1377 – Bob Dylan – Knockin' on heaven's door (1973)

 

Escrita por Bob Dylan, foi gravada em fevereiro de 1973 e lançada em 13 de julho de 1973 no disco Pat Garrett and Billy The Kid e ao mesmo tempo no compacto que tinha Turkey chase como Lado B. Se tornou um hit internacional, chegando a TOP 10 em muitos países. É uma das canções mais populares de Dylan na era pós anos 60s. Foi regravada por Eric Clapton e Guns and Roses, entre outros artistas. Bob Dylan cantou e tocou guitarra. Roger McGuinn tocou guitarra. Jim Keltner tocou bateria. Terry Paul tocou baixo. Carl Fortina tocou harmonium. Carol Hunter, Donna Weiss e Brenda Patterson fizeram backing vocals. Chegou ao número 3 na Noruega, número 6 no Canadá, número 9 na Irlanda, número 10 na Australia, número 12 no Billboard Hot100 e número 14 no Reino Unido. Além dos citados acima, já foi regravada por mais de 150 artistas, incluindo Neil Young, Nick Cave, Patti Smith, Paul Simon, Bono, Roger Waters, Jerry Garcia, Avril Lavigne, Wyclef Jean, Nina Hagen,

A letra:

Mama, take this badge off of me
I can't use it anymore
It's gettin' dark, too dark to see
I feel I'm knockin' on heaven's door

Knock, knock, knockin' on heaven's door
Knock, knock, knockin' on heaven's door
Knock, knock, knockin' on heaven's door
Knock, knock, knockin' on heaven's door

Mama, put my guns in the ground
I can't shoot them anymore
That long black cloud is comin' down
I feel I'm knockin' on heaven's door

Knock, knock, knockin' on heaven's door
Knock, knock, knockin' on heaven's door
Knock, knock, knockin' on heaven's door
Knock, knock, knockin' on heaven's door

A versão de Bob Dylan:

A versão de Guns and Roses:

A versão de Eric Clapton:

1376 – David Bowie – Sorrow (1973)

 

Escrita por Bob Feldman, Jerry Goldstein e Richard Gottehrer, foi lançada inicialmente pelos McCoys em 1965, no disco Hang on Sloopy. Depois saiu como Lado B do seu compacto que tinha Fever como Lado A. Logo em 1966, virou hit no Reino Unido com os Merseys, chegando ao número 4 por lá. A nossa versão no entanto é a de David Bowie, que virou um hit internacional. A frase “With your long blonde hair and your eyes of blue” foi usada pelos Beatles na música It's all to much, de 1969. A versão de David Bowie foi gravada em julho de 1973, no Chateau D'Heroville, em Herouville, na França e lançada 28 de setembro de 1973 no compacto que tinha Amsterdam como Lado B. Saiu logo depois no LP Pin ups, em 19 de outubro de 1973. Foi produzida pelo próprio David Bowie com Ken Scott. Chegou ao número 3 dos charts britânicos, número 1 na Australia, Nova Zelandia e Africa do Sul, número 2 na Holanda e número 7 na Bélgica e na França. Foi o primeiro numero 1 de Bowie na Austrália. David Bowie cantou, tocou guitarra e sax. Mick Ronson tocou guitarra. Trevor Bolder tocou baixo. Mike Garson tocou piano e Aynsley Dunbar tocou bateria.

A letra:

With your long blonde hair
And your eyes of blue
The only thing I ever got from you
Was sorrow
Sorrow

You acted funny trying
To spend my money

You're out there playing your high class games of sorrow
Sorrow

You never do what you know you oughta
Something tells me
You're a Devil's daughter
Sorrow, sorrow
Ahhhh, ah, ahhhh

I tried to find her
'Cause I can't resist her
(I tried to find her)
I never knew just how much I missed her
Sorrow, Sorrow

With your long blonde hair and your eyes of blue
The only thing I ever got from you was sorrow
Sorrow
Oh-oh-oh-oh
Oh-oh-oh, oh-oh

With your long blonde hair
I couldn't sleep last night

With your long blonde hair

A versão de David Bowie:

A versão dos McCoys:

A versão dos Merseys:

1375 – Badfinger – Apple of my eye (1973)

Escrita por Pete Ham, foi lançada em 26 de novembro de 1973 no disco Ass e depois saiu em compacto em dezembro de 1973 que tinha Blind Owl como Lado B. Fala sobre os sentimentos confusos de Ham no momento em que eles estavam deiando a Apple Records pra pegar um contrato maior com a Warner. Chegou ao número 11 na África do Sul. Pete Ham cantou, tocou violão e teclado. Tom Evans tocou baixo. Joey Molland tocou guitarra e Mike Gibbins tocou bateria e percussão.

A letra:

Oh, I'm sorry, but it's time to move away
Go inside my heart, I really want to stay
Believe the love we have is so sincere
You know, the gift you have will always be

You're the apple of my eye
You're the apple of my heart

But now, the time has come to part

Oh, I'm sorry, but it's time to make a stand
Though we never meant to bite the lovin' hand
And now, the time has come to walk alone
We were the children, now we've overgrown

You're the apple of my eye
You're the apple of my heart
But now, the time has come to part

Oh, I'm sorry, but it's time to move away
Though inside my heart, I really want to stay
Believe the love we have is so sincere
You know, the gift you have will always be

You're the apple of my eye
You're the apple of my heart
But now, the time has come to part

Now, the time has come to part
Now, the time has come to part

A versão do Badfinger:

A versão de Antifrodis:

A versão de Danny McEvoy:

1374 – Bruce Springsteen – Spirit in the night (1973)

 

Escrita por Bruce Springsteen, foi gravada em 11 de setembro de 1972, no 914 Sound Studios, em Blauvelt, estado de New York. Foi lançada em 5 de janeiro de 1973 no disco Greetings from Asbury Park, N.J. e depois saiu em compacto com For you como Lado B, em maio de 1973. Teve um cover do Manfred Mann's Earth Band, logo após o lançamento de Bruce. Foi uma das últimas canções a ser escrita e gravada do disco. Os músicos já haviam inclusive debandado e só sobrou Vini Lopez na bateria e Clarence Clemons no sax. Bruce tocou todos os outros instrumentos. A letra fala de um grupo de amigos teenagers que vão pra um lugar chamado Greasy Lake, perto da Route 88, pra uma noite de liberdade, sexo e bebidas. Bruce cantou, tocou baixo, piano, congas e bateu palmas. Vini Lopez tocou bateria, fez backing vocals e bateu palmas. Clarence Clemons tocou sax, fez backing vocals e bateu palmas. Harold Wheeler tocou outro piano.

A letra:

Crazy Janey and her mission man were back in the alley tradin' hands
'Long came Wild Billy with his friend G-man all duded up for Saturday night
Well Billy slammed on his coaster brakes and said anybody wanna go on up to Greasy Lake
It's about a mile down on the dark side of route eighty-eight
I got a bottle of rose so let's try it
We'll pick up Hazy Davy and Killer Joe and I'll take you all out to where the gypsy angels go
They're built like light

And they dance like spirits in the night (All night) in the night (All night)
Oh, you don't know what they can do to you
Spirits in the night (All night), in the night (All night)
Stand right up now and let it shoot through you

Well now Wild young Billy was a crazy cat and he shook some dust out of his coonskin cap
He said, "Try some of this it'll show you where you're at, or at least it'll help you really feel it"
By the time we made it up to Greasy Lake I had my head out the window and Janey's fingers were in the cake
I think I really dug her cause I was too loose to fake
I said, "I'm hurt," she said, "Honey, let me heal it"
And we danced all night to a soul fairy band
And she kissed me just right like only a lonely angel can

She felt so nice, just as soft as a spirit in the night (All night)
In the night (All night), Janey don't know what she do to you
Like a spirit in the night (All night), in the night (All night)
Stand right up and let her shoot through me

Now the night was bright and the stars threw light on Billy and Davy
Dancin' in the moonlight
They were down near the water in a stone mud fight
Killer Joe gone passed out on the lawn
Well now Hazy Davy got really hurt, he ran into the lake in just his socks and a shirt
Me and Crazy Janey was makin' love in the dirt singin' our birthday songs
Janey said it was time to go
So we closed our eyes and said goodbye to gypsy angel row, felt so right

Together we moved like spirits in the night, all night
Baby don't know what they can do to you
Spirits in the night, all night
Stand right up and let it shoot right through you

Like a spirit in the night, all night
All night, all night
All night, all night
All night, all night

A versão de Bruce Springsteen:

A versão de Manfred Mann's Earth Band:

A versão de Mataya Hill:

1373 – Chicago – Just you 'n' me (1973)

Escrita por James Pankow, foi gravada em fevereiro de 1973 e lançada em 25 de junho de 1973, no disco Chicago VI e também saiu em compacto com Critic's choice no Lado B. Os vocais principais foram feitos pelo baixista Peter Cetera. Chegou ao número 4 no Billboard Hot100. Walter Parazaider toca um solo de sax soprano enquanto o guitarrista Terry Kath usa um pedal de wah-wah. Foi escrita depois de uma briga entre Pankow e sua futura esposa Karen. Uma briga grande. Ela se trancou no banheiro e ele escreveu de sopetão. Disse que nunca havia tido uma clareza tão grande ao escrever uma canção como dessa vez. Foi também número 3 no Canadá e número 23 na Austrália. Peter Cetera além cantar, tocou baixo. Robert Lamm tocou teclado e fez backing vocal. Terry Kath tocou guitarra e fez backing vocal. Danny Seraphine tocou bateria. James Pankow tocou trombone. Lee Loughnane tocou trumpete e Walter Parazaider tocou sax soprano.

A letra:

You are my love in my life
And you are my inspiration
Just you and me
Simple and free
Baby you're everything I've ever dreamed of
Yeah, yeah

Give me your own special smile
Promise you'll never leave me
Just you and me
Simple and free

Life is so easy
When you're beside me
Oh girl

Come hold me close
Never release me
Oh, baby don't release me
Open your arms, let my love in
Let me in, let me in, let me in

Love me tonight, love me forever
And ever
You know I can't forget you

Just you and me to carry on
Simple and free my lovely
To flow as one as love's reward
Lovin' you girl is so damn easy

Yeah, yeah

You are my love in my life
You are my inspiration
Just you 'n me
Simple and free

Baby you're everything

I've ever dreamed of,

yeah yeah

A versão do Chicago:

A versão de Leonid and Friends:

A versão de Lexington Lab Band:

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: