1343 – Paul McCartney and Wings – Nineteen hundred and eighty five (1973)

 

Escrita por Paul McCartney e Linda McCartney, foi gravada em setembro de 1973 e lançada em 5 de dezembro de 1973 no disco Band on the run e depois em 28 de junho de 1974 no compacto que tinha Band on the run como Lado A. O artista da música chega à liberdade artistica através do amor. Paul cantou, tocou guitarra, baixo, piano, teclado e bateria. Linda fez backing vocals e tocou teclado. Denny Laine cantou e tocou guitarra. Tony Visconti fez as orquestrações.

A letra:

Oh, no one ever left alive
In 1985
Will ever do

She may be right, she may be fine
She may get love but she won't get mine
'Cos I got you

Oh, I...
Oh, I...

Well I just can't get enough
Of that sweet stuff
My little lady gets behind

Shake it!
Baby, don't break it!

Oh, my mama said the time would come
When I would find myself in love with you
I didn't think, I never dreamed
That I would be around to see it all come true

Oh, I...
Oh, I...

Well I just can't get enough
Of that sweet stuff
My little lady gets behind

Oh, no one ever left alive
In 1985
Will ever do

Yeah She may be right, she may be fine
She may get love but she won't get mine
'Cos I got you

Oh, I...
Oh, I...

Well I just can't get enough
Of that sweet stuff
My little lady left behind

Band on the run!
Band on the run!
Band on the run!
Band on the run!

A versão de Paul McCartney and Wings:

A versão de Amy Slattery:

A versão de Diego Lopes e os Dinamos:

1342 – Eagles – Outlaw man (1973)

Escrita por David Blue, foi lançada em 17 de abril de 1973 no disco Desperado e depois em 6 de agosto de 1973 em um compacto que tinha Certain kind of fool como Lado B. Glenn Frey foi quem fez os vocais principais, com os outros três membros da banda fazendo as harmonias vocais. Chegou ao número 59 do Billboard Hot100. A canção foi também regravada pelo próprio David Blue. Glenn Frey cantou, tocou violão, piano e piano elétrico Wurlitzer. Bernie Leadon fez harmonias vocais e tocou guitarra solo. Randy Meisner fez harmonias vocais e tocou baixo e Don Henley fez harmonias vocais e tocou bateria.

A letra:

I am an outlaw, I was born an outlaw's son
The highway is my legacy
On the highway I will run
In one hand I've a Bible

In the other I've got a gun
Well, don' you know me
I'm the man who won

Woman don't try to love me

Don't try to understand
A life upon the road is the life of an outlaw man

First left my woman, it was down in Santa Fe
Headed for Oklahoma, I was ridin' night and day
All of my friends are strangers
They quickly come and go

And all my love's in danger
'Cause I steal hearts and souls

Woman, don't try to love me
Don't try to understand a life upon
The road is the life of an outlaw man
Ooh

Woman, don't try to love me
Don't try to understand
A life upon the road is the life of an outlaw man

Some men call me Abel
Some men call me Cain,
Some men call me sinner, Lord
Some men call me saint

Some say there's a Jesus
Some men say there ain't
When you got no life to lose
Then there's nothin' left to gain
Outlaw man
Outlaw man

A versão dos Eagles:

A versão de David Blue:

A versão de Larry L:

1341 – Bob Marley and The Wailers – No more trouble (1973)

 

Escrita por Bob Marley, foi gravada entre maio e outubro e 1972 e 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 backing vocals. Bunny Wailer tocou bongôs, congas e fez backing vocals. Aston Barrett tocou baixo. Carlton Barrett tocou bateria. Rita Marley e Marcia Griffiths fizeram backing vocals.

A letra:

(We don't need) No, we don't need (no more trouble) no more trouble!
(We don't need no more trouble)

Wo! Oh-oh-oh!
(We don't need) We don't need no (no more) trouble!
We don't need no trouble!

(We don't need no more trouble)
Make love and not war! 'Cause we don't need no trouble.
What we need is love (love)
To guide and protect us on. (on)
If you hope good down from above, (love)
Help the weak if you are strong now. (love)

We don't need no trouble;
What we need is love. Oh, no!
We don't need - we don't need - no more trouble!
Lord knows, we don't need no trouble!

(We don't need) We don't need no trouble (no more trouble) -
no more trouble - no more trouble!
Seek happiness! (...) Oh, ...!
Come on, you all and speak of love. (...) Oh, yeah!

We don't need no trouble;
What we need is love, now. (What we need is love!)
(We don't need) Oh, we don't need no more trouble!
We don't need, no - we don't need no trouble!
We don't (need) - no, brothers and sisters ... (no more trouble!)

We don't need no trouble; we don't need no trouble!
We don't need no trouble!
What we need is love!

We don't need - we don't need no more - we don't need -
no more trouble - we don't need no more trouble!
Trouble we don't need (we don't need),
(We don't need) Lord, knows! -
we don't need no more war (no more trouble).
No more trouble - we don't need no more - more trouble! [fadeout]

A versão de Bob Marley and The Wailers:

A versão de Packasz:

A versão de Erykah Badu:

1340 – Lynyrd Skynyrd – Tuesday's gone (1973)

 

Escrita por Ronnie Van Zant e Allen Collins, foi gravada em 3 de abril de 1973 no Studio One, em Doraville, Georgia e lançada em 13 de agosto de 1973 no disco Pronounced 'leh-'nérd 'skin'-nérd. Al Kooper tocou o mellotron no refrão. É uma das poucas canções que Bob Burns, fundador e baterista, não toca. Robert Nix, um baterista de estúdio, tocou no seu lugar. Foi regravada pelo Metallica e Hank Williams Jr., entre outros artistas.

A letra:

Train roll on
On down the line, won't you
Please take me far away

Now I feel the wind blow
Outside my door, means I'm
I'm leaving my woman at home, Lordy

Tuesday's gone with the wind
Oh, my baby's gone, with the wind

And I don't know
Oh, where I'm going
I just want to be left alone

Well, when this train ends
I'll try again, oh but I'm
I'm leaving my woman at home, Lordy

Tuesday's gone, with the wind
Tuesday's gone, with the wind
Tuesday's gone, with the wind
My baby's gone, with the wind

Train roll on
Tuesday's gone

The train roll on
A many miles from my home, see I'm
I'm riding my blues away, yeah

Well Tuesday, you see
Oh, she had to be free, Lord but
Somehow I got to carry on, Lordy

Tuesday's gone, with the wind
Tuesday's gone, with the wind
Tuesday's gone, with the wind, oh
My baby's gone, with the wind

Train, roll on, ooh

'Cause my baby's gone
I'm riding my blues babe
Trying to ride my blues
Ride on train
Ride on train
Ride my blues, babe
Come back to me, babe
Come back to me, oh, train

A versão do Lynyrd Skynyrd:

A versão do Metallica:

A versão de Hank Williams Jr.:

1339 – Bruce Springsteen – Incident on 57th street (1973)

 

Escrita por Bruce Sringsteen, foi gravada em 1973 no 914 Sound Studios em Blauvelt, em New York e lançada em 11 de setembro de 1973 no disco The wild, the innocent & the E street shuffle. O tema é redenção, um tema que ele viria a voltar várias vezes. A historia se passa em New York City e conta a história de um Spanish Johnny e uma Perto Rico Jane. É como se fosse uma West Side Story com Romeu e Julieta, com personagens latinos em NYC. Johnny é chamado de um cool Romeo e Jane de Late Juliet. Johnny vai pra Midtown Manhattan depois de levar uma surra ao tentar trabalhar como um prostituto. Apesar de ser rejeitado por todos, Jane dá colo a ele, dizendo Johnny não chore. Eles dormem juntos mas quando seus velhos amigos o chamam pra um programa, ele a deixa. Ela concorda mas pede que ele volte. Ele diz que sim mas não sabe se será capaz. O cantor não diz qual o fim, deixando a cargo do ouvinte decidir. David Sancious toca piano e Bruce canta e toca guitarra. Vini Lopez toca bateria. Danny Federici tocou orgao. Gary Tallent tocou baixo.

A letra:

Spanish Johnny drove in from the underworld last night
With bruised arms and broken rhythm and a beat-up old Buick but dressed just like dynamite
He tried sellin' his heart to the hard girls over on easy Street
But they said, Johnny, it falls apart so easy, and you know hearts these days are cheap

And the pimps swung their axes and said, Johnny, you're a cheater
And the pimps swung their axes and said, Johnny, you're a liar
And from out of the shadows came a young girl's voice
Said, Johnny, don't cry

Puerto Rican Jane, oh, won't you tell me, what's your name?
I want to drive you down to the other side of town
Where paradise ain't so crowded and there'll be action goin' down on Shanty Lane tonight
All the golden-heeled fairies in a real bitch-fight
Pull thirty-eight's and kiss their girls goodnight

Oh, goodnight, it's alright, Jane
Now let them black boys in to light the soul flame
We may find it out on the street tonight, baby
Or we may walk until the daylight, maybe

Well, like a cool Romeo he made his moves, oh, she looked so fine
Like a late Juliet, she knew she'd never be true but then, she didn't really mind
Upstairs a band was playin' and the singer was singin' something about going home
She whispered, Spanish Johnny, you can leave me tonight, but just don't leave me alone

And Johnny cried, Puerto Rican Jane, word is down, the cops have found the vein
Oh, them barefoot boys left their homes for the woods
Them little barefoot street boys, they said their homes ain't no good
They left the corners, threw away all of their switchblade knives
And kissed each other goodbye

Johnny was sittin' on the fire escape, watchin' the kids playin' down the street
He called down, hey little heroes, summer's long, but I guess it ain't very sweet around here anymore
Janey sleeps in sheets damp with sweat
Johnny sits up alone and watches her dream on, dream on

And the sister prays for lost souls, then breaks down in the chapel after everyone's gone

Jane moves over to share her pillow but opens her eyes to see Johnny up and putting his clothes on
She says, those romantic young boys (those romantic young boys), all they ever want to do is fight
Those romantic young boys (those romantic young boys), they're callin' through the window
Hey, Spanish Johnny, you want to make a little easy money tonight?

And Johnny whispered, goodnight, it's all tight, Jane
I'll meet you tomorrow night on lover's lane
We may find it out on the street tonight, now, baby
Or we may walk until the daylight, maybe

Oh, goodnight, it's alright, Jane
I'm gonna meet you tomorrow night on lover's lane
Oh, we can find it out on the street tonight, baby
Or we may walk until the daylight, maybe

Ah, goodnight, it's alright, Jane
I'll meet you tomorrow night on lover's lane
Oh, we may find it out on the street tonight, baby
Or we may have to walk until the daylight, maybe (goodnight it's alright, Jane)

A versão de Bruce Springsteen:

A versão de Jon Latham:

A versão de Hans Ludvigsson:

1338 – Bruce Springsteen – Wild Billy's Circus story (1973)

 

Escrita por Bruce Springsteen, foi gravada entre maio e junho de 1973, no 914 Sound Studios, em Blauvelt, New York e lançada no disco The wild, the innocent & the E street shuffle, em 5 de novembro de 1973. Foi a primeira música a ser gravada do disco. Bruce Springsteen tocou guitarra, gaita, bandolin e cantou. Clarence Clemons tocou sax e fez backing vocals. David Sancious tocou piano, e orgão Hammond. Danny Federici tocou acordeon e fez backing vocals. Garry Tallent tocou baixo. Vini Lopez tocou bateria. Richard Blackwell tocou percussão e congas.

A letra:

Ah, one, two, three four

The machinist climbs his Ferris wheel like a brave
And the fire-eater's lyin' in a pool of sweat, victim of the heat wave
Behind the tent, the hired hand tightens his legs on the sword swallower's blade
The Circus town's on the shortwave

Well, the runway lies ahead like a great false dawn
Oh, fat lady, big mama, Missy Bimbo sits in her chair and yawns
And the man-beast lies in his cage sniffin' popcorn
And the midget licks his fingers and suffers Missy Bimbo's scorn
The Circus town's been born

Oh, and a press roll drummer go, ballerina to-and-fro
Cartwheelin' up on that tightrope
With a cannon blast, lightnin' flash, movin' fast through the tent, Mars-bent
He's gonna miss his fall, oh, God save the human cannonball
And the flyin' Zambinis watch Margarita do her neck twist
And the ringmaster gets the crowd to count along, ninety-five, ninety-six, ninety-seven

A ragged suitcase in his hand, he steals silently away from the circus grounds
And the highway's haunted by the carnival sounds
They dance like a great greasepaint ghost on the wind
A man in baggy pants, a lonely face, a crazy grin
Runnin' home to some small Ohio town

Jesus, send some good women to save all your clowns

And circus boy dances like a monkey on barbed wire
And the barker romances with a junkie, she's got a flat tire
And now the elephants dance real funky and the band plays like a jungle fire
The Circus town's on the live wire

And the strong man Samson lifts the midget, little Tiny Tim, way up on his shoulders, way up
And carries him on down the midway, past the kids, past the sailors, to his dimly lit trailer
And the Ferris wheel turns and turns like it ain't ever gonna stop
And the circus boss leans over and whispers into the little boy's ear
Hey, son, you want to try the big top?
All aboard, Nebraska's our next stop

A versão de Bruce Springsteen:

A versão de Alan Boyd:

A versão de James Caisey:

1337 – Paul McCartney and Wings – Bluebird (1973)

 

Escrita por Paul McCartney e Linda McCartney, foi gravada em setembro de 1973 e lançada em 5 de dezembro de 1973 no disco Band on the run e lançada em um compacto que tinha Mrs. Vandebilt como Lado A. Foi escrita durante umas férias na Jamaica. Apesar das outras canções terem sido gravadas em Lagos, na Nigéria, Bluebird foi gravada em Londres, no AIR Studios. O percussionista Remi Kabaka era de Lagos mas estava em Londres quando a canção foi gravada. Um dos pontos altos da música é o solo de sa tocado por Howie Casey. Paul cantou, tocou violão e baixo. Linda fez harmonias vocais. Denny Laine tocou violão e fez harmonias vocais. Rolling Stone Magazine disse que Bluebird era a décima quarta melhor canção de Paul na era pós Beatles. Disse ainda que o violão tinha um estilo Bossa Nova.

A letra:

Late at night when the wind is still
I'll come flying through your door
And you'll know what love is for

I'm a bluebird, I'm a bluebird
I'm a bluebird, l'm a bluebird
Yeah, yeah, yeah

I'm a bluebird, I'm a bluebird
I'm a bluebird
Yeah, yeah, yeah

Touch your lips with a magic kiss
And you'll be a bluebird too
And you'll know what love can do

I'm a bluebird, I'm a bluebird
I'm a bluebird, l'm a bluebird
Yeah, yeah, yeah

I'm a bluebird, I'm a bluebird
I'm a bluebird
Yeah, yeah, yeah

Bluebird (bluebird) ah, ha
Bluebird (bluebird) ah ha
Bluebird (bluebird) ah ah ah

Fly away through the midnight air
As we head across the sea
And at last we will be free

You're a bluebird, you're a bluebird
You're a bluebird, you're a bluebird
Yeah, yeah, yeah

You're a bluebird, you're a bluebird
You're a bluebird
Yeah, yeah, yeah

Bluebird (bluebird) ah, ha
Bluebird (bluebird) ah ha
Bluebird (bluebird) ah ah ah

At last we will be free
Bluebird you're like me

At last we will be free

Bluebird (bluebird) ah, ha
Bluebird (bluebird) ah, ha
Bluebird (bluebird) ah ah ah

All alone on a desert island
We're living in the trees
And we're flying in the breeze

We're the bluebirds, we're the bluebirds
We're the bluebirds, we're the bluebirds

Singing, bluebird (bluebird) ah, ha
Bluebird (bluebird) ah, ha
Bluebird (bluebird) ah, ha

A versão de Paul McCartney and Wings:

A versão de Jnb432:

Jesse and The Dandelions:

1336 – Eagles – Tequila Sunrise (1973)

Escrita por Don Henley e Glenn Frey, foi lançada em 17 de abril de 1973 no disco Desperado e em um compacto que tinha Twenty-one como Lado B. Chegou ao número 64 no Billboard Hot 100 e número 68 no Canadá. Foi regravada por Alan Jackson. Henley e Frey não compuseram nenhuma canção pro disco de estréia da banda e então decidiram se juntar pra compor pro segundo disco. Logo na primeira semana fizeram Tequila Sunrise e Desperado. Frey disse que a canção veio deitado no sofá, com um riff metade mexicano e metade Roy Orbison. Fala de um cocktail que era muito popular na época. A frase take another shot of courage foi inserida pois eles chamavam tequila de Instant Courage. Eles disseram que quando queriam falar com uma menina e não tinham coragem e bastava tomar uns shots de tequila e partiam pro ataque. Glenn Frey canta e toca violão. Don Henley toca bateria, maracas e faz backing vocals. Randy Meisner toca baixo e faz backing vocals. Bernie Leadon tocou guitarra elétrica, os solos de violão e faz backing vocals.

A letra:

It's another tequila sunrise
Stirrin' slowly cross the sky
I said goodbye

He was just a hired hand
Workin' on a dream's he planned to try
The days go by

(O-o-o-h...) Every night when the sun goes down
(O-o-o-h...) Just another lonely boy in town
(O-o-o-h...) She's out runnin' round

She wasn't just another woman
And I couldn't keep from comin' on
It's been so long

Oh and it's a hollow feelin'
When it comes down to dealin' friends
It never ends

(O-o-o-h...) Take another shot of courage
(O-o-o-h...) Wonder why the right words never come...
You just get numb...

It's another tequila sunrise
This old world still looks the same
Another frame

O-o-o-h... ooh

A versão dos Eagles:

A versão de Alan Jackson:

A versão de Covers Band:

 

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: