1335 – Bob Marley and The Wailers – Baby we've got a date (Rock it baby) (1973)

 

Escrita por Bob Marley, foi gravada em entre maio e outubro de 1972 e lançada em 13 de abril de 1973 no disco Catch a fire, de Bob Marley and The Wailers. Wayne Perkins tocou a slide guitar. Bob Marley cantou e tocou guitarra. Peter Tosh tocou orgao, guitarra, piano e vocais. Bunny Wailer tocou bongô, congas e vocais. Aston Barrett tocou baixo. Carlton Barrett tocou bateria. Rita Marley e Marcia Griffiths fizeram backing vocals.

A letra:

Baby, baby, we've got a date; (ooh-hoo, ooh-hoo)
Oh, baby, baby, don't you be late. Oh, baby!

I'll meet you at your house at a quarter to eight. (ooh-hoo, ooh-hoo)
Oh, darlin', baby, baby, just you have some faith!

I promise you, we're gonna (rock it, baby; rock it, baby, tonight)
To (rock it, baby; rock it, baby, tonight)
Gonna (rock it, baby; rock it, baby, tonight)
Baby, (rock it, baby; rock it, baby, tonight)

Wo-oh, na na-na, na na-na, na na!

Oh, we walk through the pale moonlight
With our love that is right
Oh, my, my, my, ye-ah!

Oh, so happy we will be
Sharing the love that is free!

Oh, darlin', say we got to get together, baby, (tonight)
Say we got to get together, babe, (tonight). Get together, babe!
Got to get together, babe, (tonight!)

Oh, Baby, we've got a date, don't you remember?
Baby, baby, don't you be late. Please don't forget
I'll meet you at your house at a quarter to eight. Oh, baby!
Baby, baby, just you have some faith! Wo, now!

Say we gonna rock it - rockin'!
(Rock it, baby; rock it, baby, tonight.)
Say we (rock it, baby; rock it, baby, tonight)
We gonna (rock it, baby), wo! (Rock it, baby, tonight)
Say we (rock it, baby) eh! (Rock it, baby, tonight.)
Say we got to get together, babe, (tonight)
Baby, baby, wo! (Say we got to get together, babe, tonight!)
Say we got to get together, babe, (tonight). Are you sure ...?
(Say we got to get together, babe, tonight). Wo!

Gonna (rock it, baby), baby; (Rock it, baby, tonight!)
Eh! (Rock it, baby), oh, baby! (Rock it, baby, tonight!)
Oh! (Got to get together, babe, tonight!)
Got to get together, babe, (tonight)
Say we (got to get together, babe, tonight)
(Got to get together, babe) Eh! Oh-oh, baby! (tonight)

Oh, baby, baby, we've got that date
(Rock it, baby; rock it, baby, tonight)
(Rock it, baby; rock it, baby, tonight)
Baby, baby, don't you be late!
(Rock it, baby; rock it, baby, tonight)
(Rock it, baby; rock it, baby, tonight!) Oh, now!
I'll meet you at your house at a quarter to eight
(Rock it, baby; rock it, baby, tonight)
(Rock it, baby; rock it, baby, tonight!)
Oh, darlin'!

A versão de Bob Marley and The Wailers:

A versão de Igor Salify:

A versão de Stephen Marley:

1334 – John Lennon – Out the blue (1973)

Escrita por John Lennon, foi gravada em julho e agosto de 1973 e lançada no disco Mind Games, em 16 de novembro de 1973. Mais uma vez, é dedicada à Yoko Ono. Foi gravada enquanto eles estavam separados. John cantou e tocou violão. David Spinozza tocou guitarra. Pete Kleinow tocou pedal steel guitar. Ken Ascher tocou teclado. Gordon Edwards tocou baixo. Jim Keltner tocou bateria e Something different fizeram os backing vocals.

A letra:

Out the blue you came to me
And blew away life's misery
Out the blue life's energy
Out the blue you came to me

Everyday I thank the Lord and Lady
For the way that you came to me
Anyway, it had to be
Two minds, one destiny

Out the blue you came to me
And blew away life's misery
Out the blue life's energy
Out the blue you came to me

All my life's been a long slow knife
I was born just to get to you
Anyway, I survived
Long enough to make you my wife

Out the blue you came to me
And blew away life's misery
Out the blue life's energy
Out the blue you came to me

Like a UFO you came to me
And blew away life's misery
Out the blue life's energy
Out the blue you came to me

A versão de John Lennon:

A versão de Salvador Beat:

A versão de Arion Salazar:

 

1333 – Bruce Springsteen – Does this bus stop at 82nd street? (1973)

 

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

A versão de Bruce Springsteen:

A versão de Zerobio:

A versão de Phil Cohen:

1332 – Pink Floyd – Eclipse (1973)

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

A versão do Pink Floyd:

A versão de Diane Coffee:

A versão de Atom Pnk Floyd Tribute:

1331 – Paul McCartney and Wings – Mrs. Vandebilt (1973)

 

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

A versão de Paul McCartney and Wings:

A versão de Diego Lopes e os Dinamos:

A versão de Evgeny Bondarenko:

1330 – Paul Simon – Take me to the Mardi Gras (1973)

 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

A versão de Paul Simon:

A versão de Simon Hierle:

A versão de Turquoise:

1329 – Bob Marley – Midnight ravers (1973)

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'.

A versão de Bob Marley and The Wailers:

A versão de Mo Reggae Vibes:

A versão de Julian Marley and The Wailers:

1328 – John Lennon – One day (At a time) (1973)

 

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

A versão de John Lennon:

A versão dos Raveonettes:

A versão de Danny McEvoy:

1327 – Bruce Springsteen – For you (1973)

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

A versão de Bruce Springsteen:

A versão de Manfred Mann's Earth Band:

A versão de Greg Kihn Band:

1326 – Pink Floyd – Brain damage (1973)

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:

1325 – Paul McCartney and Wings – Jet (1973)

 

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

Jet, ooh

A little lady
Oh, yeah, yeah, yeah, yeah

A versão de Paul McCartney and Wings:

A versão do Soles Music:

A versão do Last Licks: