1416 – Bob Marley and The Wailers – Revolution (1974)

 

Escrita por Bob Marley, foi gravada em 1974 e lançada no disco Natty Dread em 25 de outubro de 1974. É uma canção vai fundo no comentário político controverso. Bob Marley cantou e tocou guitarra. Aston Barrett tocou baixo. Carlton Barrett tocou bateria e percussão. Bernard Harvey tocou orgao e piano. Al Anderson tocou guitarra solo. Lee Jaffe tocou gaita. Rita Marley, Judy Mowatt e Marcia Griffiths fizeram backing vocal.

A letra:

Revelation, reveals the truth, Revelation

(Revolution, revoution, revolution, revolution)

It takes a revolution (revolution) to make a solution
Too much confusion, so much frustration, yeah
I don't wanna live in the park (live in the park)
Can't trust no shadows after dark, yeah (shadows after the dark)
So my friend I wish that you could see
Like a bird in the tree, the prisoners must be free, yeah

Never make a politician, grant you a favour
They will always want to control you forever (forever, forever)
So if a fire make it burn,
And if a blood make it run, yeah

Rasta there up on top, can't you see,
So you can't predict the flop, yeah
We got lightning (lightning), thunder (thunder), brimstone (brimstone) and fire, fire (fire, fire)
Lightning (lightning), thunder (thunder), brimstone (brimstone) and fire

Oh yeah, fire, oh yeah

Kill, cramp and paralyse all weak at conception

Wipe them out of creation (creation), yeah (creation)
Oh! Let i'es is i'es (i'es), in i'es is black (i'es),
In i'es is red (i'es), in i'es is dread, yeah

Let rightousness cover the earth
Like the water cover the sea, yeah, yeah
Lightning (lightning), thunder (thunder), brimstone and fire
Lightning, thunder...

A versão de Bob Marley and The Wailers:

A versão de The Late Ones:

A versão de Calma Carmona:

1415 – Bob Dylan – Going, going, gone (1974)

 

Escrita por Bob Dylan, foi gravada em 5 de novembro de 1973 e lançada em 17 de janeiro de 1974 no disco Planet Waves. É fantástico o duelo entre o vocal desesperado de Bob e a guitarra de Robbie Robertson. Por vezes parece que Robbie toca uma nota e sufoca a guitarra com a mão. A guitarra de Robbie parece arranhar a garganta de Bob. Bob Dylan cantou e tocou violão. Rick Danko tocou baixo. Levon Helm tocou bateria. Garth Hudson tocou orgão elétrico. Richard Manuel tocou piano e Robbie Robertson tocou a guitarra elétrica. Foi regravada por Jerry Garcia, Gregg Allman e Doyle Bramhall II, entre outros artistas.

A letra:

I’ve just reached a place
Where the willow don’t bend
There’s not much more to be said
It’s the top of the end
I’m going, I’m going, I’m gone

I’m closin’ the book
On the pages and the text
And I don’t really care
What happens next
I’m just going, I’m going, I’m gone

I been hangin’ on threads
I been playin’ it straight
Now, I’ve just got to cut loose
Before it gets late
So I’m going, I’m going, I’m gone

Grandma said, “Boy, go and follow your heart
And you’ll be fine at the end of the line
All that’s gold doesn't shine
Don’t you and your one true love ever part”

I been walkin’ the road
I been livin’ on the edge
Now, I’ve just got to go
Before I get to the ledge
So I’m going, I’m just going, I’m gone

A versão de Bob Dylan:

A versão de Doyle Bramhall II com a Tedeshi Truck Band:

A versão de Gregg Allman:

1414 – Neil Young – Revolution Blues (1974)

 

Escrita por Neil Young, foi gravada entre fevereiro e abril de 1974, no Sunset Sound Studios, em Hollywood, California e foi lançada em 19 de julho de 1974 no disco On the beach. Foi produzida pelo próprio Neil Young em conjunto com David Briggs. Revolution blues foi inspirada em Charles Manson, que Neil havia encontrado enquanto morava no Topanga Canyon. Charles Manson foi um assassino que matou a esposa do diretor Roman Polanski, quando ela estava grávida. Neil cantou e tocou guitarra. Ben Keith tocou Steel guitar. David Crosby tocou guitarra ritmica. Rick Danko tocou baixo. Levon Helm tocou bateria.

A letra:

Well, we live in a trailer at the edge of town
You never see us 'cause we don't come around
We got twenty five rifles just to keep the population down

But we need you now, and that's why I'm hangin' around
So you be good to me and I'll be good to you
And in this land of conditions I'm not above suspicion

I won't attack you, but I won't back you

Well, it's so good to be here, asleep on your lawn
Remember your guard dog? Well, I'm afraid that he's gone
It was such a drag to hear him whining all night long

Yes, that was me with the doves, setting them free near the factory
Where you built your computer, love
I hope you get the connection, 'cause I can't take the rejection
I won't deceive you, I just don't believe you

Well, I'm a barrel of laughs, with my carbine on
I keep them hoppin', till my ammunition's gone
But I'm still not happy, I feel like there's something wrong

I got the revolution blues, I see bloody fountains
And ten million dune buggies comin' down the mountains
Well, I hear that Laurel Canyon is full of famous stars
But I hate them worse than lepers and I'll kill them in their cars

A versão de Neil Young:

A versão de Bony King:

A versão de LeNoise:

1413 – John Lennon – #9 Dream (1974)

 

Escrita por John Lennon, foi gravada entre julho e agosto de 1974 e lançada em 26 de setembro de 1974 no disco Walls and Bridges e depois saiu também em compacto em 16 de dezembro de 1974, com What you got como Lado B. Chegou ao número 9 no Billboard Hot100 e número 23 nos charts britânicos. Chegou também ao número 35 no Canadá. John disse que a escreveu baseado em um sonho. Não houve significado, apenas saiu. O refrão diz “Ah, Bowakawa poussé poussé” e Al Coury da Capitol Records se recusou a dizer pussy pussy no refrão. Então Lori Burton, esposa do engenheiro de som Roy Cicala, sugeriu poussé ao vez de pussy, dando um ar de língua estrangeira. May Pang, namorada de John na época, fez backing vocals. John cantou e tocou violão. John, May Pang, Lori Burton e Joey Dembra fizeram nacking vocals. Ken Asher tocou clavinet. Jesse Ed Davis tocou guitarra. Nicky Hopkins tocou piano elétrico. Arthur Jenkins tocou percussão. Jim Keltner tocou bateria. Bobby Keys tocou sax. Eddie Mottau tocou violão e Klaus Voorman tocou baixo. Foi regravada pelo R.E.M., A-ha e Andrea Corr, entre outros artistas.

A letra:

So long ago
Was it in a dream, was it just a dream?

I know, yes I know
Seemed so very real, it seemed so real to me

Took a walk down the street
Through the heat whispered trees

I thought I could hear (hear, hear, hear)
Somebody call out my name (John) as it started to rain (John)

Two spirits dancing so strange

Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé

Dream, dream away
Magic in the air, was magic in the air?

I believe, yes I believe
More I cannot say, what more can I say?

On a river of sound
Through the mirror go around, around

I thought I could feel (feel, feel, feel)
Music touching my soul, something warm, sudden cold
The spirit dance was unfolding

Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé

Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé

A versão de John Lennon:

A versão do A-ha:

A versão do R.E.M.:

1412 – Leonard Cohen – Who by fire (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. A canção fala das raízes judaícas de Leonard Cohen, ecoando as palavras da oração Unetanneh Tokef. Foi cantada em dueto com Janis Ian, que também era judia. Leonard Cohen tocou violão e cantou. John Lissauer tccou teclado e fez backing vocals. Emily Bindiger fez backing vocals. Gerald Chamberlein tocou trombone. Erin Dickins fez backing vocals. Lewis Furey tocou viola. Ralph Gibson tocou violão. Armen Halburian tocou percussão. Janis Ian cantou. Gail Kantor fez backing vocals. Jeff Layton tocou banjo, bandolim, violão e trompete. Barry Lazarowitz tocou percussão. Roy Markowitz tocou bateria. John Miller tocou baixo.

A letra:

And who by fire, who by water
Who in the sunshine, who in the night time
Who by high ordeal, who by common trial

Who in your merry merry month of may
Who by very slow decay
And who shall I say is calling?

And who in her lonely slip, who by barbiturate
Who in these realms of love, who by something blunt
Who by avalanche, who by powder

Who for his greed, who for his hunger
And who shall I say is calling?

And who by brave assent, who by accident
Who in solitude, who in this mirror
Who by his lady's command, who by his own hand

Who in mortal chains, who in power
And who shall I say is calling?

A versão de Leonard Cohen:

A versão de Gal Klein e Seed Holden:

A versão do Avalanche Quartet:

1411 – Eagles – Already gone (1974)

Escrita por Jack Temphin e Robb Strandlund, foi gravada em 1974 e lançada em 22 de março de 1974 no disco On the border. Saiu também em compacto em 19 de abril de 1974 no compacto que tinha Is it true como Lado B. Chegou ao número 32 no Billboard Hot100. O compositor Temphim foi compositor de Peaceful easy feelings. Frey foi o vocalista. O novo guitarrista Don Felder tocou uma Les Paul Special e criou o solo. Foi a canção que abriu o disco. Glenn Frey cantou e fez solos de guitarra. Don Henley tocou bateria e fez backing vocals. Berlie Leadon tocou guitarra e fez backing vocals. Randy Meisner tocou baixo e fez backing vocals. Don Felder fez solos de guitarra.

A letra:

Well, I heard some people talking just the other day
And they said you were gonna put me on a shelf
But let me tell you I got some news for you
And you'll soon find out it's true
And then you'll have to eat your lunch all by yourself

'Cause I'm already gone
And I'm feelin' strong
I will sing this victory song
Woo hoo hoo, my my, woo hoo hoo

The letter that you wrote me made me stop and wonder why
But I guess you felt like you had to set things right
Just remember this, my girl, when you look up in the sky
You can see the stars and still not see the light (that's right)

And I'm already gone and I'm feeling strong
I will sing this victory song
Woo hoo hoo, my my, woo hoo hoo

Well, I know it wasn't you who held me down
Heaven knows it wasn't you who set me free
So often times it happens that we live our lives in chains
And we never even know we have the key

But me, I'm already gone and I'm feelin' strong
I will sing this victory song

'Cause I'm already gone
Yes, I'm already gone

And I'm feelin' strong
I will sing this victory song
'Cause I'm already gone
Yes, I'm already gone
Already gone
All right, nighty-night
Already gone

A versão do Eagles:

A versão de Sweet Fever:

A versão de Orsinger:

1410 – Bob Marley and the Wailers – Lively up yourself (1974)

Escrita por Bob Marley, foi gravada em 1974 no Harry J. Studios, em Kingston, Jamaica e lançada em 25 de outubro de 1974 no disco Natty Dread, O sétimo disco da banda. Foi o primeiro sem Peter Tosh e Bunny Wailer. Trata-se de uma celebração positiva de reggae e sexo, influenciada pelo blues. Mostra também sua crescente influencia do Rastafari. Bob Marley cantou e tocou guitarra ritmica. Aston Barrett tocou baixo. Carlton Barrett tocou bateria e percussão. Bernard Harvey tocou piano e órgão. Jean Roussel tocou teclado e arranjou a canção. Al Anderson tocou guitarra solo. Rita Marley, Judy Mowatt e Marcia Griffiths fizeram os backing vocals. Lee Jaffe tocou gaita.

A letra:

Oh yeah, oh yeah

You're gonna lively up yourself, and don't be no drag

You lively up yourself 'cause reggae is another bag

You lively up yourself, and don't say, 'no'
You're gonna lively up yourself 'cause i said so!

Hear what you gonna do
you rock so, you rock so, like you never did before, yeah!
you dip so, you dip so: dip through my door

you come so, you come so, oh yeah!
you skank so, you skank so: be alive today!

You're gonna lively up yourself, and don't say, 'no'
you lively up yourself, big daddy says so, y'all!
you lively up yourself, and don't be no drag
you lively up yourself 'cause REGGAE is another bag

What you got that I don't know?
I'm a-trying to wonder - wonder - wonder why you
wonder - wonder why you act so. yeah!

Hey, do you hear what the man said?
lively up your(self) - your woman in the morning time, y'all!
wa! keep a liv'lin' up your woman when the evening come

and take you - take you - take you - take you!
come on, baby! 'cause i wanna be lively myself, y'all!

lively up yourself
lively up yourself
you want to rock so, you rock so

you rock so, you rock so
you dip so, you dip so
you skank so, you skank so, and don't be no drag!
you come so, you come so, for reggae is another bag!
Get what you got in that bag!

what you got in d' other bag you got hanging there?
what you say you got?
I don't believe you!

A versão de Bob Marley and The Wailers:

A versão de The Late Ones:

A versão de Rootsriders:

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: