1516 – Bruce Springsteen – Jungleland (1975)

Escrita por Bruce Springsteen, foi gravada em 20 de julho de 1975 e lançada em 25 de agosto de 1975 no disco Born to run. Ela fecha o disco. Tem um dos solos mais conhecidos de Clarence Clemons.. Suki Lahav faz uma introdução no violino, acompanhada de Roy Bittan no piano. A letra fala do Magic Rat que dirige no fronteira do estado de New Jersey pra encontrar a Barefoot Girl. Fala de algumas cenas da cidade e da vida de gangster que o Magic Rat vive. Até que descreve a morte do Rat e seu sonho e do fim do seu romance com a Barefoot girl. Fala como a morte dele foi irrelevante pra sociedade. Q Magazine disse que ela era uma das 1010 canções que voce deveria ter. Bruce Pollock disse que era uma das 7500 mais importantes canções entre 1944 e 2000. Acclamedmusic.net disse que era a canção número 898 das melhores canções. É o número 298 da lista da revista Rolling Stone das 500 greatest songs of all time. Bruce Sprigsteen tocou guitarra e cantou. Garry Tallent tocou baixo. Max Weinberg tocou bateria. Roy Bittan tocou piano e orgao Hammond. Clarecen Clemons tocou sax tenor. Suki Lahav tocou violino.

A letra:

The Rangers had a homecoming
In Harlem late last night
And the Magic Rat drove his sleek machine
Over the Jersey state line

Barefoot girl sitting on the hood of a Dodge
Drinking warm beer in the soft summer rain
The Rat pulls into town, rolls up his pants
Together they take a stab at romance
And disappear down Flamingo Lane

Well, the Maximum Lawmen run down Flamingo
Chasing the Rat and the barefoot girl
And the kids 'round there live just like shadows
Always quiet, holding hands

From the churches to the jails
Tonight all is silence in the world
As we take our stand
Down in Jungleland

The midnight gang's assembled
And picked a rendezvous for the night
They'll meet 'neath that giant Exxon sign
That brings this fair city light

Man, there's an opera out on the Turnpike
There's a ballet being fought out in the alley
Until the local cops, Cherry-Tops, rips this holy night

The street's alive as secret debts are paid
Contacts made, they flash unseen
Kids flash guitars just like switchblades
Hustling for the record machine

The hungry and the hunted
Explode into rock 'n' roll bands
That face off against each other out in the street
Down in Jungleland

In the parking lot the visionaries dress in the latest rage
Inside the backstreet girls are dancing
To the records that the DJ plays

Lonely-hearted lovers struggle in dark corners
Desperate as the night moves on
Just one look and a whisper, and they're gone

Beneath the city, two hearts beat
Soul engines running through a night so tender
In a bedroom locked in whispers
Of soft refusal and then surrender

In the tunnels uptown, the Rat's own dream guns him down
As shots echo down them hallways in the night
No one watches when the ambulance pulls away
Or as the girl shuts out the bedroom light

Outside the street's on fire in a real death waltz
Between what's flesh and what's fantasy
And the poets down here don't write nothing at all
They just stand back and let it all be

And in the quick of a knife, they reach for their moment
And try to make an honest stand
But they wind up wounded, not even dead
Tonight in Jungleland

A versão de Bruce Springsteen:

A versão de Johnny Coull:

A versão de GNGR Band:

1515 – Rod Stewart – It's not the spotlight (1975)

 

Escrita por Barry Goldberg e Gerry Goffin, foi gravada entre abril de junho de 1975 e lançada em 15 de agosto de 1975 no disco Atlantic crossing, o sexto disco da carreira de Rod Stewart.

A letra:

If I ever feel the light again shining down on me
I don't have to tell you, what a welcome it will be
I felt the light before but I let it slip away
But I still keep on believing that it'll come back someday

It's not the spotlight, it's not the camera light
It's not the street lights of some old street of dreams
It ain't the moonlight, not even the sunlight
But I've seen it shining in your eyes and you know what I mean

Sometimes I try to tell myself the light was never real
Just a fantasy that used to be, the way I used to feel
But you and I know better, even though it's been so long
If your memory really serves you well, you'll never tell me no wrong

It's not the spotlight, it's not the camera light
It's not the streetlights of some old street of dreams
It ain't the moonlight, not even the sunlight
But I've seen it shining in your eyes, you know what I mean

So if I ever feel the light again shinin' down on me
I don't have to tell you what a welcome it would be
I felt the light before but I let it slip away
But I still keep on believing that it'll come back someday

It's not the spotlight, it's not the camera light
It's not the streetlights of some old street of dreams
It ain't the moonlight, not even the sunlight
But I've seen it shining in your eyes and you know what I mean

It's not the spotlight, it's ain't the camera light
It's not the streetlights of some old street of dreams
No, it ain't the moonlight, never the sunlight
But I've seen it shining in your eyes, you know what I mean

A versão de Rod Stewart:

A versão de Gerry Goffin:

A versão do Manhatthan Transfer:

1514 – Pink Floyd – Have a cigar (1975)

Escrita por Roger Waters, foi gravada entre janeiro e julho de 1975 e lançada em 12 de setembro de 1975 no disco Wish were here. Saiu também em compacto, com Welcome to the machine como Lado B, em 15 de novembro de 1975. É uma crítica ao cinismo e ganância dos managers dos grupos de rock daquele tempo. O vocal principal foi feito por Roy Harper. É uma das duas únicas canções do Pink Floyd que tem um convidado pra cantar. A outra foi The great gig in the sky, com Clare Torry. Roger diz que é uma sequencia de Money, representando as demandas dos executivos da indústria fonográfica após o sucesso de The dark side of the moon, lançado em 1973. Gilmour e Gilmour não gostaram de nenhuma das duas vozes na gravação e chamaram Harper pra cantar. Chegaram a tentar como dueto e como vozes individuais, até desistirem. Harper gravava um disco no Abbey Road e como Gilmour tinha feito uns licks de guitarra pra ele, ele retornou o favor. Gilmour gostou do vocal de Harper, enquanto Waters não gostou. Gilmour disse que ficou perfeito o ar cínico da voz. Waters disse que ele deveria ter sido menos cínico. Ele queria uma interpretação mais vulnerável. David Gilmour tocou as guitarras elétricas. Richard Wright tocou piano elétrico Wurlitzer, piano, um Clavinet Hohner D6, Minimoog e um Sintetizador ARP String. Roger Waters tocou baixo e Nick Mason tocou bateria. Foi regravada pelos Foo Fighters, entre outros artistas.

A letra:

Come in here, dear boy, have a cigar
You're gonna go far, you're gonna fly
You're never gonna die
You're gonna make it if you try
They're gonna love you

Well I've always had a deep respect
And I mean that most sincere
The band is just fantastic
That is really what I think
Oh by the way, which one's pink?

And did we tell you the name of the game, boy
We call it 'riding the gravy train'

We're just knocked out
We heard about the sell out
You gotta get an album out
You owe it to the people
We're so happy we can hardly count

Everybody else is just green
Have you seen the chart?
It's a helluva start
It could be made into a monster
If we all pull together as a team

And did we tell you the name of the game, boy
We call it 'riding the gravy train'

A versão do Pink Floyd:

A versão do Main Squeeze:

A versão do Foo Fighters:

1513 – Bob Dylan – Idiot Wind (1975)

 

Escrita por Bob Dylan, foi gravada em 27 de dezembro de 1974 e lançada em janeiro de 1975, no disco Bloo on the tracks. Foi escrita na época da sua separação com a esposa, Sara Dylan. Bob então se mudou pra uma fazenda em Minnesota, com seu irmão David. Lá em Minnesota foi onde ele gravou todo o álbum Blood on the tracks. Dylan disse que essa canção era como se ele tivesse pintado um quadro. É uma puta canção sobre divórcio.

A letra:

Someone's got it in for me
They're planting stories in the press
Whoever it is I wish they'd cut it out quick
But when they will I can only guess

They say I shot a man named Gray
And took his wife to Italy
She inherited a million bucks
And when she died it came to me
I can't help it if I'm lucky

People see me all the time
And they just can't remember how to act
Their minds are filled with big ideas
Images and distorted facts

Even you, yesterday
You had to ask me where it was at
I couldn't believe after all these years
You didn't know any better than that
Sweet lady

Idiot wind
Blowing every time you move your mouth
Blowing down the back roads headin' south

Idiot wind
Blowing every time you move your teeth
You're an idiot, babe
It's a wonder that you still know how to breathe

I ran into the fortune-teller
Who said, "beware of lightning that might strike"
I haven't known peace and quiet
For so long I can't remember what it's like

There's a lone soldier on the cross
Smoke pourin' out of a boxcar door
You didn't know it, you didn't think it could be done
In the final end he won the wars
After losin' every battle

I woke up on the roadside
Daydreamin' 'bout the way things sometimes are
Visions of your chestnut mare
Shoot through my head and are makin' me see stars

You hurt the ones that I love best
And cover up the truth with lies
One day you'll be in the ditch
Flies buzzin' around your eyes
Blood on your saddle

Idiot wind
Blowing through the flowers on your tomb
Blowing through the curtains in your room

Idiot wind
Blowing every time you move your teeth
You're an idiot, babe
It's a wonder that you still know how to breathe

It was gravity which pulled us down
And destiny which broke us apart
You tamed the lion in my cage
But it just wasn't enough to change my heart

Now everything's a little upside down
As a matter of fact the wheels have stopped
What's good is bad, what's bad is good
You'll find out when you reach the top
You're on the bottom

I noticed at the ceremony
Your corrupt ways had finally made you blind
I can't remember your face anymore
Your mouth has changed
Your eyes don't look into mine

The priest wore black on the seventh day
And sat stone-faced while the building burned
I waited for you on the running boards
Near the cypress trees, while the springtime turned
Slowly into autumn

Idiot wind
Blowing like a circle around my skull
From the Grand Coulee Dam to the Capitol

Idiot wind
Blowing every time you move your teeth
You're an idiot, babe
It's a wonder that you still know how to breathe

I can't feel you anymore
I can't even touch the books you've read
Every time I crawl past your door
I been wishin' I was somebody else instead

Down the highway, down the tracks
Down the road to ecstasy
I followed you beneath the stars
Hounded by your memory
And all your ragin' glory

I been double-crossed now
For the very last time and now I'm finally free
I kissed goodbye the howling beast
On the borderline which separated you from me

You'll never know the hurt I suffered
Nor the pain I rise above
And I'll never know the same about you
Your holiness or your kind of love
And it makes me feel so sorry

Idiot wind
Blowing through the buttons of our coats
Blowing through the letters that we wrote

Idiot wind
Blowing through the dust upon our shelves
We're idiots, babe
It's a wonder we can even feed ourselves

A versão de Bob Dylan:

A versão de Lucinda Williams:

A versão de Vanguart:

1512 – Neil Young – Albuquerque (1975)

 

Escrita por Neil Young, foi gravada em agosto e setembro de 1973, no Studio Instrumental Rentals, em Hollywood, California e lançada em 20 de junho de 1975 no disco Tonight's the night. É a segunda música no do Lado B e foi gravada acompanhada da banda chamada The Santa Monica Flyers. Neil Young cantou e tocou guitarra. Ben Keith tocou pedal steel guitar. Nils Lofgren tocou piano.

A letra:

Well, they say that Santa Fe
Is less than ninety miles away
And I got time to roll a number and rent a car
Oh, Albuquerque

I've been flyin' down the road
And I've been starvin' to be alone
And independent from the scene that I've known
Albuquerque

So I'll stop when I can
Find some fried eggs and country ham
I'll find somewhere
Where they don't care who I am
Oh, Albuquerque
Albuquerque

A versão de Neil Young:

A versão de Leah Grams Johnson:

A versão de J. D. Delves:

1511 – Led Zeppelin – Night flight (1975)

 

Escrita por Jimmy Page, Robert Plant e John Paul Jones, foi gravada em janeiro de 1971 na Headley Grange pro quarto disco do grupo, mas não foi usada. Produzida por Jimmy Page e lançada em 24 de fevereiro de 1975 no disco Physical graffitti. Além do baixo, John Paul Jones toca orgao Hammond e Jimmy Page toca guitar através de um Leslie Speaker. Plant escreveu a letra após ler uma notícia chamada Nuclear Damage Test Threat e ponderou porque havia tão pouco amor e paz no mundo. Além dos já citados, Robert Plant cantou e tocou gaita. Jimmy Page tocou violão, guitarra e slide guitar. John Paul Jones tocou orgao, baixo, e violão. John Bonham tocou bateria e percussão.

A letra:

I received a message from my brother across the water
He sat laughin' as he wrote the end's in sight
So I said goodbye to all my friends
And packed my hopes inside a matchbox
'Cause I know it's time to fly

Oh yeah, come on, meet me in the morning
Meet me in the middle of the night
Ah yeah, the morning light is comin'
Don't it make you want to go and feel alright

I just jumped a train that never stops
So now somehow I'll know I never finished payin' for my ride
Just and someone pushed a gun into my hand
Tell me I'm the type of man to fight the fight that I'll require

Oh yeah, come on, meet me in the morning
Want you meet me in the middle of the night
The morning light is comin'
Don't it make you want to go and feel alright

Oh, mama, well I think it's time I'm leavin'
Nothin' here to make me stay
Whoa, mama, well it must be time I'm goin'
They're knockin' down them doors
They're tryin' to take me away

Please Mr. Brakeman, won't you ring your bell
And ring loud and clear
Please Mr. Fireman, won't you ring your bell
Tell the people they got to fly away from here

I once saw a picture of a lady with a baby
Southern lady, had a very, very special smile
We are in the middle of a change in destination
When the train stops, all together we will smile

Oh, come on, come on now meet me in the morning
Won't you meet me in the middle of the night, night, night
Oh oh, yeah, everybody know the mornin' time is comin'
Don't it make you want to feel alright

Ah, ah, yeah, make me feel alright
Fly now, baby
Get to fly, yeah
Fly now, baby
Oh, hey, hey

A versão do Led Zeppelin:

A versão do Gruhak:

A versão de Jeff Buckley:

1510 – Bruce Springsteen – Born to run (1975)

 

Escrita por Bruce Springsteen, foi gravada em 6 de agosto de 1974, no 914 Sound Studios, em Blauvelt, estado de New York. Foi lançada em 25 de agosto de 1975 no disco Born to run. Foi lançada no mesmo dia em compacto, com Meeting across the river como Lado B. Ela usa o mesmo Wall of sound de Be my baby. Foi o primeiro compacto de Bruce a ser lançado no mundo inteiro. Foi o primeiro TOP40 da carreira de Bruce, chegando ao número 23 no Billboard HOT100. Chegou ao número 53 no Canadá e número 38 na Australia. É a canção de número 21 da lista das 500 greatest songs of all time da revista Rolling Stone. E é uma das 500 canções that shaped rock and roll, do The Rock and Roll Hall of Fame. No final de 1973, enquando fazia uma turnê no Tennessee, Bruce acordou com a frase Born to run e anotou num papel. Escrita em primeira pessoa, a canção é uma carta de amor pra uma mulher chamada Wendy, por quem o dono do carrão potente parece ter uma paixão. Na época, Billboard descreveu Born to run como um dos melhores hinos do rock à liberdade individual já criado. Disse que era uma canção monstra. Disseram que ainda que Bruce era uma mistura de Roger McGuinn nos tempos dos Byrds com alguém que ainda não tinha sido inventado. Em 1980, o estado de New Jersey nomeou Born to run como o teme não -oficial da juventude do estado. Em 2016, Pitchfork colocou-a como número 16 das 200 melhores canções dos anos 70s. É também a número 6 da lista da WXPN das 885 melhores cancões de todos os tempos. É uma das canção do século da RIAA. O National Public Radio colocou-a como NPR100, ou seja, uma das 100 melhores gravações americanas do século 20. Foi regravada por Melissa Etheridge e Roger Daltrey, entre outros artistas. Bruce Springsteen tocou guitarra e cantou. Garry Tallent tocou baixo. Ernest Carter tocou bateria. David Sancious tocou teclado. Danny Federici tocou orgão e Glockenspiel. Clarence Clemons tocou sax tenor.

A letra:

In the day we sweat it out on the streets
Of a runaway American dream
At night we ride through the mansions of glory
In suicide machines
Sprung from cages on Highway 9
Chrome wheeled, fuel injected, and steppin' out over the line

Oh, baby this town rips the bones from your back
It's a death trap, it's a suicide rap
We gotta get out while we're young
'Cause tramps like us, baby, we were born to run
Yes, girl, we were

Wendy, let me in, I wanna be your friend
I wanna guard your dreams and visions
Just wrap your legs 'round these velvet rims
And strap your hands 'cross my engines
Together we could break this trap
We'll run 'til we drop, baby, we'll never go back
Oh, will you walk with me out on the wire?
'Cause, baby, I'm just a scared and lonely rider
But I gotta know how it feels
I want to know if love is wild
Babe, I want to know if love is real
Oh, can you show me

Beyond the Palace, hemi-powered drones
Scream down the boulevard
Girls comb their hair in rearview mirrors
And the boys try to look so hard
The amusement park rises bold and stark
Kids are huddled on the beach in the mist
I wanna die with you, Wendy, on the street tonight
In an everlasting kiss

The highway's jammed with broken heroes
On a last chance power drive
Everybody's out on the run tonight
But there's no place left to hide
Together, Wendy, we can live with the sadness
I'll love you with all the madness in my soul
Oh, someday, girl, I don't know when
We're gonna get to that place
Where we really wanna go and we'll walk in the sun
But 'til then, tramps like us
Baby, we were born to run

Oh honey, tramps like us
Baby, we were born to run
Come on with me, tramps like us
Baby, we were born to run

A versão de Bruce Springsteen:

A versão de Melissa Etheridge:

A versão de Roger Daltrey:

1509 – Fleetwood Mac – Rhiannon (1975)

Escrita por Stevie Nicks, foi gravada em fevereiro de 1975 e lançada em 11 de julho de 1975 no disco Fleetwood Mac. Sairia depois em compacto em fevereiro de 1976, com Sugar daddy como Lado B. Chegou ao número 11 dos charts Billboad HOT100. Chegou ao número 4 dos charts canadenses, número 16 na Holanda e número 13 na Austrália, É o número 488 das 500 greatest songs of all time da revista Rolling Stone. E ranquearam-a a número 2 das 50 melhores canções do Fleetwood Mac. Rhiannon é uma deusa Gaulêsa, verdadeira lenda do País de Gales, uma personagem medieval de contos do Mabinogion. Stevie Nicks cantou, Lindsay Buckingham tocou guitarra e fez backing vocals. Christine McVie tocou teclado e fez backing vocals. John McVie tocou baixo e Mick Fleetwood tocou bateria.

A letra:

Rhiannon rings like a bell through the night
And wouldn't you love to love her?
Takes to the sky like a bird in flight
And who will be her lover?

All your life you've never seen
Woman taken by the wind
Would you stay if she promised you heaven?
Will you ever win?

She is like a cat in the dark
And then she is to darkness
She rules her life like a fine skylark
And when the sky is starless

All your life you've never seen
Woman taken by the wind
Would you stay if she promised you heaven?
Will you ever win? Will you ever win?

(Rhiannon) (Rhiannon) (Rhiannon) (Rhiannon)

She rings like a bell through the night
And wouldn't you love to love her?
She rules her life like a bird in flight
And who will be her lover?

All your life you've never seen
Woman taken by the wind
Would you stay if she promised you heaven?
Will you ever win? Will you ever win?

(Rhiannon) (Rhiannon) (Rhiannon)

Taken by taken by the sky (Ah-ah)
Taken by taken by the sky (Ah-ah)
Taken by taken by the sky (Ah-ah)

Dreams unwind. Love's a state of mind
Dreams unwind, Love's a state of mind

A versão do Fleetwood Mac:

A versão dos Running Mates:

A versão de Sticky Fingers:

1508 – Pink Floyd – Welcome to the machine (1975)

 

Escrita por Roger Waters, foi gravada em de janeiro à julho de 1975 e lançada em 13 de setembro de 1975 no disco Wish you were here. É a segunda música do disco. Tem uma carga pesada de sintetizadores e violões, assim como efeitos de tape A música e a letra foram escritas somente por Roger Waters. David Gilmour tocou violão de 6 e de 12 cordas, e cantou. Nick Mason tocou timpani e cymbals. Roger Waters tocou baixo e EMS VCS 3. Richard Wright tocou EMS VCS3, orgão Hammond, Minimoog e ARP String Ensemble. Foi a única vez que usaram um truque pra alcançarem a nota que Gilmour não estava conseguindo. Gravaram um semitone abaixo e depois aumentaram mecanicamente.

A letra:

Welcome my son
Welcome to the machine

Where have you been?
It's alright we know where you've been

You've been in the pipeline
Filling in time
Provided with toys and scouting for boys
You bought a guitar to punish your ma

And you didn't like school
And you know you're nobody's fool
So welcome to the machine

Welcome my son
Welcome to the machine

What did you dream?
It's alright we told you what to dream

You dreamed of a big star
He played a mean guitar
He always ate in the Steak Bar
He loved to drive in his Jaguar
So welcome to the machine

A versão do Pink Floyd:

A versão do Brit Floyd:

A versão de Jaida and Sean:

1507 – Bob Dylan – Shelter from the storm (1975)

 

Escrita por Bob Dylan, foi gravada em 17 de setembro de 1974, no A$R Recordings, em New York City. Foi lançada em janeiro de 1975 no disco Blood on the tracks. Dylan cantou e tocou violão e gaita, com Tony Brown no baixo. A revista Rolling Stone colocou-a no número 66 da lista das 100 greatest Bob Dylan Songs. O jornal The Guardian disse que essa era uma das 80 Bob Dylan songs everyone should know. Foi regravada por Manfred Mann's Earth Band, entre outros artistas.

A letra:

'Twas in another lifetime, one of toil and blood
When blackness was a virtue and the road was full of mud
I came in from the wilderness, a creature void of form
Come in, she said
I'll give ya shelter from the storm

And if I pass this way again, you can rest assured
I'll always do my best for her, on that I give my word
In a world of steel-eyed death, and men who are fighting to be warm
Come in, she said
I'll give ya shelter from the storm

Not a word was spoke between us, there was no risk involved
Nothing up to that point had even been resolved
Try imagining a place where it's always safe and warm
Come in, she said
I'll give ya shelter from the storm

I was burned out from exhaustion, buried in the hail
Poisoned in the bushes an' blown out on the trail
Hunted like a crocodile, ravaged in the corn
Come in, she said
I'll give ya shelter from the storm

Suddenly I turned around and she was standin' there
With silver bracelets on her wrists and flowers in her hair
She walked up to me so gracefully and took my crown of thorns
Come in, she said
I'll give ya shelter from the storm

Now the bonds are broken, but they can be retired
By one more journey to the woods, the holes where spirits hide
It's a never ending battle for a peace that's always torn
"Come in", she said, "I'll give ya shelter from the storm"

Well, the deputy walks on hard nails and the preacher rides a mount
But nothing really matters much, it's doom alone that counts
And the one-eyed undertaker, he blows a futile horn
Come in, she said
I'll give ya shelter from the storm

And I've heard newborn babies crying like a mournin' dove
And old men with broken teeth stranded without love
Do I understand your question, man, is it hopeless and forlorn
Come in, she said
I'll give ya shelter from the storm

Now there's a wall between us, somethin' there's been lost
I took too much for granted, I got my signals crossed
And Just to think that it all began on an uneventful morn
Come in, she said
I'll give ya shelter from the storm

In a little hilltop village, they gambled for my clothes
I bargained for salvation and she gave me a lethal dose
I offered up my innocence I got repaid with scorn
Come in, she said
I'll give ya shelter from the storm

Well, I'm livin' in a foreign country but I'm bound to cross the line
Beauty walks a razor's edge, someday I'll make it mine
If I could only turn back the clock to when God and her were born
Come in, she said
I'll give ya shelter from the storm

A versão de Bob Dylan:

A versão de Manfred Mann's Earth Band:

A versão de Claire Anne Taylor: