1447 – Rod Stewart – Mine for me (1974)

 

Escrita por Paul McCartney e Linda McCartney, foi gravada por Rod Stewart e lançada em 4 de outubro de 1974 no disco Smiler. Saiu também em compacto, com Farewell como Lado B. Chegou ao número 91 no Billboard HOT100.

A letra:

In a couple of hours I'll be drivin' home to the one I love
So save your breath, sweet painted lady, it won't be me
Over the mountain and under the sea
They'll never be another one like mine for me

It was only an hour or so ago that I sang my song
Persuaded painted ladies that I could say I'd been free, yeah yeah
Over the mountain and under the sea
They'll never be another one like mine for me

Mine is always, mine is grand
Don't you know that the woman that love me she understands
And can't you see that it's mine for me?

And in a couple of hours I'll be driving home to the one I love
So save your breath, sweet painted lady, it won't be me
Over the mountain and under the sea
They'll never be another one like mine for me
You're for me, yeah

Mine is always, mine is grand
Don't you know that the woman that love me she understands
And can't you see that it's mine for me?

They'll never be another one like mine for me
They'll never be another one like mine for me
They'll never be another one like you for me

A versão de Rod Stewart:

A versão de Richard Royle:

1446 – America – Tin Man (1974)

 

Escrita por Dewey Bunnell, foi gravada em 1974 e lançada em 26 de junho de 1974, no disco Holiday e depois em compacto que tinha In the country como Lado B, em 10 de julho de 1974. Foi produzida pelo lendário George Martin, o quinto Beatle. Martin também toca o piano. O título e parte da letra se referem ao Tin Woodman, o homem de lata, do Mágico de Oz. Foi o quarto top 10 nos Estados Unidos, chegando ao número 4 do Billboard HOT100. Chegou também ao número 5 no Canadá. Ivo Meirelles fez uma versão em português chamada Swing man, lançada em 2004, no disco Samba Soul.

A letra:

Sometimes late
When things are real
And people share the gift of gab
Between themselves

Some are quick
To take the bait
And catch the perfect prize
That waits among the shelves

But Oz never did give nothing to the Tin Man
That he didn't, didn't already have
And cause never was the reason for the evening
Or the tropic of Sir Galahad

So please believe in me
When I say I'm spinning 'round, 'round, 'round, 'round
Smoke glass stain'd bright colors
Image going down, down, down, down
Soapsud green like bubbles

Oz never did give nothing to the Tin Man
That he didn't, didn't already have
And cause never was the reason for the evening
Or the tropic of Sir Galahad

So please
Believe in me
When I say I'm spinning' round, 'round, 'round, 'round
Smoke glass stain'd bright colors

Image going down, down, down, down
Soapsud green like bubbles

No, Oz never did give nothing to the Tin Man
That he didn't, didn't already have
And cause never was the reason for the evening
Or the tropic of Sir Galahad

So please believe in me

A versão do America:

A versão de Daring Greatly:

A versão de Ivo Meirelles:

1445 – Supertramp – Bloody well right (1974)

 

Escrita por Rick Davies e Roger Hodgson, foi gravada entre fevereiro e junho de 1974 e lançada em 13 de setembro de 1974 no disco Crime of the century. Saiu também em compacto com Dreamer como Lado A. Foi produzida por Ken Scott e pela própria banda. Chegou ao número 35 do Billboard HOT100 e número 49 no Canadá. Foi linkada de propósito à school, através da frase “So you think your schooling is phoney?”, ajudando a perpetuar a idéia de que o disco é um disco conceitual. Começa com 51 segundos de solo de piano, um piano elétrico Wurlitzer, tocado por Rick Davies. Depois da banda entrar, um solo de guitarra tocado por Roger, com um pedal wah-wah. A primeira palavra só vem depois, aos um minuto e 38 segundos de música. Rick Davies tocou piano elétrico Wurlitzer, piano acústico e cantou e fez backing vocals. Roger Hogdson tocou guitarra, violão e fez backing vocals. Bob Siebenberg tocou bateria e percussão. Dougie Thomson tocou baixo e John Helliwell tocou sax e fez backing vocals.

A letra:

So you think your schooling's phoney
I guess it's hard not to agree
You say it all depends on money
And who is in your family tree

Right (right), you're bloody well right
you gotta a bloody right to say
Right, you're bloody well right
you know you got a right to say

Ha-ha you're bloody well right
you know you're right to say
Yeah-yeah you're bloody well right
you know you're right to say

Me, I don't care anyway!

Write your problems down in detail
Take them to a higher place
You've had your cry - no, I should say wail
In the meantime hush your face

Right (right), you're bloody well right
you gotta a bloody right to say
Right, you're bloody well right
you know you got a right to say

Ha-ha you're bloody well right
you know you're right to say
Yeah-yeah you're bloody well right
you know you got a right to say

You gotta a bloody right to say
You gotta a bloody right to say
You gotta a bloody right to say
You gotta a bloody right to say

A versão do Supertramp:

A versão de Low Darts:

A versão de Breakfast in Halifax:

1444 – Chicago – (I've been) Searchin' so long (1974)

 

Escrita por James Pankow, foi lançada em fevereiro de 1974 no compacto que tinha Byblos como Lado B. Saiu depois no disco Chicago VII, em 11 de março de 1974. Chegou ao número 9 no Billboard HOT100. Chegou ao número 5 no Canadá. :Peter Cetera cantou, tocou baixo e baixo fretless. Robert Lamm tocou piano elétrico Rhodes, Sintitizador Minimoog e fez backing vocals. Terry Kath tocou guitarra com wah-wah e fez backing vocals. Danny Seraphine tocou bateria. Lee Loughnane tocou trompete e fez backing vocals. James Pankow tocou trombone, percussão e fez backing vocals. Walter Parazaider tocou sax tenor. David J. Wolinski tocou sintetizador ARP. Laudir de Oliveira tocou congas e Jimie Haskell tocou cordas.

A letra:

As my life goes on I believe
Somehow something's changed
Something deep inside
Ooh a part of me

There's a strange new light in my eyes
Things I've never known
Changing my life
Changing me

I've been searchin'
So long
To find an answer
Now I know my life has meaning, oh, oh

Now I see myself as I am
Feeling very free
Life is everything
Ooh it's meant to be

When my days have come to an end
I will understand
What I left behind
Part of me

I've been searching
So long
To find and answer
Now I know my life has meaning, whoa, whoa

Searching (don't you know I'm)
For an answer
To the question
Oh yeah
"Who am I?"

Maybe (maybe it's true)
It's only natural (it's only natural baby, yeah)

Good things
In life
Take a long time (yeah yeah)

A versão do Chicago:

A versão de Leonid and Friends:

A versão do Chicago Experience:

1443 – Elton John – The bitch is back (1974)

 

Escrita por Elton John e Bernie Taupin, foi gravada no Caribou Ranch, em janeiro de 1974 e lançada em 28 de junho de 1974 no disco Caribou, e depois sairia em compacto com Cold highway como Lado B, em 3 de setembro de 1974. Foi produzida por Gus Dudgeon. Chegou ao número 1 no Canadá, se tornando o sexto numero 1 de Elton no Canadá. Chegou também ao número 4 nos Estados Unidos e número 15 no Reino Unido. Faz uma parodia à vida de celebridade de Elton John. Chegou à disco de ouro nos Estados Unidos em 13 de seetmbro de 1995. A canção foi inspirada pela esposa de Bernie Taupin, chamada Maxine Feibelman. Quando Elton estava de mau humor, ela dizia: “The bitch is back”. Elton diz que essa é a canção tema da vida dele. Muitas rádios nos Estados Unidos não tocaram a canção por causa do nome “Bitch”. Ray Cooper tocou pandeiro. Davey Johnstone tocou guitarra. Elton John cantou e tocou piano. Clydie King, Jessie Mae Smith, Dusty Springfield e Sherlie Matthews fizeram backing vocals. Dee Murray tocou baixo Nigel Olsson tocou bateria. Lenny Pickett tocou sax tenor solo. Os metais foram feitos pelo Tower of Power. Foi regravada por Tina Turner, Rihanna e Miley Cyrus, entre outros artistas.

A letra:

I was justified when I was five
Raising Cain, I spit in your eye
Times are changing now the poor get fat
But the fever's gonna catch you when the bitch gets back
(Oh-oh-oh)

Eat meat on Friday, that's alright
I even like steak on a Saturday night
I can bitch the best at your social do's
I get high in the evening sniffing pots of glue
(Ooh-ooh-ooh)

I'm a bitch, I'm a bitch, oh, the bitch is back
Stone-cold sober, as a matter of fact
I can bitch, I can bitch 'cause I'm better than you
It's the way that I move, the things that I do, oh-oh-oh

I entertain by picking brains
Sell my soul by dropping names
I don't like those, my God, what's that?
Oh, it's full of nasty habits when the bitch gets back
(Oh-oh-oh)

I'm a bitch, I'm a bitch, oh, the bitch is back
Stone-cold sober, as a matter of fact
I can bitch, I can bitch 'cause I'm better than you
It's the way that I move, the things that I do, oh-oh-oh

I'm a bitch, I'm a bitch, oh, the bitch is back
Stone-cold sober, as a matter of fact
I can bitch, I can bitch 'cause I'm better than you
It's the way that I move, the things that I do, oh-oh-oh

Bitch, bitch, bitch is back
Bitch, bitch, bitch is back
Bitch, bitch, bitch is back
Bitch, bitch, bitch is back
Bitch, bitch, bitch is back
Bitch, bitch, bitch is back
Bitch, bitch, bitch is back
Bitch, bitch, bitch is back

A versão de Elton John:

A versão de Miley Cyrus:

A versão de Tina Turner:

1442 – John Denver – Sweet surrender (1974)

 

Escrita por John Denver, foi gravada em 1974 e lançada no disco Back home again, em 15 de junho de 1974 e também em compacto na mesma data, com Summer como Lado B. Chegou ao número 13 do Billboard HOT100. Como muitas das canções de Denver, fala de uma jornada de auto-exploração ligada à temas como natureza e meio ambiente. Foi também número 1 no Canadá, número 7 do Billboard Hot Country Singles.

A letra:

Lost and alone on some forgotten highway
Traveled by many, remembered by few
Lookin' for something that I can believe in
Lookin' for something that I'd like to do with my life

There's nothin' behind me and nothin' that ties me to
Something that might have been true yesterday
Tomorrow is open, right now it seems to be more than enough
To just be here today, and I don't know

What the future is holdin' in store
I don't know where I'm goin' I'm not sure where I've been
There's a spirit that guides me, a light that shines for me
My life is worth the livin', I don't need to see the end

Sweet, sweet surrender, live, live without care
Like a fish in the water, like a bird in the air

Sweet, sweet surrender, live, live without care
Like a fish in the water, like a bird in the air

Lost and alone on some forgotten highway
Traveled by many, remembered by few
Lookin' for something that I can believe in
Lookin' for something that I'd like to do with my life

There's nothin' behind me and nothin' that ties me to
Something that might have been true yesterday
Tomorrow is open, right now it seems to be more than enough
Just be here today, and I don't know

What the future is holdin' in store
I don't know where I'm goin' I'm not sure where I've been
There's a spirit that guides me, a light that shines for me
My life is worth the livin', I don't need to see the end

Sweet, sweet surrender, live, live without care
Like a fish in the water, like a bird in the air

Sweet, sweet surrender, live, live without care
Like a fish in the water, like a bird in the air

Sweet, sweet surrender, live, live without care
Like a fish in the water, like a bird in the air

Sweet, sweet surrender, live, live without care
Like a fish in the water, like a bird in the air

Sweet, sweet surrender, live, live without care
Like a fish in the water, like a bird in the air

Sweet, sweet surrender, live, live without care

A versão de John Denver:

A versão de Leon Van Der Meer:

A versão de John Denver Project Band:

1441 – Lynyrd Skynyrd – Don't ask me no questions (1974)

Escrita por Ronnie Van Zant e Gary Rossington, foi gravada em janeiro de 1974, no Record Plant Studios, em Los Angeles, California e lançada em 15 de abril de 1974 no disco Second Helping e em compacto, com Take your time como Lado B. Foi produzida por Al Kooper. É conhecida por sua letra e pelo seu riff de guitarra simples. Eles se descrevem como músicos da classe trabalhadora que gostavam de fazer música e não como celebridades Não gostavam do mundo das gravadoras, managers e agentes. A canção é direcionada àqueles que desprezavam a banda no início da carreira deles, mas que agora queriam estar no centro de tudo. Foi feita durante uma viagem de pescaria de Ronnie e Gary. Ronnie Van Zant cantou, Gary Rossingon tocou guitarra, Allen Collins tocou guitarra, Ed King tocou baixo e slide guitar, Bob Burns tocou bateria e percussão, Billy Powell tocou teclado, Bobby Keys, Trevor Lawrence e Steve Madiao tocaram os sopros e Al Kooper tocou piano e fez backing vocals.

A letra:

Well every time that I come home nobody wants to let me be
It Seems that all the friends I got just got to come interrogate me
Well I appreciate your feelings and I don't want to pass you by
But I don't ask you about your business don't ask me about mine, yeah

Well it's true I love the money
And I love my brand new car
I like drinking the best of whiskey
Playin in a honkey tonk bar

When I come off the road
Well I just gotta have my time
Cause I got to find a break in this action
Or else I'm gonna lose my mind

So don't ask me no questions
And I won't tell you no lies
So don't ask me about my business
And I won't tell you good-bye (that's right)

Well what's your favorite color
And do you dig the brothers
It's driving me up the wall
And every time I think I can sleep
Some fool has got to call

Well don't you think that when I come home
I just want a little piece of mind
And if you wanna talk about this business
Buddy you just wasting time

So don't ask me no questions
And I won't tell you no lies
So don't ask me about my business
And I won't tell you good-bye

I said don't ask no stupid questions
And I won't send you away
If you want to talk fishin'
I guess that would be okay (whoo)

A versão do Lynyrd Skynyrd:

A versão de Full Throttle Band SC:

A versão de Southern Breeze:

1440 – Van Morisson – Bulbs (1974)

Escrita por Van Morrison, foi gravada em março de 1974, no Mercury Studios, em New York City, e lançada em 5 de outubro de 1974 no disco Veedon Fleece. Saiu também no compacto que tinha Cul de sac como Lado B. Ela foi feita anteriormente com letra diferente e ritmo diferente. Foi gravada nas sessões do disco de 1973, Hard nose the highway, mas não foi aproveitada. Então foi refeita a letra e a música e gravada pro Veedon Fleece, com músicos que Van nunca havia trabalhado antes. O baixista Joe Macho havia gravado Sunny, o grande hit de Bobby Hebb, de 1966. Bulbs tem uma pegada rock country agradável que contagia, tipo um Dire Straits. Não tem uma história clara, mas fala de imigração pros Estados Unidos. Van Morrison cantou e tocou violão. John Tropea tocou guitarra elétrica. Jeff Labes tocou piano. Joe Macho tocou baixo e Allan Schwartzberg tocou bateria.

A letra:

I'm kicking off from center field
A question of being down for the game
The one shot deal don't matter
And the other one's the same

Oh! My friend I see you
Want you to come through (alright)
And she's standing in the shadows
Where the street lights all turn blue

She leaving for an American (uhuh)
Suitcase in her hand
I said her brothers and her sisters
Are all on Atlantic sand

She's screaming through the alley way
I hear the lonely cry, why can't you?
And her batteries are corroded
And her hundred watt bulb just blew

Lallallal, alright, huhuhhuh...

She used to hang out at Miss Lucy's
Every weekend they would get loose
And it was a straight clear case of
Having taken in too much juice

It was outside, and it was outside
Just the nature of the person
Now all you gotta remember
After all, it's just show biz

Lallalal, huhuh, lallal...

We're just screaming through the alley way
I hear her lonely cry, ah why can't you?
And she's standing in the shadows
Canal street lights all turn blue

And she's standing in the shadows
Where the street lights all turn blue
And she's standing in the shadows
Down where the street lights all turn blue

Hey, hey, yeah

A versão de Van Morrison:

A versão de Ultan Conlon:

A versão de E. Thomas:

1439 – Supertramp – Crime of the century (1974)

Escrita por Roger Hodgson e Rick Davies, foi gravada entre fevereiro e junho de 1974 e lançada no disco de mesmo nome, em 13 de setembro de 1974. Foi produzida por Ken Scott e pela própria banda. A banda achou que essa seria a mais forte canção do disco, por isso deram o nome ao mesmo. É a última faixa do Lado B do LP. Foi composta enquanto eles moravam na Southcombe Farm e só comiam, bebiam e pensavam no novo disco. Rick Davis cantou e fez backing vocals e tocou piano acústico, gaita, órgão Hammond e Sintetizador Elka Rhapsody 610. Roger Hodgson cantou e fez backing vocals e tocou guitarra. Johnny Anthony Helliwell tocou sax. Dougiue Thomson tocou baixo. Bob Sienbenberg tocou bateria e percussão. Ken Scott tocou gongo de água.

A letra:

Now they're planning the crime of the century
Well, what will it be?

Read all about their schemes and adventuring
Yes, it's well worth a fee

So roll up and see

How they rape the universe
How they've gone from bad to worse

Who are these men of lust, greed and glory?
Rip off the masks and let's see
But that's not right, oh, no, what's the story?
But there's you and there's me

That can't be

A versão do Supertramp:

A versão Victor Hugo, Gustavo Correa e Will Brasil:

A versão de Noolands:

1438 – Chicago – Wishing you were here (1974)

 

Escrita por Peter Cetera, foi gravada no Caribou Ranch, no Colorado, Estados Unidos de agosto a dezembro de 1973 e lançada em 11 de março de 1974, no disco Chicago VII. Depois saiu em compacto em outubro de 1974, com Life saver no Lado B. Os vocais principais foram feitos por Terry Kath, enquanto Cetera cantou na ponte. Chegou ao número 11 do Billboard Hot 100 e número 5 no Canadá. Terry Kath e Peter Cetera trocaram de instrumentos, com Kath no baixo e Cetera no violão. James Williams Guercio, um produtor de Chicago, tocou guitarra na gravação também. A troca de cantores se deu porque quando a parte instrumental tinha sido gravada, Cetera se deu conta que era muito lenta pra ele cantar e pediu pra Kath cantar. Al Jardine, Carl Wilson e Dennis Wilson, dos Beach Boys, fieram os backing vocals. Eles estavam no Caribou Ranch no dia da gravação de Wishing you were e gravaram com os amigos. Novamente, o line foi o seguinte: Terry Kath cantou os vocais principais e tocou baixo. Peter Cetera canto a ponte e fez backing vocals e tocou violão. Robert Lamm tocou teclado. Danny Seraphine tocou bateria. Lee Loughnane tocou trompete. James Pankow tocou trombone. Walter Parazaider tocou sax tenor. Laudir de Oliveira tocou percussão. James Williams Guercio tocou guitarra. David J. Wolinski tocou sintetizador ARP e Al Jardine, Carl Wilson e Dennis Wilson fizeram backing vocals.

A letra:

Sleepless hours and dreamless nights and far aways
Ooh, wishing you were (Wishing you were here)
Heaven knows, and Lord it shows, when I'm away
Ooh, wishing you were (Wishing you were here)

Ah, ah, ah, ah, ah, ah, ah, ah...

Same old show in a different town on another time
Ooh, wishing you were (Wishing you were here)
Even though you're far away, you're on my mind
Ooh, wishing you were (Wishing you were here)

Ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh...

And I'd like to change my life, and you know I would
Just to be with you tonight, baby, if I could
But I've got my job to do, and I do it well, oh
(Change my life, change my life)
So I guess that's how it is

Ooh, wishing you were here
Ooh, wishing you were here
Ooh, wishing you were here (Wishing you were here)
Wishing you were here (You were here)

On the road it's a heavy load, but I'll be by
Ooh ooh ooh, wishing you were (Wishing you were here)
Pay the price, make a sacrifice, and still I'll try
Ooh ooh ooh, wishing you were (Wishing you were here)

Ooh, wishing you were (Wishing you were here)
Ooh, wishing you were (Wishing you were here)
Wishing you were here
Wishing
Wishing

A versão do Chicago:

A versão de Leonid and Friends:

A versão de Rockland Road:

1437 – Elton John – Grimsby (1974)

Escrita por Elton John e Bernie Taupin, foi gravada em janeiro de 1974 e lançada em 28 de junho de 1974 no disco Caribou, o oitavo da carreira de Elton John. Foi produzida por Gus Dudgeon. Elton John cantou e tocou piano acústico. Davey Johnstone tocou violão, guitarra, bandolim e fez backing vocals. Nigel Olsson tocou bateria e fez backing vocals. Ray Cooper tocou pandeiro, congas, assobiou, tocou vibraphone, snare, castanholas, sinos tubulares e maracas.

A letra;

As I lay dreaming in my bed
Across the great divide
I thought I heard the trawler boats
Returning on the tide

And in this vision of my home
The shingle beach did ring
I saw the lights along the pier
That made my senses sing

Oh oh Grimsby, a thousand delights
Couldn´t match the sweet sights
Of my Grimsby
Oh England you´re fair
But there´s none to compare with my Grimsby

Through nights of mad youth
I have loved every sluice in your harbour
And in your wild sands from boyhood to man
Strangers have found themselves fathers

Take me back you rustic town
I miss your magic charm
Just to smell your candy floss
Or drink in the Skinners Arms

No Cordon Bleu can match the beauty
Of your pies and peas
I want to ride your fairground
Take air along the quay

Oh oh Grimsby, a thousand delights
Couldn´t match the sweet sights
Of my Grimsby
Oh England you´re fair
But there´s none to compare with my Grimsby

Through nights of mad youth
I have loved every sluice in your harbour
And in your wild sands from boyhood to man
Strangers have found themselves fathers

Grimsby, a thousand delights
Couldn´t match the sweet sights
Of my Grimsby
Oh England you´re fair
But there´s none to compare with my Grimsby

Grimsby, a thousand delights
Couldn´t match the sweet sights
Of my Grimsby
Oh England you´re fair
But there´s none to compare with my Grimsby

A versão de Elton John:

A versão de Glupiter:

A versão de Mike Evans: