Escrita
por Christine McVie, foi gravada em fevereiro de 1975 e lançada em
11 de julho no disco Fleetwood Mac, o décimo disco da banda. Saiu
também em compacto em 27 de setembro de 1975, com Blue letter como
Lado B. Foi escrita e cantada por Christine McVie, tecladista da
banda. Assim, Christina McVue cantou e tocou teclado. Lindsey
Buckinham tocou guitarra, violão e fez harmonia vocal. Stevie Nicks
fez harmonia vocal. John McVie tocou baixo e Mick Fleetwood tocou
bateria e gongô.
A
letra:
Sleep
easy by my side Into gentle slumber you can hide I, I'm waiting
for the sun, to come up I can't sleep With your warm ways
Forever, forever love Together,
together love
You made me a woman tonight Dream
until the morning light I, I'm waiting for the sun, to come up I
can't sleep With your warm ways
Escrita
por Roger Waters, David Gilmour e Richard Wright, foi gravada entre
janeiro e julho de 1975, nos estúdios Abbey Road, em Londres e
lançada em 15 de setembro de 1975, no disco Wish you were here, o
nono disco do Pink Floyd. A letra foi escrita por Roger Waters. Foi
produzida pela própria banda. A que escolhemos aqui é a denominada
Part I-V. Foi escrita pra Syd Barrett, um dos fundadores da banda,
que deixou o Pink Floyd em 1968, devido à um deterioramento de sua
saúde mental. No seu lugar entrou David Gilmour. Barrett estava sem
condições de se relacionar com qualquer pessoa, tocar, compor,
trabalhar. Seu uso de drogas era intenso e não teve jeito até ser
retirado da banda pelos seus companheiros. Gilmour era amigo de
infância de Barrett, que tinha sido trazido pra banda por ele pra
ser segundo guitarrista. Os membros da banda se sentiram culpados por
terem tirado ele, mas viram como necessário, apesar de serem
admiradores da criatividade de Barrett. Um dia, durante as gravações
do disco, um homem surgiu no estúdio.. Muito gordo, completamente
careca e sem sobrancelhas. Roger estava lá sozinho no estúdio e
esse homem estranho estava sentado em um birô, atrás de Roger.
Richard Wright chegou e viu esse cara por trás de Roger. Richard
pensou que o sujeito era muito estranho. O sujeito se levantava,
escovava os dentes e voltava e sentava de novo. Mas quieto. Richard
então perguntou a Roger quem era o sujeito. Roger disse que não
sabia quem era. Richard disse: “Eu pensei que era um amigo seu”.
Roger respondeu novamente: “Eu não sei quem é”. Depois de 45
minutos olhando sem parar, Richard finalmente percebeu que o sujeito
estranho era de fato Syd Barrett. E eles estavam colocando os vocais
de Shine on you crazy diamond, que é basicamente sobre Syd. Ele
escolheu justamente esse dia pra aparecer de surpresa. Fazia muito
tempo que ninguém da banda o encontrava. Roger Waters quando o
reconheceu, começou a chorar. No fim do dia, foram comemorar o
casamento de Gilmour e Syd desapareceu. A parte 1 não tem letra, é
so instrumental e vai até 3 minutos e 54 da canção. Começa com um
fade-in de um Sol menor, feito com um EMS VCS3, com um ARP Solina, um
órgão Hammond e um som de copo de vinho. Logo em seguida vem os
sons de Minimoog de Richard Wright, que desemboca num solo de
guitarra tocado por David Gilmour em uma Fender Stratocaster, usando
um som comprimido e reverb. A parte 1 termina com um acorde de
sintetizador sumindo. A parte dois começa no 3:54 e vai até 6:27.
Começa com um tema de quatro notas (Si bemol, Fá, Sol e Mi). Esse
tema era conhecido pelos membros da banda como o tema de Syd. Ele é
repetido praticamente durenta toda essa segunda parte. O tema leva a
harmonia até Dó maior e Nick Mason começa a tocar bateria e Roger
começa a tocar seu baixo. Tem outro solo de Gilmour. A parte 3
começa aos 6:27 e vai até 8:41 e começa com um solo de minimoog de
Richard Wright, acompanhada de uma variação menos complexa de
bateria. Entra então o terceiro solo de Gilmour. A parte 4 começa
em 8:41 e vai até 11:10. Então Roger canta a letra, com Gilmour,
Wright e mulheres fazendo harmonias vocais. Elas era Venetta Fields e
Carlena Williams. A quinta parte vai de 11:10 até 13:32, com duas
guitarras repetindo a variacão de arpégio por mais ou menos um
minuto. Um sax baítono entra por cima do sim, tocado por Dick Parry.
Daí o sax muda de barítono pra tenor e a música se transforma em
Welcome to the machine. Roger Waters tocou baixo, cantou, e fez som
do copo de vinho. David Gilmour tocou as guitarras, fez backin
vocals, tocou lap steel guitar, EMS Synth AKS e copo de vinho.
Richard Wright tocou orgão Hammond, ARP String Ensemble, Minimoog,
EMS VCS3, clavinet, piano Steinwey, copo de vinho e fez backing
vocals. Nick Mason tocou bateria e percussão. Dick Parry tocou sax
barítono e tenor. Carlena Williams e Venetta Fields fizeram backing
vocals.
A
letra:
Remember
when you were young, you shone like the sun Shine on you crazy
diamond Now there's a look in your eyes, like black holes in the
sky Shine on you crazy diamond You were caught on the crossfire
of childhood and stardom Blown on the steel breeze
Come on you target for faraway
laughter Come on you stranger, you legend, you martyr, and shine
You reached for the secret too soon,
you cried for the moon Shine on you crazy diamond Threatened by
shadows at night, and exposed in the light Shine on you crazy
diamond Well you wore out your welcome with random precision Rode
on the steel breeze
Come on you raver, you seer of
visions Come on you painter, you piper, you prisoner, and shine
Escrita
por Bob Dylan, foi gravada em 30 de dezembro de 1974 no Sound 80
Studio em Minneapolis, Minnesota e teve seu irmão David Zimmerman
como produtor. Foi lançada em 20 de janeiro de 1975 no disco Blood
on the tracks e no compacto que tinha If you see her say hello como
Lado B, no mesmo dia. Foi a canção que abriu o disco. Chegou ao
número 31 do Billboard Hot100. Fala de relacionamentos e tem
perspectivas diferentes. É a canção de número 68 na lista da
revista Rolling Stne das 500 greatest songs of all time. Foi escrita
no verão de 1974, depois da turnê com a The Band e da separação
de sua esposa Sara, que estava casado desde 1965. Dylan compôs essa
canção após frequentar uma escola de arte e ter aprendido uma nova
forma de escrever. Ali, ele disse, que não tem um código e não tem
tempo. Não tem respeito pelo hoje, ontem ou amanhã, todos estão na
mesma sala. E quase nada que você imagine não pode acontecer. Dylan
escreveu Tangled up in blues depois de ter ouvido o disco Blue, de
Joni Mitchell, de 1971. Bob Dylan cantou, tocou violão e gaita.
Kevin Odegard tocou guitarra. Chris Weber tocou guitarra. Gregg
Inhofer tocou teclado. Billy Peterson tocou baixo e Bill Berg tocou
bateria. Todos esses músicos foram contratados localmente em
Minneapolis por David Zimmerman e Bob somente os conheceu no dia da
gravação. Foi regravada por Jerry Garcia e Joan Baez, entre outros
artistas.
A
letra:
Early
one morning, the sun was shining I was laying in bed Wondering
if she'd changed it all If her hair was still red
Her folks, they said our lives
together Sure was gonna be rough They never did like mama's
homemade dress Papa's bankbook wasn't big enough
And I was standing on the side of the
road Rain falling on my shoes Heading out for the east
coast Lord knows I've paid some dues getting through
Tangled up in blue
She was married when we first met Soon
to be divorced I helped her out of a jam, I guess But I used a
little too much force
We drove that car as far as we
could Abandoned it out west
Split up on a dark, sad night Both
agreeing it was best
She turned around to look at me As I
was walking away I heard her say over my shoulder "We'll
meet again someday on the avenue"
Tangled up in blue
I had a job in the great north
woods Working as a cook for a spell But I never did like it all
that much And one day the axe just fell
So I drifted down to New Orleans Where
I was lucky for to be employed Working for a while on a fishing
boat Right outside of Delacroix
But all the while I was alone The
past was close behind I seen a lot of women
But she never escaped my mind and I
just grew Tangled up in blue
She was working in a topless place And
I stopped in for a beer I just kept looking at the sight of her
face In the spotlight so clear
And later on when the crowd thinned
out I was just about to do the same She was standing there in
back of my chair Said, "Tell me, don't I know your name?"
I muttered something underneath my
breath She studied the lines on my face
I must admit I felt a little
uneasy When she bent down to tie the laces of my shoe Tangled
up in blue
She lit a burner on the stove and
offered me a pipe "I thought you'd never say hello, "
she said "You look like the silent type"
Then she opened up a book of
poems And handed it to me Written by an Italian poet From
the thirteenth century
And every one of them words rang true
And glowed like burning coal Pouring
off of every page Like it was written in my soul from me to
you Tangled up in blue
I lived with them on Montagüe
Street In a basement down the stairs There was music in the
cafés at night And revolution in the air
Then he started into dealing with
slaves And something inside of him died She had to sell
everything she owned And froze up inside
And when finally the bottom fell out I
became withdrawn The only thing I knew how to do Was to keep on
keeping on like a bird that flew Tangled up in blue
So now I'm going back again I got to
get her somehow All the people we used to know They're an
illusion to me now
Some are mathematicians Some are
carpenter's wives Don't know how it all got started I don't
what they do with their lives
But me, I'm still on the road Heading
for another joint We always did feel the same We just saw it
from a different point of view Tangled up in blue
Escrita
por Gerry Beckley e Dewey Bunnell, foi gravada em janeiro de 1975 e
lançada em 19 de março de 1975 no disco Hearts. Foi produzida por
George Martin. Gerry Beckley cantou, tocou guitarra e teclado. Dewey
Bunnell cantou e tocou guitarra. Dan Peek cantou, tocou guitarra e
teclado. David Dickey tocou baixo. Willie Leaco tocou bateria e
percussão. George Martin tocou teclado.
A
letra:
Midnight
rolling in, sunlight Reaching out for your return
As you were running through the tunnel
of life And soon you'll dance around the fire of fright Tonight
When you're standing on the corner And
the sun is getting hot Does this day begin to worry you a lot
You are, what you are, too far Golden
star, a ruby light
As you were running through the tunnel
of life And soon you'll dance around the fire of fright Tonight
When you're standing on the corner And
the sun is getting hot Does the day begin to worry you a lot
Escrita
por Jimmy Page e Robert Plant, foi gravada em maio de 1972 no jardim
do Stargroves para o disco Houses of the Holy, como desejo do grupo
de gravar do lado de fora, em vez de um estúdio de gravação. Quase
que foi abandonada quando um avião passou no final, mas decidiram
usá-la no disco Physical graffitti. Além do disco, saiu também em
compacto em 2 de abril de 1975, com Trampled under foot como Lado A.
Trata-se de um rock and roll acústico. Se tornou uma música que a
banda sempre tocava ao vivo. 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:
Hey, hey, mama,
what's the matter here Hey, hey, mama, what's the matter here You
didn't have to tell me that you love me so You didn't have to
love me, mama, let me go
Hey,
hey, mama, what's the matter here You didn't have to make me a
total disgrace You didn't have to leave me with that beer in my
face
Hey,
hey, mama, what's the matter here That's alright, it's awful
dog-gone clear
Hey, hey, baby, why you treat me mean
Oh, oh, baby, why you treat me mean
You didn't have to crucify me like you did You didn't have to
tell me I was just your kid
Hey, hey, mama, why'd you treat me mean
You didn't have say you'd always be by my side Why' didn't
have to tell me you'd be my blushin' bride
Hey, hey, mama, why you treat me mean
But that's alright, I know your sisters, too
You didn't have to tell me that you
love me so You didn't have to leave me, mama, let me go
Hey, hey, mama, what is wrong with you
You didn't have to leave me like a total disgrace You didn't
have to leave me with that beer on my face
Hey, hey, mama, what is wrong with you
But that's alright, I'd be the same way, too
Oh yeah, yeah, oh baby
You didn't have to crucify me like you
did You didn't have to tell me I was just your kid
Hey, hey, mama, what's the matter here
You didn't have to tell me you would be my own You didn't
have to tell me, baby, let me go
Hey, hey, mama, what is wrong with you
That's alright, I know your sister, too
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
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
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'
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
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
