Escrita
por J.J Cale, foi gravada em 5 de dezembro de 1973, foi gravada no
estúdio na casa de Cale, em Tulsa, Oklahoma. Foi lançada em 30 de
abril de 1974. Joel Green tocou baixo. Terry Perkins tocou bateria.
Paul Davis tocou guitarra e J.J. Cale tocou guitarra e cantou.
The
old man he catches The fish in the morning He rides the river
every day
I
sit on the bank and I holler when he passes "Hey, old
man, are they biting today"
I
wake up in the morning, Thinking 'bout my troubles I go down
to the water And they pass away
And
when the old man comes A-floating down the river "Hey,
old man, are they biting today"
"Hey,
old man, are they biting today"
Now
here we've got a thing That keeps on rolling It ain't heavy,
don't take it that way The old man and me, We got a good thing
going He gets his fish and I sit all day He gets his fish and I
sit all day
Escrita
por George Harrison, foi produzida pelo próprio George e lançada em
18 de novembro de 1974 no compacto que tinha I don't care anymore
como Lado B. Saiu depois no disco de mesmo nome em 9 de dezembro de
1974. Foi escrita em 1973, quando ele se tornou sem esperar, o mais
bem sucedido dos ex-Beatles. O cavalo preto é o cavalo que ninguém
aposta. E no final, foi ele quem ganhou. George teve laringite no dia
de gravar Dark Horse e sua voz ficou irreconhecivel na gravação.
Derrek Van Eaton fez o overdub dos vocais. George brincou dizendo que
a voz dele ficou parecida com Louis Armstrong. Chegou ao número 15
no Billoard Hot100. Chegou ao número 26 no Canadá. George cantou e
tocou violão. Billy Preston tocou piano elétrico. Robben Ford tocou
violão. Willie Weeks tocou baixo. Andy Newmark tocou bateria. Jim
Keltener tocou bateria. Tom Scott, Chuck Findley e Jim Horn tocaram
flauta. Emil Richards tocou percussão. Derrek Van Eaton e Lon Van
Eaton fizeram backing vocals.
A
letra:
You
thought that you knew where I was and when But it looks like
they've been foolin' you again You thought that you'd got me all
steaked out But baby looks like I've been breaking out
I'm a dark horse Running on a dark
race course I'm a blue moon Since I stepped out of the
womb
I've been a cool jerk Just looking for the source I'm a dark
horse
You thought that you got me in your
grip Baby looks like you was not so smart And I became too
slippery for you But let me tell you that was nothing new
I'm a dark horse Running on a dark
race course I'm a blue moon Since I picked up my first
spoon I've been a cool jerk Just looking for the source I'm a
dark horse
I thought that you knew it all
along Until you started getting me not right Seems as if you
heard a little late But I warned you when We both were at the
starting gate
I'm a dark horse Running on a dark
race course I'm a blue moon Since I stepped out of the
womb I've been a cool jerk Just looking for the source I'm a dark
horse
Escrita
por Phil Coulter e Bill Martin fizeram as letras em inglês e Jean
Pierre Bourtayre e Claude François fizeram a música. Foi gravada em
13 de dezembro de 1973 e lançada no disco Good times, lançado em 20
de março de 1974. Saiu também em compacto, com Thinking about you
como Lado B. É uma balada sentimental, cantada em primeira pessoa,
sob o ponto de vista de um pai conversando com seu pequeno filho
sobre separacao, partindo do principio que o filho tá dormindo e não
pode escuta-lo. Ele conta que o casamento acabou mas que ele não vai
embora pois é melhor pro filho que ele fique enquanto ele cresce. A
versão de Elvis chegou ao número 20 no Billboard Hot 100 e número
5 no Reino Unido.
A
letra:
You're
sleeping son, I know But, really, this can't wait I wanted to
explain Before it gets too late
For your mother and me Love has
finally died This is no happy home But God knows how I've tried
Because you're all I have, my boy You
are my life, my pride, my joy And if I stay, I stay because of
you, my boy
I know it's hard to understand
Why
did we ever start? We're more like strangers now Each acting
out a part
I have laughed, I have cried I have
lost every game Taken all I can take But I'll stay here just
the same
Because you're all I have, my boy You
are my life, my pride, my joy And if I stay, I stay because of
you, my boy
Sleep on, you haven't heard a
word Perhaps it's just as well Why spoil your little dreams Why
put you through the hell
Life is no fairytale As one day you
will know But now you're just a child I'll stay here and watch
you grow
Because you're all I have, my boy You
are my life, my pride, my joy And if I stay, I stay because of
you, my boy
Because you're all I have, my boy You
are my life, my pride, my joy And if I stay, I stay because of
you, my boy
Yeah, because you're all I have, my
boy You are my life, my pride, my joy And if I stay, I stay
because of you, my boy
Escrita
por Charles Aznavour e Herbet Kretzmer, foi lançada em compacto em
1974, com La Barraka como Lado B. Foi escrita em inglês pra série
de TV britânica Seven Faces of woman. Aznavour ainda gravaria essa
mesma canção em Francês, Alemão, Italiano e espanhol. Chegou ao
número 1 dos charts britânicos, assim como chegou ao número 1 na
Irlanda. Foi regravada por Elvis Costello e lançada no filme Notting
Hill, com Julia Roberts. Foi também regravada por Laura Pausini.
Além deles, foi também regravada por Daniel Boaventura e Bryan
Ferry, entre outros artistas.
A
letra:
She
may be the face I can’t forget A trace of pleasure or regret May
be my treasure or The price I have to pay
She may be the
song that summer sings May be the chill that autumn brings May
be a hundred different things Within the measure of a day
She
may be the beauty or the beast May be the famine or the feast May
turn each day into a heaven Or a hell
She may be the mirror
of my dream A smile reflected in a stream She may not be what
she may seem Inside her shell
She who always seems so happy
in a crowd Whose eyes can be so private and so proud No-one’s
allowed to see them When they cry
She may be the love that
cannot hope to last May come to me from shadows of the past That
I remember 'Till the day I die
She
may be the reason I survive The why and wherefore I’m alive The
one I’ll care for Through the rough and rainy years
Me,
I’ll take her laughter and her tears And make them all my
souvenirs For where she goes I’ve got to be The meaning of my
life is she
Escrita
por Randy Bachman, foi gravada em 1974 e lançada em setembro de 1974
no disco Not fragile. Saiu tambem no compacto que tinha Free wheelin'
como Lado B. Chegou ao número 1 no Billboard HOT 100 e no Canadá,
Alemanha, Nova Zelandia e Dinamarca, e número 2 no Reino Unido, o
maior feito da banda naquele país. Chegou também ao número 4 na
Australia e Irlanda, número 3 na Austria e Holanda, número 6 na
Bélgica, Fala do cantor encontrando uma mulher má que o ama. O
refrão tem o famoso gaguejado. O gaguejado no entanto era uma
gozação pro irmão de Randy, Gary. Mas não conseguiram mais gravar
sem o gaguejado e então ficou assim mesmo.
A
letra:
I
met a devil woman She took my heart away She said, I've had it
comin' to me But I wanted it that way I think that any love is
good lovin' So I took what I could get, mmh Oooh, oooh she
looked at me with big brown eyes
And said, You ain't seen
nothin' yet B-b-b-baby, you just ain't seen n-n-nothin' yet Here's
something that you never gonna forget B-b-b-baby, you just ain't
seen n-n-nothin' yet
"Nothin' yet, you ain't been around,
that's what they told me"
And now I'm feelin'
better 'Cause I found out for sure She took me to her
doctor And he told me of a cure He said that any love is good
love So I took what I could get Yes, I took what I could
get And then she looked at me with them big brown eyes
And
said, You ain't seen nothin' yet B-b-b-baby, you just ain't
seen n-n-nothin' yet Here's something, here's something your never
gonna forget baby, you know, you know, you know you just ain't
seen nothin' yet
"You need educatin'...You got to go to
school"
Any love is good lovin' So I took what I could
get Yes, I took what I could get And then, and then, and
then She looked at me with them big brown eyes
And
said, You ain't seen nothin' yet Baby, you just ain't seen
n-n-nothin' yet Here's something, here's something Here's
something that your never gonna forget, baby Baby, baby, baby you
ain't seen n-n-nothin' yet
You
ain't been around You ain't seen nothin' yet That's what she
told me She said, "I needed educatin', go to school" I
know I ain't seen nothin' yet I know I ain't seen nothin' yet
Escrita
por Joni Mitchell, foi gravada em 1973 e lançada em 17 de janeiro de
1974 no disco Court and Spark e depois no compacto que tinha Just
like this train, em março de 1973. Foi produzida pro ela própria.
Foi gravada com a banda de Jazz Tom Scott's L.A. Express, como banda
de fundo. Foi o maior hit de Joni, o único hit top 10 dela. Chegou
ao número 7 no Billboard Hot 100. Chegou ao número 4 no Canadá.
Joni Mitchell cantou, tocou violão e piano. Tom Scott tocou
windwoods e reeds. Joe Sample tocou piano elétrico. Larry Carlton
tocou guitarra. Max Bennett tocou baixo. John Guerin tocou percussão
e bateria. É o número 288 da lista das 500 greatest songs of all
time, da revista Rolling Stone. Foi regravada por Mandy Moore e K.D.
Lang, entre outros artistas.
A
letra:
Help
me, I think I'm fallin' in love again When I get that crazy
feelin', I know I'm in trouble again I'm in trouble 'cause you're
a rambler and a gambler And a sweet talkin' ladies man And you
love your lovin' (lovin') Not like you love your freedom
Help me, I think I'm fallin' in love
too fast It's got me hopin' for the future and worryin' about the
past 'Cause I've seen some hot, hot blazes come down to smoke and
ash We love our lovin' (lovin') But not like we love our
freedom
Oh, didn't it feel good? We were
sittin' there talkin' Or lyin' there not talkin', didn't it feel
good? Go dance with the lady with the hole in her stockin' Didn't
it feel good? Didn't it feel good?
Help me, I think I'm fallin' in love
with you Are you gonna let me go there by myself? That's such a
lonely thing to do Both of us flirtin' around Flirtin' and
flirtin', hurtin' too We love our lovin' (lovin') But not like
we love our freedom
Escrita
por Bob Dylan, foi gravada em novembro de 1973 e lançada no disco
Planet Waves em 17 de janeiro de 1974. Foi gravada logo em 6 de
novembro de 1973. Fala de romance obscuro, subterfúgio, suspeição,
ódio-próprio. É o melhor pitch de voz do disco, o que demonstra
que Bob sempre gostava de de desafiar a si mesmo. É um dos vocais
mais sexuais de Bob.
A
letra:
Tough
mama Meat shakin' on your bones I'm gonna go down to the river
and get some stones. Sister's on the highway with that
steel-drivin' crew, Papa's in the big house, his workin' days are
through. Tough mama Can I blow a little smoke on you?
Dark beauty Won't you move it on
over and make some room? It's my duty to bring you down to the
field where the flowers bloom. Ashes in the furnace, dust on the
rise, You came through it all the way, flyin' through the
skies. Dark beauty With that long night's journey in your eyes.
Sweet goddess Born of a blinding
light and a changing wind, Now, don't be modest, you know who you
are and where you've been. Jack the cowboy went up north He's
buried in your past. The lone wolf went out drinking That was
over pretty fast. Sweet goddess Your perfect stranger's comin'
in at last.
Silver angel With the badge of the
lonesome road sewed in your sleeve, I'd be grateful if this golden
ring you would receive. Today on the countryside it was a-hotter
than a crotch, I stood alone upon the ridge and all I did was
watch. Sweet goddess It must be time to carve another notch.
I'm crestfallen The world of
illusion is at my door, I ain't a-haulin' any of my lambs to the
marketplace anymore. The prison walls are crumblin', there is no
end in sight, I've gained some recognition but I lost my
appetite. Dark beauty Meet me at the border late tonight.
Escrita
por Pierre Delanoë e Claude Lemesle, foi traduzida de Please tell
her I said hello, escrita por Shepstone and Dibbens. Foi lançada por
Joe Dassin no disco de mesmo nome. Foi lançada também como
compacto, com Vade retro como Lado B. Chegou ao número 8 na Bélgica.
A
letra:
Seule
devant ta glace Tu te vois triste sans savoir pourquoi Et tu
ferais n'importe quoi Pour ne pas être à ta place
Si tu t'appelles mélancolie Si
l'amour n'est plus qu'une habitude Ne me raconte pas ta vie Je
la connais, ta solitude
Si tu t'appelles mélancolie On est
fait pour l'oublier ensemble Les chiens perdus, les incompris On
les connaît, on leur ressemble
Et demain peut-être Puisque tout
peut arriver, n'importe où Tu seras là, au rendez-vous Et je
saurai te reconnaître
Si tu t'appelles mélancolie Si
l'amour n'est plus qu'une habitude Ne me raconte pas ta vie Je
la connais, ta solitude
Si tu t'appelles mélancolie On est
fait pour l'oublier ensemble Les chiens perdus, les incompris On
les connaît, on leur ressemble
Si tu t'appelles mélancolie Si
l'amour n'est plus qu'une habitude...
Escrita
por Billy Preston e Bruce Fisher, foi lançada por Preston no seu
nono disco, de 1974, chamado The Kids and Me. A nossa versão no
entanto é a de Joe Cocker, gravada entre 1973 e 1974 e lançada no
disco I can stand a little rain, o quarto da carreira de Joe Cocker.
Saiu também em compacto, em novembro de 1974, com It's a sin when
you love somebody como Lado B. A versão de Joe Cocker foi produzida
por Jim Price. Foi o maior sucesso de Cocker no Billboard Hot 100,
chegando ao número 5. Chegou ao número 4 no Canadá. Kenny Rogers,
Perry Como, Al Green, e Bonnie Tyler regravaram-a, entre outros
artistas. A inspiração de Billy Preston pra compor essa canção
foi sua mãe. Joe Cocker cantou, Nicky Hopkins tocou piano e Dave
McDaniel tocou baixo.
A
letra:
You
are so beautiful To me You are so beautiful To me Can't
you see? You're everything I hoped for You're everything I need
You
are so beautiful To me
You are so beautiful To me You
are so beautiful To me Can't you see?
You're everything I hoped
for Everything I need You are so beautiful To me
Escrita
por Gordon Lightoot, foi gravada em novembro de 1973 no Eastern Sound
Studios, em Toronto, e lançada no disco Sundown, em janeiro de 1974.
Saiu também em compacto, com Too late for prayin', em 25 de março
de 1974. Chegou ao número 1 dos charts Billboard Hot 100 e número
1 no Canadá, além de número 1 na Africa do Sul. Foi a única vez
que Gordon chegou ao número 1 do Hot 100. Foi também número 2 na
Iuguslávia e Nova Zelandia. E número 4 na Australia. Fala de um
relacionaento romântico conturbado, com o narrador contando uma
história com uma mulher difícil de amar, que o tornou uma pessoa
má. Gordon disse que a namorada dele estava num bar com as amigas
enquanto ele estava em casa compondo. E pensou, o que ela está
fazendo no bar com as amigas? Gordon Lightfoot cantou e fez backing
vocals, além de tocar violão de 12 cordas. Red Shea tocou guitarra
elétrica solo. Terry Clements tocou violão solo. John Stockfish
tocou baixo. Jim Gordon tocou bateria.
A
letra:
I
can see her lying back in her satin dress In a room where you do
what you don't confess Sundown, you better take care If I find
you been creeping 'round my back stairs
Sundown, you better take care If I
find you been creeping 'round my back stairs
She's been looking like a queen in
a sailor's dream And she don't always say what she really means
Sometimes I think it's a shame When
I get feeling better when I'm feeling no pain Sometimes I think
it's a shame When I get feeling better when I'm feeling no pain
I can picture every move that a man
could make
Getting lost in her loving is your
first mistake Sundown, you better take care If I find you been
creeping 'round my back stairs Sometimes I think it's a sin When
I feel like I'm winning when I'm losing again
I can see her looking fast in her faded
jeans
She's a hard loving woman Got me
feeling mean
Sometimes I think it's a shame When
I get feeling better when I'm feeling no pain Sundown, you better
take care If I find you been creeping 'round my back stairs
Sundown, you better take care If I
find you been creeping 'round my back stairs Sometimes I think
it's a sin
When I feel like I'm winning when I'm
losing again
Escrita
por Joni Mitchell, foi gravada e produzida por ela em 1973 e lançada
no disco Court and spark, em 17 de janeiro de 1974. Saiu também no
comacto com People's parties em julho de 1974. É o número 470 das
500 greatest songs of all time, da revista Rolling Stone. É sobre
David Geffen, promotor musical, amigo próximo de Mitchell no começo
dos anos 70s. Descreve uma viagem que os dois fizeram à Paris, com
Robbie e Dominique Robertson. Ele não é mencionado por nome, mas
ela descreve como ele trabalah duro pra criar hits e lançar
carreiras, e ainda assim ter paz enquanto passeia por Paris. Bob
Dylan disse que gostava muito da música e que não parava de
escutá-la. Chegou ao número 22 no Billboard HOT100. Foi regravada
por Neil Diamond e Alanis Morissette, entre outros artistas. Joni
Mitchell cantou e tocou violão. Tom Scott tocou woodwinds. Jose
Feliciano e Larry Carlton tocaram as guitarras. Wilton Felder tocou
baixo. John Guerin tocou bateria. David Crosby e Graham Nash fizeram
backing vocals.
A
letra:
The
way I see it, he said You just can't win it Everybody's in it
for their own gain You can't please 'em all
There's always somebody calling you
down I do my best And I do good business There's a lot of
people asking for my time
They're trying to get ahead They're
trying to be a good friend of mine
I was a free man in Paris I felt
unfettered and alive
There was nobody calling me up for
favors And no one's future to decide You know I'd go back there
tomorrow But for the work I've taken on
Stoking the star maker machinery Behind
the popular song
I deal in dreamers And telephone
screamers
Lately I wonder what I do it for If
l had my way I'd just walk out those doors And wander
Down the Champs Elysees Going cafe
to cabaret Thinking how I'll feel when I find That very good
friend of mine
I was a free man in Paris I felt
unfettered and alive Nobody was calling me up for favors No
one's future to decide
You know I'd go back there tomorrow But
for the work I've taken on Stoking the star maker machinery Behind
the popular song
Escrita
por Barry Gibb e Roin Gibb, foi gravada entre novembro de 1973 e
janeiro de 1974 e lançada no disco Mr. Natural, em maio de 1974. A
canção tem uma forte influencia de soul da Philadelphia. Barry Gibb
cantou as harmonias vocais, vocais principais, além de backing
vocals e guitarra ritmica. Robin Gibb fez harmonias vocais, vocais
principais e backing vocals. Maurice Gibb fez harmonias vocais,
backing vocals e tocou baixo, orgao e mellotron. Alan Kendall tocou
guitarra solo. Dennis Brown tocou bateria e percussão. Geoff Westley
tocou piano e teclado.
A
letra:
Little
child , I have found If I stood up and looked around I'd see a
brand new face staring right back at me
I
believe , I am sure That I'm taller then I was before Building
a brand new bridge into sincerity
But
it's the times like this , we must learn to grow Throw a penny for
my children , they are going down When the light shines down much
brighter , many souls are found And can't believe what they're
saying in the overground Throw a penny for my children going down
Listen
to the wise man as he breathes He's really loving me (loving
me) He must be loving me (loving me)
At
night I turn my face into the wind And I whisper secretly , what
means the most to me And bring him close
Make
it bad , make it good Make it easy to be understood I see a
velvet day breaking across the sky
I
believe , I am sure I am taller then I was before Building a
brand new bridge I know I'm gonna try
But
it's the times like this , we must find out why Throw a penny for
my children they are going down When the light shines down much
brighter , many souls are found And I can't believe what they're
saying in the overground Throw a penny for my children going down
Throw
a penny for my children , for my children going down Throw a
penny for my children , for my children going down Throw a penny
for my children , for my children going down Throw a penny for my
children , for my children going down (fade)
