1372 – Billy Joel – You're my home (1973)

 

Escrita por Billy Joel, foi gravada em setembro de 1973 em Los Angeles, California e lançada em 9 de novembro de 1973 no disco Piano man. Saiu também em compacto que tinha Piano man como Lado A. Foi escrita pra primeira esposa de Joel, Elizabbeth Weber porque ele não tinha dinheiro pra comprar nada pra ela no dia dos namorados, então fez essa música de presente. O astronauta Kenneth Ham escolheu essa canção para despertador em maio de 2010 e os astronautas na missão STS-132 foram acordados com ela.

A letra:

When you look into my eyes
And you see the crazy gypsy in my soul
It always comes as a surprise
When I feel my withered roots begin to grow

Well I never had a place that I could call my very own
That's all right, my love, 'cause you're my home

When you touch my weary head
And you tell me everything will be all right
You say, "Use my body for your bed
And my love will keep you warm throughout the night"

Well, I'll never be a stranger and I'll never be alone
Wherever we're together, that's my home

Home can be the Pennsylvania Turnpike
Indiana's early morning dew
High up in the hills of California
Home is just another word for you

Well I never had a place that I could call my very own
That's all right, my love, 'cause you're my home

If I travel all my life
And I never get to stop and settle down
Long as I have you by my side
There's a roof above and good walls all around

You're my castle, you're my cabin and my instant pleasure dome
I need you in my house 'cause you're my home
You're my home

A versão de Billy Joel:

A versão de Larry L:

A versão de Robbie Peaple:

1371 – Bachman-Turner Overdrive – Taking care of business (1973)

 

Escrita por Randy Bachman, foi gravada em 1973 e lançada no disco Bachman-Turner Overdrive II, em dezembro de 1973. Depois saiu em um compacto que tinha Stonegates como Lado B. Essa foi Randy quem cantou. Foi inspirada num técnico de som da antiga banda The Guess Who, que sempre pegava o trem das 8:15 pra ir pro trabalho. A letra é uma ironia pra quem acha que um cara que vive de música não trabalha. Foi gravada em Seattle, Washington, no Kaye Smith Studios e tem Norman Durkee no piano. Chegou ao número 12 no Billboard Hot100, número 14 na Austrália e número 3 no Canadá. Randy Bachman cantou e tocou guitarra solo. Tim Bachman tocou guitarra solo e fez backing vocals. Fred Turner tocou baixo e fez backing vocals. Robbie Bachman tocou bateria e percussão. E Norman Durkee tocou piano, como dito anteriormente. Ele estava gravando um comercial na sala ao lado e pediram pra ele tocar.

A letra:

You get up every morning from your alarm clock's warning
Take the 8:15 into the city
There's a whistle up above and people pushin', people shovin'
And the girls who try to look pretty

And if your train's on time, you can get to work by nine
And start your slaving job to get your pay
If you ever get annoyed, look at me I'm self-employed
I love to work at nothing all day

And I'll be taking care of business (every day)
Taking care of business (every way)
I've been taking care of business (it's all mine)
Taking care of business and working overtime, work out

If it were easy as fishin' you could be a musician
If you could make sounds loud or mellow
Get a second-hand guitar, chances are you'll go far
If you get in with the right bunch of fellows

People see you having fun just a-lying in the sun
Tell them that you like it this way
It's the work that we avoid, and we're all self-employed
We love to work at nothing all day

And we be taking care of business (every day)
Taking care of business (every way)
We be been taking care of business (it's all mine)
Taking care of business and working overtime

Mercy
Whoo
All right

Take good care of my business
When I'm away, every day
Whoo

They get up every morning from their alarm clock's warning
Take the 8:15 into the city
There's a whistle up above and people pushin', people shovin'
And the girls who try to look pretty

And if your train's on time, you can get to work by nine
And start your slaving job to get your pay
If you ever get annoyed, look at me I'm self-employed
I love to work at nothing all day

And I be taking care of business (every day)
Taking care of business (every way)
I've been taking care of business (it's all mine)
Taking care of business and working overtime, take care

Takin' care of business, whoo

Takin' care of business
Takin' care of business
Takin' care of business
Takin' care of business (every day)
Takin' care of business (every way)
Takin' care of business (it's all mine)
Takin' care of business and working overtime, whoo

Takin' care of business
Takin' care of business
We be takin' care of business
We be takin' care of business
Takin' care of business
Takin' care of business
Takin' care of business

A versão de Bachman Turner Overdrive:

A versão de New Fortune:

A versão de Flatirons Community Church:

1370 – David Bowie – Drive-in Saturday (1973)

 

Escrita por David Bowie, foi gravada Nova York, em 9 de setembro de 1972 e lançada em 6 de abril de 1973 no compacto que tinha Round and round como Lado B. Depois saiu no disco Aladdin Sane em 13 de abril de 1973. Chegou ao TOP3 no Reino Unido. Tem uma forte influencia do doo-wop dos anos 50. Fala sobre oa habitantes de uma era pós-apocaliptica, do ano de 2033, esquerecem de como fazer amor e precisaram assistir a filmes ponô para saber como é feito. Tem sintetizador e sax. Fala de Mick Jagger, Twig e Carl Jung. Foi produzida por Ken Scott e o próprio David Bowie. Bowie cantou e fez backing vocals e tocou violão e Sintetizador Moog. Mick Ronson tocou guitarra. Trevor Bolser tocou baixo. Mick Woodmansey tocou bateria. Mike Garson tocou mellotron. David Sanbord tocou sax tenor e G.A. MacCormack fez backing vocals. Foi regravada pelo Def Leppard e por Morrissey, entre outros artistas.

A letra:

Let me put my arms around your head
(Dom do ah) Gee, it's hot, let's go to bed
Don't forget to turn on the light
Don't laugh babe, it'll be alright

(Dom do ah) Pour me out another phone
(Dom do ah) I'll ring and see if your friends are home
Perhaps the strange ones in the dome
Can lend us a book we can read up alone

And try to get it on like once before
When people stared in Jagger's eyes and scored
Like the video films we saw

His name was always buddy (got got do ah aah aah)
And he'd shrug and ask to stay
She'd sigh like twig the wonder kid (got got do ah)
And turn her face away

She's uncertain if she likes him (got got do ah aah aah)
But she knows she really loves him
It's a crash course for the ravers (got got do ah)
It's a drive-in Saturday

Jung the foreman prayed at work (dom do ah)
Neither hands nor limbs would burst
It's hard enough to keep formation with this fall out saturation

Cursing at the astronette
(Dom do ah) who stands in steel by his cabinet
He's crashing out with Sylvian
The bureau supply for aging men
With snorting head he gazes to the shore
Once had raised a sea that raged no more
Like the video films we saw

His name was always buddy (got got do ah aah aah)
And he'd shrug and ask to stay
She'd sigh like twig the wonder kid (got got do ah)
And turn her face away

She's uncertain if she likes him (got got do ah aah aah)
But she knows she really loves him
It's a crash course for the ravers (got got do ah)
It's a drive-in Saturday

His name was always buddy (got got do ah aah aah)
And he'd shrug and ask to stay
She'd sigh like twig the wonder kid (got got do ah)
And turn her face away

She's uncertain if she likes him (got got do ah aah aah)
But she knows she really loves him
It's a crash course for the ravers (got got do ah)
It's a drive-in Saturday, yeah, yeah

It's a, it's a, it's a drive in Saturday (It's a drive-in Saturday)
It's a, it's a, it's a, yes sir, yes sir, yes sir, yes sir, yes sir,
Yes sir
(It's a drive-in Saturday) dom do do do, dom do do do
(It's a drive-in Saturday) dom do do da, dom do do da
(It's a drive-in Saturday) yes sir
(It's a drive-in Saturday)

A versão de David Bowie:

A versão de Frank Watkinson:

A versão de Nick Stepheson:

1369 – Bruce Springsteen – It's hard to be a saint in the city (1973)

 

Escrita por Bruce Springsteen, foi gravada em 1972 e lançada em 5 de janeiro de 1973 no disco Greetings from Asbury Park, N.J., seu disco de estréia. Fala sobre um jovem crescendo nas ruas de uma cidade e que tenta ser bom e tenta fazer o que acredita ser o certo. Mas que a vida da cidade pua-o para atividades erradas. Essa canção impressionou Mike Appel de tal maneira que ele largou seu emprego pra se tornar empresário de Bruce, embora o mesmo nem um contrato de gravação tinha ainda. Foi tambem a prmeira canção que Bruce cantou na sua audição na CBS, com John Hammond e que deu a ele o sonhado contrato, em 2 de maio de 1972. Bruce cantou e tocou guitarra. Vini Mad Dog Lopez tocou bateria. Gary Tallent tocou baixo e David Sancious tocou piano.

A letra:

I had skin like leather and the diamond-hard look of a cobra
I was born blue and weathered but I burst just like a supernova
I could walk like Brando right into the sun
Then dance just like a Casanova

With my blackjack and jacket and hair slicked sweet
Silver star studs on my duds like a Harley in heat
When I strut down the street I could feel its heartbeat
The sisters fell back and said "Don't that man look pretty"
The cripple on the corner cried out "Nickels for your pity"
Them gasoline boys downtown sure talk gritty
It's so hard to be a saint in the city

I was the king of the alley, mama, I could talk some trash
I was the prince of the paupers crowned downtown at the beggar's bash
I was the pimp's main prophet I kept everything cool
Just a backstreet gambler with the luck to lose

And when the heat came down it was left on the ground
The devil appeared like Jesus through the steam in the street
Showin' me a hand I knew even the cops couldn't beat
I felt his hot breath on my neck as I dove into the heat
It's so hard to be a saint when you're just a boy out on the street

And the sages of the subway sit just like the living dead
As the tracks clack out the rhythm their eyes fixed straight ahead
They ride the line of balance and hold on by just a thread
But it's too hot in these tunnels you can get hit up by the heat
You get up to get out at your next stop but they push you back down in your seat
Your heart starts beatin' faster as you struggle to your feet
Then you're outa that hole and back up on the street

And them South Side sisters sure look pretty
The cripple on the corner cries out "Nickels for your pity"
And them downtown boys they sure talk gritty
It's so hard to be a saint in the city

A versão de Bruce Springsteen:

A versão de David Bowie:

A versão de Tornsten Q:

1368 – Tony Orlando and Dawn – Tie a yellow ribbon round the ole oak tree (1973)

 

 

Escrita por Irwin Levine e L. Russell Brown, foi gravada em janeiro de 1973 por Tony Orlando com Dawn e lançada em 19 de fevereiro de 1973 no compacto que tinha I can't believe how much I love you como Lado B. Teve backing vocal de Telma Hopkins, Joyce Vincent Wilson e Pamela Vincent. Foi TOP10 em dez países e oito deles ficou em primeiro lugar. Chegou ao primeiro lugar no Billboard HOT100 e também no Reino Unido. Foi o compacto que também mais vendeu nos Estados Unidos e Reino Unido em 1973. em 2008, Billboard disse que essa canção era número 37 maior canção de todos os tempos. A canção é cantada sob o ponto de vista de alguém que passou um tempo na prisão mas que não sabe se ele vai ser bem recebido quando sair. Ele então escreve uma carta pro seu amor pedindo que se ela ainda quiser ficar com ele, que amarre uma fita amarela no velho pé de carvalho que existe no caminho que o ônibus fará. Se ela não amarrar a fita amrela, ele não a procurará mais. Pra sua surpresa, ele encontra 100 fitas amarelas amarradas e entende que sua amada ainda o quer. Além de número 1 nos Estados Unidos e Reino Unido, ela foi primeiro lugar na Austra;ia, Bélgica, Canadá, Irlanda, Holanda, Nova Zelandia, Noruega e Africa do Sul. Foi regravada por Bing Crosby, Domenico Modugno, Perry Como, Dean Martin, Frank Sinatra, Bobby Goldsboro e Dolly Parton, entre outros artistas.

A letra:

I'm comin' home, I've done my time
Now I've got to know what is and isn't mine
If you received my letter telling you I'd soon be free
Then you'll know just what to do
If you still want me, if you still want me

Whoa, tie a yellow ribbon 'round the ole oak tree
It's been three long years, do you still want me?
If I don't see a ribbon round the ole oak tree
I'll stay on the bus, forget about us, put the blame on me
If I don't see a yellow ribbon 'round the ole oak tree

Bus driver, please look for me
'Cause I couldn't bear to see what I might see
I'm really still in prison and my love, she holds the key
A simple yellow ribbon's what I need to set me free
And I wrote and told her please

Whoa, tie a yellow ribbon 'round the ole oak tree
It's been three long years, do you still want me?
If I don't see a ribbon round the ole oak tree
I'll stay on the bus, forget about us, put the blame on me
If I don't see a yellow ribbon 'round the ole oak tree

Now the whole damned bus is cheerin'
And I can't believe I see

A hundred yellow ribbons round the ole oak tree
I'm comin' home

Tie a ribbon 'round the ole oak tree
Tie a ribbon 'round the ole oak tree
Tie a ribbon 'round the ole oak tree
Tie a ribbon 'round the ole oak tree

A versão de Tony Orlando com Dawn:

A versão de Frank Sinatra:

A versão de Dean Martin:

1367 – Jackson Browne – These days (1973)

Escrita por Jackson Browne, foi gravada inicialmente por Nico, em 1967. Browne tinha apenas 16 anos de idade quando a fez. Fala de perda e arrependimento. Gregg Allman gravou-a em 1973 e então Jackson deicidiu gravar sua versão também e foi a escolhida por mim como a versão da minha lista. Foi regravada também por Jennifer Warnes antes de Browne. Na gravação de Browne, você pode ouvir David Lindley tocando slide guitar em toda a canção. Jim Keltner tocou a bateria e David Paich tocou piano. Depois de 1973 foi regravada por Cher, Glenn Campbell, Don Henley, Drake e Miley Cyrus, entre outros artistas.

A letra:

Well I've been out walking
I don't do that much talking these days
These days

These days I seem to think a lot
About the things that I forgot to do
For you
And all the times I had the chance to

And I had a lover
But It's so hard to risk another these days
These days-

Now if I seem to be afraid
To live the life that I have made in song
Well it's just that I've been losing so long

But I'll keep on moving
Things are bound to be improving these days
One of These days

These days I sit on corner stones
And count the time in quarter tones to ten, my friend
Don't confront me with my failures
I had not forgotten them

A versão de Jackson Browne:

A versão de Don Henley:

A versão de Cher:

1366 – Billy Joel – Piano man (1973)

 

Escrita por Billy Joel, foi gravada em setembro de 1973 e lançada em 2 de novembro de 1973 no compacto que tinha You're my home como Lado B. Foi lançada também no disco de mesmo nome, em 9 de novembro de 1973. Foi o primeiro compacto de Joel na América do Norte. É cantada sob o ponto de vista de um tocador de piano em um bar, baseado na vida real de Joel enquanto era tocador de piano nos bares de Los Angeles, de 1972 à 1973. Ele fez isso pra escapar de um contrato que havia feito em New York. Como não podia usar seu nome conhecido, disse que seu nome era Bill Martin, afinal seu nome verdadeiro é William Martin Joel. Todos os nomes da música são pessoas reais. Chegou ao número 25 no Billboard Hot100. Chegou ao número 10 no Canadá. Em 2015, a Library of Congress selecionou Piano man para preservação no National Recording Registry pela sua significancia cultural, história e artística. John era de fato o barman. Paul era mesmo o corretor de imóveis que acreditava que escreveria um livro que faria sucesso. Sua esposa Elizabeth era a garçonete que fazia política. Ela de fato foi garçonete enquanto ele tocava lá. É a canção de número 421 das 500 greatest songs of all time da revista Rolling Stone.

A letra:

It's nine o'clock on a Saturday
The regular crowd shuffles in
There's an old man sitting next to me
Making love to his tonic and gin

He says, "Son can you play me a memory
I'm not really sure how it goes
But it's sad and it's sweet
And I knew it complete
When I wore a younger man's clothes."

Sing us a song you're the piano man
Sing us a song tonight
Well we're all in the mood for a melody
And you've got us feeling alright

Now John at the bar is a friend of mine
He gets me my drinks for free
And he's quick with a joke or to light up your smoke
But there's someplace that he'd rather be

He says, "Bill, I believe this is killing me."
As a smile ran away from his face
"Well, I'm sure that I could be a movie star
If I could get out of this place."

Now Paul is a real estate novelist
Who never had time for a wife
And he's talking with Davy, who's still in the Navy
And probably will be for life

And the waitress is practicing politics
As the businessmen slowly get stoned
Yes they're sharing a drink they call "Loneliness"
But it's better than drinking alone

Sing us a song you're the piano man
Sing us a song tonight
Well we're all in the mood for a melody
And you've got us feeling alright

It's a pretty good crowd for a Saturday
And the manager gives me a smile
'Cause he knows that it's me they've been coming to see
To forget about life for a while

And the piano it sounds like a carnival
And the microphone smells like a beer
And they sit at the bar and put bread in my jar
And say, "Man, what are you doing here?"

Sing us a song you're the piano man
Sing us a song tonight
Well we're all in the mood for a melody
And you've got us feeling alright

A versão de Billy Joel:

A versão de Liam Cooper:

A versão de Henry Newbury:

1365 – Bachman-Turner Overdrive – Let it ride (1973)

Escrita por Randy Bachman e Fred Turner, foi gravada em 1973 e lançada no disco Bachman-Turner Overdrive II, em dezembro de 1973. Foi lançada também no compacto que tinha Tramp como Lado B. Fred Turner foi quem cantou. Chegou ao número 23 do Billboard Hot100. Chegou também ao número 3 no Canadá. Foi inspirada num acidente de transito em que eles se meteram enquanto faziam uma turnê abrindo show para os Doobie Brothers. O onibus da banda foi engavetado por caminhões. Tiraram os veículos e foram pro acostamento. Os músicos foram confrontar os motoristas dos caminhões e eles disseram para os caras: “Take it easy and just let it ride”.

A letra:

Goodbye, I lied
Don't cry, would you let it ride?
Goodbye, I lied
Don't cry, would you let it ride?

You can see the morning, but I can see the light
Try, try, try, let it ride
While you've been out running, I've been waiting half the night
Try, try, try, let it ride

And would you cry if I told you that I lied?
And would you say goodbye or would you let it ride?
And would you cry if I told you that I lied?
And would you say goodbye or would you let it ride?

Seems my life is not complete, I never see you smile
Try, try, try, let it ride
Baby you want the forgiving kind, and that's just not my style
Try, try, try, let it ride

And would you cry if I told you that I lied?
And would you say goodbye or would you let it ride?
And would you cry if I told you that I lied?
And would you say goodbye or would you let it ride?

I've been doing things worthwhile, and you've been booking time
Try, try, try, let it ride

And would you cry if I told you that I lied?
And would you say goodbye, would you let it ride?
And would you cry if I told you that I lied?
And would you say goodbye or would you let it ride?

Would you let it ride? Would you let it ride?
Would you let it ride? Would you let it ride?

Try, try, try, let it ride, Try, try, try, let it ride
Try, try, try, let it ride, Try, try, try, let it ride

Try, try, try, let it ride, Try, try, try, let it ride
Try, try, try, let it ride, Try, try, try, let it ride
Try, try, try, let it ride,

Would you let it ride? Would you let it ride?
Would you let it ride? Would you let it ride?

A versão de Bachman-Turner Overdrive:

A versão de Adam Pearce:

A versão de Acoustic Bruce:

1364 – America – She's gonna let you down (1973)

Escrita por Gerry Buckley, foi gravada entre maio e julho de 1973, no Record Plant, em Los Angeles e foi lançada em 19 de outubro de 1973 no disco Hat Trick. Gerry Bekcley tocou violão, teclado, cantou e fez backing vocals. Dewey Bunnell tocou violão, cantou e fez backing vocals. Dan Peek tocou violão, teclado, cantou e fez backing vocals. David Dickey tocou baixo. O lendário Hal Blaine tocou bateria e percussão. Robert Margouleff tocou sintetizador. Chester McCracken tocou congas. Jim Ed Norman tocou piano.

A letra:

We're afraid she's gonna let you down
Take your money and drop you to the ground
Wouldn't want to see you messed around
After all the love you think you've found
She's gonna let you down

Doesn't matter what we say
Love's the stubbornest game to play
Given time you might see it our way
And we'll be sorry boy until that day
She's gonna break away

Remember all the times you helped us through
Now here's our chance to do the same for you
Guess the thing to do is wait around
Lend a hand when you are on the ground
She's gonna let you down 

She's gonna let you down
She's gonna let you down

A versão do América:

A versão de Larry L:

1363 – The Rolling Stones – Angie (1973)

Escrita por Mick Jagger e Keith Richards, foi gravada em novembro e dezembro de 1972, em Kingston, Jamaica. Foi lançada em 20 de agosto de 1973 no compacto que tinha Silver train como Lado B. Depois sairia no disco Goats head soup, em 31 de agosto de 1973. A canção foi composta unicamente por Keith Richards, mas creditada à dupla. O acompanhamento de piano foi escrito também por Richards e tocado por Nicky Hopkins. Logo que lançada, Angie foi pro número 1 do Billboard Hot 100 e número 5 no Reino Unido. Foi também número 1 no Canadá, Austrália, França, Noruega, Itália e Suíça. Número 2 na Alemanha, Nova Zelandia, Africa do Sul e Espanha.

A letra:

Angie, Angie
When will those clouds all disappear?

Angie, Angie
Where will it lead us from here?

With no lovin' in our souls
And no money in our coats
You can't say we're satisfied

Angie, Angie
You can't say we never tried

Angie, you're beautiful, yeah
But ain't it time we said goodbye?

Angie, I still love you
Remember all those nights we cried?
All the dreams were held so close
Seemed to all go up in smoke
Let me whisper in your ear

Angie, Angie
Where will it lead us from here

Oh, Angie, don't you weep
Oh, your kisses still taste sweet
I hate that sadness in your eyes

But Angie, Angie
Ain't it time we said goodbye? Yeah

With no lovin' in our souls
And no money in our coats
You can't say we're satisfied

But Angie, I still love you, baby
Everywhere I look, I see your eyes
There ain't a woman that comes close to you
Come on, baby, dry your eyes

Angie, Angie
Ain't it good to be alive?
Angie, Angie
They can't say we never tried

A versão dos Rolling Stones:

A versão de Mike Massé e Jeff Hall:

A versão de Ana Free:

1362 – George Harrison – Miss O'Dell (1973)

Escrita por George Harrison, foi gravada em outubro de 1972 e fevereiro de 1973, no Apple Studio em Londres e no FPSHOT, em Ofordshire. Foi lançada em compacto apenas, como Lado B de Give me love (Give me peace on Earth) em 7 de maio de 1973. Foi feita sobre Chris O'Dell, uma antiga funcionária da Apple, que servia como assistente e facilitadora de artistas como os Beatles, Derek and The Dominos, Rolling Stones, Bob Dylan e Santana. Ele escreveu enquanto esperava pela visita dela na sua casa em Malibu, em abril de 1971. Fala da incapacidade dela de chegar pro encontro e da cena musical de Los Angeles e da crise no Paquistão, que levou ao concerto para Bangladesh, que George fez. George ri enquanto canta. Dá pra ouvir. Chris O'Dell era uma figura de dentro de muito o que aconteceu na música desde que chegou em Londres, em maio de 1968, oriunda de Los Angeles. Participou do coro de Hey Jude. Ela estava no telhado da Apple quando os Beatles tocaram o famoso show do telhado, que tocaram ao vivo juntos pela ultima vez, em janeiro de 1969. Ela entregou as gaitas pra Dylan tocar no seu show da volta em Isle of Wright. Quando Paul anunciou que sairia da banda, ela estava com George e John na casa de George. Ela sabia tudo da vida de George, profissional e pessoal. E de Ringo também. George termina a canção deixando o número de telefone da casa de Paul, em Londres, só para provocá-lo. George cantou, tocou violão e gaita. Klaus Voorman tocou baixo e Jim Keltner tocou bateria e sino de vaca.

A letra:

I'm the only one down here
Who's got nothing to say
About the war or the rice
That keeps going astray on its way to Bombay.
That smog that keeps polluting up our shores
Is boring me to tears.
Why don't you call me, Miss O'Dell?

I'm the only one down here
Who's got nothing to fear
From the waves or the night
That keeps rolling on right up to my front porch.
The record player's broken on the floor,
And Ben, he can't restore it.
Why don't you call me, Miss O'Dell?

I can tell you
Nothing new
Has happened since I last saw you.

I'm the only one down here
Who's got nothing to say
About the hip or the dope
Or the cat with most hope to fill the Fillmore.
That pushing, shoving, ringing on my bell
Is not for me tonight.
Why don't you call me, Miss O'Dell?

Why don't you call me, Miss O'Dell?

A versão de George Harrison:

A versão de Rab1226:

A versão de Danny McEvoy: