Escrita
por Stevie Nicks, foi gravada entre janeiro e fevereiro de 1975 e
lançada no disco Fleetwood Mac, em 11 de julho de 1975. Chegou ao
número 51 dos charts Billboard Hot100 e recebeu disco de ouro em
outubro de 2009, por vendas acima de 500 mil cópias nos Estados
Unidos. Em 2017, passou da marca das 2 milhões de cópias. Essa
canção foi escrita poa Nicks enquanto pensava se voltava pra escola
ou se seguiria carreira com Lindsey Buckingham, seu namorado na
época. Eles lançaram um disco que não teve sucesso. Ela escreveu
essa canção enquanto visitava Aspen, no Colorado, sentada na sala
de algum conhecido. Ela olhava pras Rocky Mountains e pensando na
avalanche que tinha caído sobre a vida dela. Ela se sentia mesmo no
meio de um deslizamento de terra. Stevie Nicks cantou e Lindsey
Buckingham tocou guitarra e violão. Chegou também ao número 21 no
Canadá. Foi regravada pelos Smasing Pumpkins, pelas Dixie Chicks e
por Tori Amos, entre outros artistas.
I
took my love, I took it down I climbed a mountain and I turned
around And I saw my reflection in the snow-covered hills 'Til
the landslide brought me down
Oh,
mirror in the sky What is love? Can the child within my heart
rise above? Can I sail through the changin' ocean tides? Can I
handle the seasons of my life?
Well,
I've been afraid of changin' 'Cause I've built my life around
you But time makes you bolder Even children get older And
I'm getting older too
Well,
I've been afraid of changin' 'Cause I've built my life around
you But time makes you bolder Even children get older And
I'm getting older too Oh! I'm getting older too
Oh-oh,
take my love, take it down Oh-oh, climb a mountain and you turn
around And if you see my reflection in the snow-covered
hills Well, the landslide bring it down
And
if you see my reflection in the snow-covered hills Well, the
landslide bring it down Oh-ohh, the landslide bring it down
Escrita
por David Gilmour e Roger Waters, foi gravada entre janeiro e julho
de 1975 e lançada no dia 12 de setembro de 1975, no disco Wish you
were here. Foi gravada no mesmo estúdio Abbey Road, famoso pelos
Beatles. Gilmour é quem canta. É o número 302 da lista da revista
Rolling Stone das 500 greatest songs of all time. Gilmour também faz
a introdução num violão de 12 cordas. Tanto Gilmour quanto Waters
acham que é uma das melhores canções da banda. Tem uma parte de
violino que foi tocada e arranjada por Stephane Grappelli, que
gravava em outra sala do estúdio. Gilmour ofereceu 300 libras pra
ele, que aceitou. Yehudi Menuhin, que tambem estava lá, não aceitou
e a parte é toda de Grappelli. A parte no entanto foi retirada da
gravação, embora possa ser ouvida ainda ao fundo. Escuta-se uma
tosse de Gilmour na gravação. Fumava demais e não conseguia não
tossir. Ao ouvir a gravação, deixou de fumar no dia seguinte. Foi
regravada por Wyclef Jean, entre outros artistas. David Gilmour
cantou os vocais principais e fez harmonias vocais, tocou scat
singing, violões de 12 e 6 cordas, pedal steel guitar e fez tape
sffects. Nick Mason tocou bateria e fez tape effects. Roger Waters
tocou baixo e fez tape effects. Richard Wright tocou um piano
Steinway e Minimoog.
A
letra:
So,
so you think you can tell Heaven from hell? Blue skies from
pain? Can you tell a green field From a cold steel rail? A
smile from a veil? Do you think you can tell?
Did
they get you to trade Your heroes for ghosts? Hot ashes for
trees? Hot air for a cool breeze? Cold comfort for change? Did
you exchange A walk-on part in the war For a leading role in a
cage?
How
I wish, how I wish you were here We're just two lost
souls Swimming in a fish bowl Year after year
Running
over the same old ground What have we found? The same old
fears Wish you were here
Escrita
por Bob Dylan e Jacques Levy, foi gravada em julho e 24 de outubro de
1975 e lançada em novembro de 1975, em um compacto que trazia
Hurricane Part II no Lado B. Saiu também no disco Desire, em 5 de
janeiro de 1976. Fala da prisão do boxer americano Rubin Hurricane
Carter, que foi condenado injustamente por um assassinato que não
cometeu. Rubin era negro. Carter e seu amigo John Artis foram
condenados por um triplo assassinato no Lafayette Grill, em Paterson,
New Jersey, em 1966. Dylan foi visitá-lo na cadeia após ler a
autobiografia de Carter. Chegou ao número 33 do Billboard Hot100.
Scarlet Rivera tocou violino. Steven Soles tocou guitarra. Rob
Rohsteain tocou baixo. Howie Wyeth tocou bateria. Luther Rix tocou
percussão. Ronee Blackley fez as harmonias vocais. Patricia Graham
(Patty Valentine), testemunha, processou Dylan, pois ela achou que na
música, ela pareceu fazer parte de uma conspiração pra condenar
Carter. Ela perdeu o caso. Dylan fez alguns shows pra arrecadar grana
pra defesa de Carter. Em 1985, Carter foi libertado.
A
letra:
Pistol
shots ring out in the barroom night Enter Patty Valentine from the
upper hall She sees a bartender in a pool of blood Cries out my
God, they killed them all
Here
comes the story of the Hurricane The man the authorities came to
blame For somethin' that he never done Put in a prison cell,
but one time he could-a been The champion of the world
Three bodies lyin' there does Patty
see And another man named Bello, movin' around mysteriously I
didn't do it, he says, and he throws up his hands I was only
robbin' the register, I hope you understand
I saw them leavin', he says, and he
stops One of us had better call up the cops And so Patty calls
the cops And they arrive on the scene with their red lights
flashin' In the hot New Jersey night
Meanwhile, far away in another part of
town Rubin Carter and a couple of friends are drivin' around The
number one contender for the middleweight crown Had no idea what
kinda shit was about to go down
When a cop pulled him over to the side
of the road Just like the time before and the time before that In
Paterson that's just the way things go If you're black you might
as well not show up on the street 'Less you want to draw the heat
Alfred Bello had a partner and he had a
rap for the cops Him and Arthur Dexter Bradley were just out
prowlin' around He said, I saw two men runnin' out, they looked
like middleweights They jumped into a white car with out-of-state
plates
And Miss Patty Valentine just
nodded her head Cop said, wait a minute, boys, this one's not
dead So they took him to the infirmary And though this man
could hardly see They told him that he could identify the guilty
men
Four in the mornin' and they haul Rubin
in They took him to the hospital and they brought him upstairs The
wounded man looks up through his one dyin' eye Says, wha'd you
bring him in here for? He ain't the guy!
Here's the story of the Hurricane The
man the authorities came to blame For somethin' that he never
done Put in a prison cell, but one time he could-a been The
champion of the world
Four months later, the ghettos are in
flame Rubin's in South America, fightin' for his name While
Arthur Dexter Bradley's still in the robbery game And the cops are
puttin' the screws to him, lookin' for somebody to blame
Remember that murder that happened in a
bar Remember you said you saw the getaway car You think you'd
like to play ball with the law Think it might-a been that fighter
that you saw runnin' that night Don't forget that you are white
Arthur Dexter Bradley said I'm really
not sure The cops said a poor boy like you could use a break We
got you for the motel job and we're talkin' to your friend Bello You
don't wanta have to go back to jail, be a nice fellow
You'll be doin' society a favor That
sonofabitch is brave and gettin' braver We wannna put his ass in
stir We wanna pin this triple murder on him He ain't no
Gentleman Jim
Rubin could take a man out with just
one punch But he never did like to talk about it all that
much It's my work, he'd say, and I do it for pay And when it's
over I'd just as soon go on my way
Up to some paradise Where the trout
streams flow and the air is nice And ride a horse along a
trail But then they took him to the jailhouse Where they try to
turn a man into a mouse
All of Rubin's cards were marked in
advance The trial was a pig-circus, he never had a chance The
judge made Rubin's witnesses drunkards from the slums To the white
folks who watched he was a revolutionary bum
And to the black folks he was just a
crazy nigger No one doubted that he pulled the trigger And
though they could not produce the gun The D.A. said he was the one
who did the deed And the all-white jury agreed
Rubin Carter was falsely tried The
crime was murder one, guess who testified Bello and Bradley and
they both baldly lied And the newspapers, they all went along for
the ride
How can the life of such a man Be in
the palm of some fool's hand To see him obviously framed Couldn't
help but make me feel ashamed to live in a land Where justice is a
game
Now all the criminals in their coats
and their ties Are free to drink martinis and watch the sun
rise While Rubin sits like Buddha in a ten-foot cell An
innocent man in a living hell
That's the story of the Hurricane But
it won't be over till they clear his name And give him back the
time he's done Put in a prison cell, but one time he could-a
been The champion of the world
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. 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:
Many men have loved the
bells You fastened to the rein And everyone who wanted you They
found what they will always want again
Your beauty lost to you
yourself Just as it was lost to them
Oh, take this longing from my
tongue Whatever useless things these hands have done Let me see
your beauty broken down Like you would do for one you love
Your body like a searchlight My
poverty revealed I would like to try your charity Until you
cry, "now you must try my greed"
And everything depends upon How near
you sleep to me
Just take this longing from my
tongue All the lonely things my hands have done Let me see your
beauty broken down Like you would do for one your love
Hungry as an archway Through which
the troops have passed I stand in ruins behind you With your
winter clothes, your broken sandal straps I love to see you naked
over there Especially from the back
Oh, take this longing from my
tongue All the useless things my hands have done Untie for me
your hired blue gown Like you would do for one that you love
You're faithful to the better man I'm
afraid that he left So let me judge your love affair In this
very room where I have sentenced mine to death
I'll even wear these old laurel
leaves That he's shaken from his head
Just take this longing from my
tongue All the useless things my hands have done Let me see
your beauty broken down Like you would do for one you love Like
you would do for one you love
Escrita
por Joni Mitchell, foi gravada em 1973 e lançada no disco Court and
Spark, em 17 de janeiro de 1974. Ganhou um Grammy por melhor arranjo
vocal acompanhado, com David Crosvy e Susan Webb se juntando com ela.
Começa com Joni tocando um piano na introdução. Fala do fato de ou
você muda sua vida ou assume as responsabilidades dela, pois no fim,
tudo termina com você mesmo.
A
letra:
Everything
comes and goes Marked by lovers and styles of clothes Things
that you held high And told yourself were true Lost or changing
as the days come down to you Down to you Constant
stranger You're a kind person You're a cold person too It's
down to you
You go down to the pick up
station Craving warmth and beauty You settle for less than
fascination A few drinks later you're not so choosy When the
closing lights strip off the shadows On this strange new flesh
you've found Clutching the night to you like a fig leaf You
hurry To the blackness And the blankets To lay down an
impression And your loneliness
In the morning there are lovers in the
street They look so high You brush against a stranger And
you both apologize Old friends seem indifferent You must have
brought that on Old bonds have broken down Love is gone Ooh,
love is gone Written on your spirit this sad song Love is gone
Everything comes and goes Pleasure
moves on too early And trouble leaves too slow Just when you're
thinking You've finally got it made Bad news comes knocking At
your garden gate Knocking for you Constant stranger You're a
brute, you're an angel You can crawl, you can fly too It's down
to you It all comes down to you
Escrita
por J. J. Cale, foi gravada no Woodland Studio, em Nashville,
Tennessee em 7 de maio de 1973 e dezembro de 1973 e lançada em 30 de
abril de 1974 no disco Okie. Foi regravada por Tom Petty and The
Heartbreakers, em 2003. J. J. Cale cantou e tocou guitarra. Tim
Drummond tocou baixo. Karl Himmel tocou bateria. Jerry Whitehurst
tocou teclado. George Tidwell tocou trumpete. Dennis Goode tocou
trombone e Billy Pruett tocou sax.
A
letra:
I'd
like to love you baby And keep my other baby too Put my arms
around you, That's all I want to do If the sun don't shine
tomorrow, I know I've got you
I'd like to love you baby And keep
my other baby too
Sometimes my baby's sleeping,
Sometimes she's not around Sometimes I look to find her, I
know she'll put me down
Oh, won't you let me hold you, Let
me lean on you I'd like to love you baby And keep my other
baby too
If the sun don't shine tomorrow, I
know I've got you I'd like to love you baby And keep my other
baby too
Escrita
por Alex Chilton, foi gravada em 1973 e lançada em fevereiro de 1974
no disco Radio City. Saiu depois em compacto em agosto de 1974. Foi
nomeada em homenagem à California girls, dos Beach Boys. É o número
180 das 500 greatest songs of all time, da revista Rolling Stone. Foi
regravada pelas Bangles e The Searchers, entre outros artistas.
A
letra:
September
gurls do so much I was your butch and you were touched I loved
you, well, never mind I've been crying all the time
December boys got it bad December
boys got it bad
September gurls, I don't know why How
can I deny what's inside? Even though I'll keep away They will
love all our days
December boys got it bad December
boys got it bad
When I get to bed late at night That's
the time she makes things right Ooh, when she makes love to me
September gurls do so much I was
your butch and you were touched I loved you, well, never mind I've
been crying all the time
December boys got it bad December
boys got it bad December boys got it bad
Escrita
por Ian Anderson, foi gravada em 1974, no Morgan Studios, em London e
lançada em 14 de outubro de 1974 no disco War child. Saiu tambem no
mesmo dia no compacto que tinha Back-Door Angels como Lado B. Faz uma
analogia entre homens e animais. O compacto foi um dos mais bem
sucedidos da carreira do Jethro Tull. Chegou ao número 12 no
Billboard HOT100, número 4 no Canadá e número 32 na Austrália.
Ian Anderson tocou flauta, violão e cantou. Martin Barre tocou
guitarra elétrica e violão. John Evan tocou piano, orgao,
sintetizadores e acordeon. Jeffrey Hammond tocou baixo. Barriemore
Barlow tocou bateria e percussão.
A
letra:
Walking
through forests of palm tree apartments Scoff at the monkeys who
live in their dark tents Down by the waterhole, drunk every
Friday Eating their nuts, saving their raisins for Sunday Lions
and tigers who wait in the shadows They're fast but they're lazy,
and sleep in green meadows
Well, let's bungle in the jungle Well,
that's all right by me, yes Well, I'm a tiger when I want love But
I'm a snake if we disagree
Just say a word and the boys will be
right there With claws at your back to send a chill through the
night air Is it so frightening to have me at your
shoulder? Thunder and lightning couldn't be bolder I'll write
on your tombstone, I thank you for dinner This game that we
animals play is a winner
Well, let's bungle in the jungle Well,
that's all right by me, yes I'm a tiger when I want love I'm a
snake if we disagree, yes
The rivers are full of crocodile
nasties And he who made kittens put snakes in their grasp He's
a lover of life but a player of pawns Yes, the King on His sunset
lies waiting for dawn To light up His Jungle as play is
resumed The monkeys seem willing to strike up the tune
Well, let's bungle in the jungle Well,
that's all right by me, yes I'm a tiger when I want love And
I'm a snake when we disagree, yes
Let's bungle in the jungle Well,
that's all right by me, yes Well, I'm a tiger when I want love I'm
a snake when we disagree
Well, let's bungle in the jungle Well,
that's all right by me, yes I'm a tiger when I want love
Escrita
por Van Morrison, foi gravada em novembro de 1973 e lançada em
outubro de 1974 no disco Veedon Fleece. É na verdade a canção que
abre o disco. O título é como um amigo irlandês de Van, chamado
Donall Corvin, costumava cumprimentar os amigos. Ele dizia: “fair
play to you”. Fala da cidade de Killarney e dos poetas Oscar Wilde,
Edgar Allan Poe e Henry David Thoreau.
A
letra:
Fair
play to you Killarney's lakes are so blue And the architecture
I'm taking in with my mind So fine...
Tell me of Poe Oscar
Wilde and Thoreau Let your midnight and your daytime turn into
love of life It's a very fine line But you've got the mind
child To carry on When it's just about to be Carried
on...
And there's only one meadow's way to go And you say
"Geronimo" There's only one meadow's way to go And
you say "Geronimo"
A paperback book As we walk
down the street Fill my mind with tales of mystery, mystery... And
imagination
Forever fair And I'm touching your hair I
wish we could be dreamers In this dream, ohhh Let it dream
And
there's only one meadow's way to go And you say "Geronimo" And
there's only one meadow's way to go And you say "Geronimo"
Fair
play to you Killarney's lakes are so blue High-ho silver, tit
for tat And I love you for that High-ho silver, tit for tat And
I love you for that, love you for that, love you for that High-ho
silver, tit for tat, tit for tat And I love you for that High-ho
silver, tit for tat, hah! Yeah, yeah And I love you for
that
And theres only one meadow's way to go And I, and I
say "Geronimo" And there's only one meadow's way to
go And we say "Geronimo" Geronimo And there's only
one meadow's way to go And we say Geronimo And there's only one
meadow's way to go And we say Geronimo
Escrita
por Gordon Lightfoot, foi gravada em novembro de 1973 e lançada em
janeiro de 1974 no disco Sundown. Posteriormente sairia em compacto
em agosto de 1974, com Seven Island Suite como Lado B. Chegou ao
número 10 do Billboard Hot100. O título da canção vem de uma
seção da estrada Arizona State Route 74, ao norte de Phoenix. A
canção usa a frase Carefree Highway como uma metáfora pra um
estado mental onde o cantor procura escapar de suas ruminações
sobre um romance com uma mulher chamada Ann. Ele diz que Ann foi uma
mulher real, que se relacionou com ele quando o mesmo tinha 22 anos.
Disse que ela o deiou completamente apaionado e foi embora, seguiu o
caminho dela. Chegou também ao número 1 no Canadá.
A
letra:
Picking
up the pieces of my sweet shattered dream I wonder how the old
folks are tonight? Her name was Ann And I'll be damned if I
recall her face She left me not knowing what to do
Carefree highway Let me slip away on
you Carefree highway You've seen better days The morning
after blues From my head down to my shoes Carefree highway Let
me slip away, slip away on you
Turning back the pages to the times I
love best I wonder if she'll ever do the same? Now the thing
that I call living Is just being satisfied With knowing I got
no one left to blame
Carefree highway I've got to see you
my old flame Carefree highway You've seen better days The
morning after blues From my head down to my shoes Carefree
highway Let me slip away, slip away on you
Searching through the fragments Of
my dream shattered sleep I wonder if the years have closed her
mind? I guess it must be wanderlust or trying to get free From
the good old faithful feeling we once knew
Carefree highway Let me slip away on
you Carefree highway You've seen the better days The morning
after blues From my head down to my shoes Carefree highway Let
me slip away, slip away on you Let me slip away on you
Carefree highway I've got to see you
my old flame Carefree highway You've seen better days The
morning after blues From my head down to my shoes Carefree
highway Let me slip away, slip away on you
Escrita
por Harry Wayne Casey e Richard Finch, foi gravada em 1973 e lançada
em junho de 1974 no compacto que tinha Rock your baby (Part 2) como
Lado B. Saiu também no LP de mesmo nome, em 1974. Foi uma das
canções clássicas do início da Disco Music. Foi um hit maçico
internacional. Chegou ao número 1 no Billboard Hot100, número 1 no
Billboard R&B e número 1 no Reino Unido. Vendeu mais de 11
milhões de cópias. Foi também número 1 na Australia, Belgica,
Canadá, Alemanha, Itália, Noruega, Suécia e Suíça.Tem na
gravação Jerome Smith, guitarrista do KC and Sunshine Band. Harry
Wayne Casey tocou os teclados e Richard Finch tocou baixo e bateria.
Foi uma das primeiras canções a usar uma drum machine, uma Roland.
Não foi feita pra George McRae, mas calhou dele estar no estúdio no
momento e virou um hit pra ele. A progressão de acordes de rock your
baby foi usada por John Lennon em Whatever gets you thru the night,
também número 1 nos Estados Unidos no mesmo ano. Rock your baby foi
citada no hit Dancing queen, do ABBA.
A
letra:
Sexy
woman
Woman, take me in your arms Rock your baby Woman,
take me in your arms Rock your baby
There's nothin' to
it Just say you wanna do it Open up your heart And let the
lovin' start
Woman, take me in your arms Rock your
baby Woman, take me in your arms Rock your baby
Yeah,
hold me tight With all your might Now let your lovin' flow Real
sweet and slow
Woman, take me in your arms Rock your
baby Woman, take me in your arms Rock your
baby
C'mon...
Aaaaaaah woman, take me in your arms Rock
your baby Oo, oo, oo Woman, take me in your arms Rock your
baby
Ah-aah, yeah Take me in your arms and rock me Ah-aah,
yeah Take me in your arms and rock me Ah-aaaah
