1409 – Bob Dylan – Dirge (1974)

Escrita por Bob Dylan, foi gravada em 14 de novembro de 1973 e lançada em 17 de janeiro de 1974 no disco Planet Waves. Foi gravada logo no segundo take. Robbie Robertson tocou o violão, dando à canção um sabor de blues. Dirge significa um lamento aos mortos, uma canção de luto.

A letra:

I hate myself for loving you and the weakness that it showed
You were just a painted face on a trip down to suicide road
The stage was set, the lights went out all around the old hotel
I hate myself for loving you and I'm glad the curtain fell.

I hate that foolish game we played and the need that was expressed
And the mercy that you showed to me, whoever would have guessed
I went out on Lower Broadway and I felt that place within
That hollow place where martyrs weep and angels play with sin.

Heard your songs of freedom and man forever stripped
Acting out his folly while his back is being whipped
Like a slave in orbit he's beaten 'til he's tame
All for a moment's glory and it's a dirty, rotten shame.

There are those who worship loneliness, I'm not one of them
In this age of fiberglass I'm searching for a gem
The crystal ball upon the wall hasn't shown me nothing yet
I've paid the price of solitude but at least I'm out of debt.

I can't recall a useful thing you ever did for me
Except pat me on the back one time when I was on my knees
We stared into each other's eyes 'till one of us would break
No use to apologize, what difference would it make ?

So sing your praise of progress and of the Doom Machine
The naked truth is still taboo whenever it can be seen
Lady Luck who shines on me, will tell you where I'm at
I hate myself for loving you but I should get over that.

A versão de Bob Dylan:

A versão de Ara Duzian:

A versão de Erik Truffaz Quartet:

 

1408 – Neil Young – Ambulance blues (1974)

 

Escrita por Neil Young, foi gravada entre fevereiro e abril de 1974, no Sunset Sound, em Los Angeles, California e lançada no disco On the beach, em19 de julho de 1974. Fala dos críticos, de Richard Nixon e do estado em que estava com a banda CSNY. A frase “You're all just pissing in the wind" foi uma frase proferida pelo manager de Neil sobre a inatividade do quarteto. A canção fala do Riverboat, um pequeno café em Toronto, mais precisamente em Yorkville e que era uma casa que recebia artistas como Gordon Lightfoot, Joni Mitchell, Simon and Garfunkel e Arlo Guthrie. Yorkville era o centro da contracultura canadense nos anos 60s. Era localizado no basement de uma casa vitoriana. Mas já nos anos 70s, Yorkville estava mudando e o Riverboat continuou como um dos últimos ícones da década passada. Sobreviveu à cena hippie, mas foi fechado em 1978. Inclusive Neil lançou um album em 2009 chamado Live at the Riverboat 1969. A frase "Oh, Isabella, proud Isabella, They tore you down and plowed you under" se refere ao 88 isabella Street, uma casa onde Neil e Rick James moraram por um período. Foi demolida no começo dos anos 70 e hoje um prédio ocupa seu lugar. Neil cantou e tocou violão. Ben Keith tocou baixo. Rusty Kershaw tocou rabeca. Ralph Molina tocou bateria.

A letra:

Back in the old folky days
The air was magic when we played
The riverboat was rockin' in the rain
Midnight was the time for the raid

Oh, Isabela, proud Isabela
They tore you down and plowed you under
You're only real with your make-up on
How could I see you and stay too long?

All along the Navajo Trail
Burn-outs stub their toes on garbage pails
Waitresses are cryin' in the rain
Will their boyfriends pass this way again?

Oh, Mother Goose, she's on the skids
Sure ain't happy, neither are the kids
She needs someone that she can scream at
And I'm such a heel for making her feel so bad

I guess I'll call it sickness gone
It's hard to say the meaning of this song
An ambulance can only go so fast
It's easy to get buried in the past

When you try to make a good thing last

I saw today in the entertainment section
There's room at the top for private detection
To mom and dad this just doesn't matter
But it's either that or pay off the kidnapper

So all you critics sit alone
You're no better than me for what you've shown
With your stomach pump and your hook and ladder dreams
We could get together for some scenes

Well, I'm up in T.O. keepin' jive alive
And out on the corner it's half past five
But the subways are empty
And so are the cafes

Except for the farmer's market
And I still can hear him say
You're all just pissin' in the wind
You don't know it but you are

And there ain't nothin' like a friend
Who can tell you you're just pissin' in the wind

I never knew a man could tell so many lies
He had a different story for every set of eyes
How can he remember who he's talking to?
'Cause I know it ain't me, and hope it isn't you

A versão de Neil Young:

A versão de Chris Cree:

A versão de Lee Leonard:

1407 – John Lennon – Nobody loves you (When you're down and out) (1974)

 

Escrita por John Lennon, foi gravada entre julho e agosto de 1974 e lançada no disco Walls and Bridges, lançado em 26 de setembro de 1974. John escreveu essa canção no começo do seu tempo em Los Angeles, durante sua separação de Yoko Ono. O período em que ele chamava de Lost weekend. A canção reflete seu sentimento de depressão e solidão. Além de Yoko, John escreveu aqui sobre a negativa recepção do seus mais recentes trabalhos, seja pela crítica, seja pelo público. E tinha a impressão de ter sido enganado pela indústria fonográfica. Fala exatamente da sua desilusão com o show business. O título foi inspirado em Nobody knows you when you're down and out, de 1923, que foi regravada por Eric Clapton. John Lennon canta e toca violão. Jesse Ed Davis tocou guitarra. Klaus Voorman tocou baixo. Nicky Hopkins tocou piano. Ken Ascher tocou orgão. Jim Keltner tocou bateria e Boby Keys, Steve Madaio, Howard Johnson, Ron Aprea e Frank Vacari tocaram os metais.

A letra:

Nobody loves you when you're down and out
Nobody sees you when you're on cloud nine
Everybody's hustlin' for a buck and a dime
I'll scratch your back and you scratch mine

I've been across to the other side
I've shown you everything, I got nothing to hide
But still you ask me, do I love you?
What it is? What it is?

All I can tell you is it's all show biz
All I can tell you is it's all show biz

Nobody loves you when you're down and out
Nobody knows you when you're on cloud nine
Everybody's hustlin' for a buck and a dime
I'll scratch your back and you knife mine

I've been across the water now so many times
I've seen the one-eyed witchdoctor leading the blind
But still you ask me, do I love you?
What you say? What you say?

Every time I put my finger on it, it slips away
Every time I put my finger on it, it slips away

Well, I get up in the morning
And I'm looking in the mirror to see, oo-wee!

Then I'm lying in the darkness
And I know I can't get to sleep, oo-wee!

Nobody loves you when you're old and grey
Nobody needs you when you're upside down
Everybody's hollerin' 'bout their own birthday
Everybody loves you when you're six foot in the ground

A versão de John Lennon:

A versão de JNB432:

A versão de Quintellectual:

1406 – Leonard Cohen – Chelsea Hotel No. 2 (1974)

Escrita por Leonard Cohen, foi gravada em fevereiro de 1974 e lançada no disco New skin for the old ceremony, em 11 de agosto de 1974. Este é o quarto disco de estúdio de Leonard Cohen. Foi produzida pelo próprio Cohen, juntamente com John Lissauer. A canção fala do encontro sexual entre Cohen e Janis Joplin, no Chelsea Hotel, em New York City. Depois ele iria pedir desculpas pela falta de discrição.

A letra:

I remember you well in the Chelsea Hotel
You were talkin' so brave and so sweet
Givin' me head on the unmade bed
While the limousines wait in the street

Those were the reason and that was New York
We were runnin' for the money and the flesh
And that was called love for the workers in song
Probably still is for those of them left

Ah, but you got away, didn't you, baby?
You just turned your back on the crowd
You got away, I never once heard you say
I need you, I don't need you
I need you, I don't need you
And all of that jiving around

I remember you well in the Chelsea Hotel
You were famous, your heart was a legend
You told me again you preferred handsome men
But for me you would make an exception

And clenching your fist for the ones like us
Who are oppressed by the figures of beauty
You fixed yourself, you said: Well, never mind
We are ugly but we have the music

And you got away, didn't you, baby?
You just turned your back on the crowd
You got away, I never once heard you say
I need you, I don't need you
I need you, I don't need you
And all of that jiving around

I don't mean to suggest that I loved you the best
I can't keep track of each fallen robin
I remember you well in the Chelsea Hotel
That's all, I don't even think of you that often

A versão de Leonard Cohen:

A versão de Rachel Bobbitt:

A versão de Kyle Craft:

 

1405 – Eagles – Best of my love (1974)

 

Escrita por Don Henley, Glenn Frey e J. D. Souther, foi gravada no Olympic Sound Studios, em Londres e lançada em 22 de março de 1974 no terceiro disco da banda chamado On the border. Foi lançada em compacto em 5 de novembro de 1974 com Ol' 55 como Lado B. Henley foi quem fez os vocais principais. Se tornou o primeiro número 1 da banda no Billboard Hot100. Os versos foram escritos no restaurante Dan Tana. O maitre do restaurante Guido recebeu agradecimentos na capa do disco. A letra foi inspirada no fim do romance de Henley com sua namorada Suzannah Martin. Don Henley cantou e tocou bateria. Glenn Frey tocou violão de 12 cordas e fez backing vocals. Bernie Leadon tocou pedal steel guitar e fez backing vocals. Randy Meisner tocou baio e fez backing vocals.

A letra:

Every night I'm lyin' in bed
Holdin' you close in my dreams
Thinkin' about all the things that we said
Comin' apart at the seams

We try to talk it over
But the words come out too rough
I know you were tryin' to give me the best of your love

Beautiful faces and loud empty places
Look at the way that we live
Wastin' our time on cheap talk and wine
Left us so little to give

That same old crowd was like a cold dark cloud
That we could never rise above
But here in my heart
I give you the best of my love

Oh... whoa oh sweet darlin'
You get the best of my love
(You get the best of my love)
Oh... whoa oh sweet darlin'
You get the best of my love
(You get the best of my love)

I'm goin' back in time and it's a sweet dream
It was a quiet night and I would be all right
If I could go on sleeping

But every mornin' I wake up and worry
What's gonna happen today?

You see it your way I see it mine
But we both see it slippin' away

You know we always had each other baby
(Ooh...) I guess that wasn't enough oh-oh ooh whoa

But here in my heart
I give you the best of my love
Oh... whoa oh sweet darlin'
You get the best of my love

(The best of my love) Oh... whoa oh sweet darlin'
You get the best of my love
(The best of my love) Oh... whoa oh sweet darlin'
Every night and day
You get the best of my love

(The best of my love) Oh... whoa oh sweet darlin'
Oh-oh oh-oh
You get the best of my love
(The best of my love) Oh... whoa oh sweet darlin'
You get the best of my love

(You get the best of my love)
The best of my love Oh... whoa oh sweet darlin'
Mmm-mmm mmm-mmm-mmm
You get the best of my love
(The best of my love) Oh... whoa oh sweet darlin'
You got it
You got it

A versão do Eagles:

A versão de J.D. Souther:

A versão de Jeff's Midnight Special:

1404 – Bob Marley and The Wailers – No woman no cry (1974)

Escrita por Vincent Ford e Bob Dylan, foi gravada em 1974, no Harry J. Studios, em Kingston, Jamaica e lançada em 25 de outubro de 1974 no disco Natty Dread. O título significa “Mulher, não chore”. Fora da Jamaima, todos interpretam como “Se não há mulher, não há choro”, mas não é a intenção de Bob dizer isso. É simplesmente no dialeto local “Mulher, não chore”. A letra fala do Government Yards in Trench Town, casas públicas onde ele cresceu em Kingston. Fala também de Cornmeal porridge, um café da manhã popular na Jamaica que Bob adorava. Foi regravada pelos Fugees e Gilberto Gil em português, entre outros artistas. Bob deu os créditos da canção pro seu amigo Vincent Ford, que tinha sopa comunitária em Trenchtown. Bob queria que o dinheiro servisse pra manter o serviço.

A letra:

No, woman, no cry;
No, woman, no cry;
No, woman, no cry;
No, woman, no cry.

Said - said - said: I remember when we used to sit
In the government yard in Trenchtown,
Oba - obaserving the hypocrites
As they would mingle with the good people we meet.

Good friends we have, oh, good friends we've lost
Along the way.
In this great future, you can't forget your past;
So dry your tears, I say... and

No, woman, no cry;
No, woman, no cry.
'Ehh, little darlin', don't shed no tears:
No, woman, no cry.

Said - said - said: I remember when-a we used to sit
In the government yard in Trenchtown.
And then Georgie would make the fire lights,
As it was logwood burnin' through the nights.

Then we would cook cornmeal porridge,
Of which I'll share with you;
My feet is my only carriage,
So I've got to push on through.
But while I'm gone, I mean:

Everything's gonna be all right!
Everything's gonna be all right!
Everything's gonna be all right!
Everything's gonna be all right!
I said, everything's gonna be all right-a!

Everything's gonna be all right!
Everything's gonna be all right, now!
Everything's gonna be all right!

So, woman, no cry;
No - no, woman - woman, no cry.
Woman, little sister, don't shed no tears;
No, woman, no cry.

I remember when we used to sit
In the government yard in Trenchtown.
And then Georgie would make the fire lights,
As it was logwood burnin' through the nights.

Then we would cook cornmeal porridge,
Of which I'll share with you;
My feet is my only carriage,
So I've got to push on through.
But while I'm gone:

No, woman, no cry;
No, woman, no cry.
Woman, little darlin', say don't shed no tears;
No, woman, no cry.

Eh! (Little darlin', don't shed no tears!
No, woman, no cry.
Little sister, don't shed no tears!
No, woman, no cry.)

A versão de Bob Marley and The Wailers:

A versão dos Fugees:

A versão de Gilberto Gil:

 

1403 – Bob Dylan – Forever young (1974)

 

Escrita por Bob Dylan, foi gravada por novembro de 1973, na California, e lançada em 17 de janeiro de 1974 no disco Planet Waves, o décimo quarto da carreira de Bob. Ele escreveu-a enquanto estava em Tucson, Arizona, pensando em um dos seus filhos e não querendo ser sentimental demais. Foi escrita como uma canção de ninar pra seu filho mais velho Jesse, nascido em 1966. É o papo de um pai pro seu filho, que espera que o mesmo seja feliz e forte. É uma benção de um pai pro seu filho. Bob tocou piano, violão, gaita e cantou Rick Danko tocou baixo. Levon Helm tocou bateria. Garth Hudson tocou orgao. Richard Manuel tocou bateria e piano e Robbie Robertson tocou as guitarras. Foi regravada por Bruce Springsteen, Pete Seeger, Diana Ross, Paul Simon, Joan Baez, Will I Am, Jerry Garcia Band, Peter, Paul and Mary, Harry Belafonte, The Pretenders, Johnny Cash, The Band e Mark Knopfler, entre outros artistas.

A letra:

May God bless and keep you always
May your wishes all come true
May you always do for others
And let others do for you

May you build a ladder to the stars
And climb on every rung
May you stay forever young
Forever young, forever young

May you stay forever young

May you grow up to be righteous
May you grow up to be true
May you always know the truth
And see the light surrounding you

May you always be courageous
Stand upright and be strong
May you stay forever young
Forever young, forever young

May you stay forever young

May your hands always be busy
May your feet always be swift
May you have a strong foundation
When the winds of changes shift

May your heart always be joyful
May your song always be sung
And May you stay forever young
Forever young, forever young

May you stay forever young

A versão de Bob Dylan:

A versão de Johnny Cash:

A versão de Joan Baez:

1402 – Neil Young – Walk on (1974)

 

Escrita por Neil Young, foi gravada entre fevereiro e abril de 1974, na California. No Broken Arror Atudios, em San Francisco. Produzida por Neil Young e David Briggs, foi lançada em 19 de julho de 1974 no disco On the beach, o quinto da carreira solo de Neil Young. Walk on é uma combinação de uma visão cínica com um toque de fechar um ciclo e ir em frente pra continuar vivendo. Neil Young cantou e tocou guitarra. Bem Keith tocou slide guitar. Billy Talbot tocou baixo. Ralph Molina tocou bateria e fez backing vocals.

A letra:

I hear some people been talkin' me down
Bring up my name, pass it 'round
They don't mention happy times
They do their thing, I'll do mine

Ooh baby, that's hard to change
I can't tell them how to feel
Some get stoned, some get strange
Sooner or later, it all gets real

Walk on, walk on
Walk on, walk on

I remember the good old days
Stayed up all night gettin' crazed
Then the money was not so good
But we still did the best we could

Ooh baby, that's hard to change
I can't tell them how to feel
Some get stoned, some get strange
Sooner or later it all gets real

Walk on, walk on
Walk on, walk on
Walk on, walk on

A versão de Neil Young:

A versão de Contorno:

A versão de Joe Reeves:

1401 – John Lennon – Whatever gets you thru the night (1974)

 

Escrita por John Lennon, foi gravada em junho e julho de 1974 e lançada em 23 de setembro de 1974 no compacto que tinha Beef Jerky como Lado B. Saiu três dias depois no quinto disco solo de John Lennon, chamado Walls and Bridges. Foi produzida pelo próprio John Lennon. Chegou ao número 1 nos charts da Billboard Hot100, número 36 no Reino Unido e número 2 no Canadá. John pegou a frase título assitindo TV, o programa do Reverend Ike, quando o mesmo proferiu a frase. Foi inspirada na música número 1 das paradas no momento, Rock your baby, de George McCrae. Foi o único número 1 nos Billboard Hot100 de John enquanto ele era vivo. E curiosamente, John foi o último dos Beatles a conseguir um número 1 nos Estados Unidos como artista solo. A gravação tem Elton John no piano e nas harmonias vocais. Durante a gravação, Elton John apostou com John que ela seria número 1. John duvidou e apostou com ele que se a canção fosse numero 1, John iria subir no palco com Elton John no Madison Square Garden e cantar com ele três canções. A canção chegou ao número 1 e John Lennon subiu ao palco de graça com Elton John no dia 28 de novembro de 1978. John Lennon cantou e tocou guitarra. Elton John tocou piano, orgao e fez harmonias vocais. Ken Ascher tocou clarinete. Jesse Ed Davis tocou guitarra. Arthur Jenkins tocou percussão. Jim Keltner tocou bateria. Bobby Keys tocou sax tenor. Ron Aprea tocou sax alto. Eddie Mottau tocou violão e Klaus Voorman tocou baixo.

A letra:

Whatever gets you thru the night
It's all right, it's all right
It's your money or your life
It's all right, it's all right
Don't need a sword to cut thru flowers
Oh no, oh no

Whatever gets you thru your life
It's all right, it's all right
Do it wrong or do it right
It's all right, it's all right
Don't need a watch to waste your time
Oh no, oh no

Hold me, darlin', come on, listen to me
I won't do you no harm
Trust me, darlin', come on, listen to me
Come on, listen to me, come on, listen, listen

Whatever gets you to the light
It's all right, it's all right
Out the blue or out of sight
It's all right, it's all right
Don't need a gun to blow you mind
Oh no, oh no

Hold me, darlin', come on, listen to me
I won't do you no harm
Trust me, darlin', come on, listen to me
Come on, listen to me, come on, listen, listen

A versão de John Lennon:

A versão de Los Lonely Boys:

A versão de Joan Osbourne:

1400 – Jackson Browne – For Everyman (1973)

 

Escrita por Jackson Browne, foi gravada em 1973, e lançada em outubro de 1973 no disco de mesmo nome. Depois de gravar seu primeiro LP, Browne deixou Los Angeles, onde foi criado e se mudou pra Bay Area, onde procurava por uma casa pra alugar ou comprar e enquanto isso morava com David Crosby no seu barco. Nesse período, Crosby tinha uns vizinhos, também com barcos, que só falavam em velejar até o por do sol no oceano pacífico. Browne escreveu essa úsica em resposta à essa idéia que ele achava totalmente sem sentido. For everyman é o nome do barco que velejou pro pacífico sul para protestar contra testes de armas nucleares no começo dos anos 60. Crosby faz as harmonias vocais na gravação de For Everyman.

A letra:

Everybody I talk to is ready to leave
With the light of the morning
They've seen the end coming down
Long enough to believe
That they've heard their last warning
Standing alone
Each has his own ticket in his hand
And as the evening descends
I sit thinking 'bout Everyman

Seems like I've always been
Looking for some other place
To get it together
Where with a few of my friends
I could give up the race
And maybe find something better
But all my fine dreams
Well though out schemes
To gain the motherland
Have all eventually come down
To waiting for Everyman

Waiting here for Everyman
Make it on your own if you think you can
If you see somewhere to go I understand
Waiting here for Everyman

Don't ask me if he'll show, baby I don't know

Make it on your own if you think you can
Somewhere later on you'll have to take a stand
Then you're going to need a hand

Everybody's just waiting to hear from the one
Who can give them the answers
And lead them back to that place
In the warmth of the sun
Where sweet childhood still dances
Who'll come along
And hold out that strong
That gentle father's hand

Long ago I heard someone say
Something 'bout Everyman

Waiting here for Everyman
Make it on your own
Make it if you think you can
If you see somewhere to go I understand

I'm not trying to tell you
That I've seen the plan
Turn and walk away if you think I am
But don't think too badly
Of one who's left holding sand
He's just another dreamer
Dreaming 'bout Everyman

A versão de Jackson Browne:

A versão de Jake Thistle:

A versão de Eduard Hehanussa:

1399 – The Byrds – Sweet Mary (1973)

Escrita por Roger McGinn e Jacques Levy, foi gravada de 16 de outubro à 15 de novembro de 1972, no Wally Heider's Studio 3, em Los Angeles, California, com Roger McGuinn nos vocais principais. Foi lançada em 7 de março de 1973 no disco Byrds, o décimo e último dessa lendária banda. Chris Hillman tocou bandolim na canção.

A letra:

Sweet Mary I've got to be leavin'
Oh, I can't let you into my life
'Cause I know it would end in off in grieving
And the last thing I need is a wife

When I met you I met you for pleasure
And the good times of runnin' around
Then you seemed to me so understanding
From the weight that's been draggin' me down

Then the good times are coming between us
Though you've helped me I'm burning my load
And I've never felt more like a lover
But I'm running right off the road

Sweet Mary I've got to be leavin'
Oh, I can't let you into my life
'Cause I know it would end off in grieving
And the last thing I need is a wife

Oh, it's nothing you said or invited
And it's nothing you did that was wrong
And our love together was Heaven
And I promised myself to be strong

Sweet Mary I've got to be leavin'
Oh, I can't let you into my life
'Cause I know it would end off in grieving
And the last thing I need is a wife.

A versão dos Byrds: