. Roger cantou com
as harmonias vocais feitas por David Gilmour e Richard Wright. Ela
encerrou esse grande disco. Quando os instrumentos param em 1 minuto
e meio, fica somente a batida de um coração até virar silêncio
total. David Gilmour gravou duas vezes a guitarra, fazendo arpégios,
em posições diferentes do braço. O quarteto de mulheres que fazem
o backign vocal variam as partes delas, aumentando o volume e eco na
medida que a peça ganha intensidade. Gerry O'Driscoll, porteiro dos
Estúdios Abbey Road, aparece no minuto 1:37 dizendo que não há
lado escuro da lua, que tudo lá é escuro, o que tem de claro é
iluminado pelo sol. No momento em que O'Driscoll estava gravando sua
parte, estava tocando no auto-falante a versão instrumental de
Ticket to ride e acidentalmente ficou gravada na edição de Eclipse.
Roger Waters tocou baixo e cantou. David Gilmour tocou as guitarras e
fez backing vocals. Richard Wright tocou orgão Hammond e fez backing
vocals. Nick Mason tocou bateria e efeitos de tape. Lesley Duncan,
Doris Troy, Barry St. John e Liza Strike fizeram os backing vocals.
A
letra:
All
that you touch And all that you see All that you taste All
you feel
And all that you
love And all that you hate All you distrust All you save
And all that you
give And all that you deal And all that you buy Beg, borrow
or steal
And all you create And
all you destroy And all that you do And all that you say
And all that you
eat And everyone you meet (everyone you meet)
And all that you
slight And everyone you fight
And all that is now And
all that is gone And all that's to come And everything under
the sun is in tune But the sun is eclipsed by the moon
Escrita
por Paul e Linda McCartney, foi gravada em setembro de 1973 e lançada
em 5 dedezembro de 1973 no disco Band on the run e depois lançada em
compacto que tinha Bluebird como Lado B em janeiro de 1974. Paul
cantou, tocou baixo, bateria e guitarra. Linda McCartney fez backing
vocals. Denny Laine tocou guitarra e fez backing vocals. Howie Caey
tocou sax.
A
letra:
Down
in the jungle, living in a tent You don't use money, you don't pay
rent You don't ever know the time But you don't mind
Ho hey ho, ho hey ho Ho
hey ho, ho hey ho
When your light is on
the blink You never think of worrying What's the use of
worrying?
When your bus has left
the stop You'd better drop your hurrying What's the use of
hurrying?
Leave me alone Mrs
Vanderbilt I've got plenty of time of my own
What's the use of
worrying? What's the use of hurrying? What's the use of
anything?
Ho hey ho, ho hey ho Ho
hey ho, ho hey ho
What's the use of
worrying? What's the use of hurrying? What's the use of
anything?
Ho hey ho, ho hey ho Ho
hey ho, ho hey ho
When your pile is one
the wane You don't complain of robbery, ah no Run away don't
bother me What's the use of worrying? (no use) What's the use
of anything?
Leave me alone Mrs
Washington I've done plenty of time on my own
What's the use of
worrying? What's the use of hurrying? (no use) What's the use
of anything?
Ho hey ho, ho hey ho Ho
hey ho, ho hey ho Ho hey ho, ho hey ho Ho hey ho, ho hey ho Ho
hey ho, ho hey ho Ho hey ho, ho hey ho Ho hey ho, ho hey ho
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!
