1608 – The Rolling Stones – Memory Motel (1976)

 

Escrita por Mick Jagger e Keith Richards, foi gravada em março abril de 1975, produzida pela dupla Mick Jagger e Keith Richards e lançada em 23 de abril de 1976 no disco Black and blue, o décimo quinto da banda. É uma das poucas músicas em que Mick e Keith dividem os vocais. Tem mais de 7 minutos e é uma das mais longas da banda. Mick se hospedou na casa de Andy Warhol em Montauk, no estado de New York, quando estava começando a turnê da banda pela América no ano de 1975. A música fala que eles estavam de saída pra Baton Rouge, onde a banda tocaria na Universidade de Louisiana. O nome da música vem de um motel que realmente existe em Montauk. A garota da música é Carly Simon. Fala de um amor de uma noite nesse motel. Fala de uma mulher forte, independente e Keith Richards repete na música: “She got a mind of her own and she use it well”. Keith não tocou guitarra na gravação, pois estavam buscando um guitarrista pra substituir Mick Taylor. Assim, Harvey Mandel tocou guitarra e Wayne Perkins tocou violão. Mick Jagger tocou piano acústico, Keith Richards tocou piano elétrico e Billy Preston tocou sintetizador. Billy Preston também fez backing vocals, juntaente com Ron Wood, que depois iria virar guitarrista da banda em definitivo. Foi gravada em Munique, na Alemanha.

A letra:

Hannah honey was a peachy kind of girl
Her eyes were hazel
And her nose were slightly curved
We spent a lonely night at the Memory Motel
It's on the ocean, I guess you know it well
It took a starry to steal my breath away
Down on the water front
Her hair all drenched in spray
Hannah baby was a honey of a girl
Her eyes were hazel
And her teeth were slightly curved
She took my guitar and she began to play
She sang a song to me
Stuck right in my brain
You're just a memory of a love
That used to be
You're just a memory of a love
That used to mean so much to me
She got a mind of her own
And she use it well
Well she's one of a kind
She's got a mind
She got a mind of her own
And she use it mighty fine
She drove a pick-up truck
Painted green and blue
The tires were wearing thin
She turned a mile or two
When I asked her where she headed for
"Back up to Boston I'm singing in a bar"
I got to fly today on down to Baton Rouge
My nerves are shot already
The road ain't all that smooth
Across in Texas is the rose of San Antone
I keep on a feeling that's gnawing in my bones
You're just a memory of a love
That used to mean so much to me
You're just a memory girl
You're just a sweet memory
And it used to mean so much to me
Sha la la la la
She got a mind of her own
And she use it well
Mighty fine, she's one of a kind
On the seventh day my eyes were all a glaze
We've been ten thousand miles
Been in fifteen states
Every woman seemed to fade out of my mind
I hit the bottle and hit the sack and cried
What's all this laughter on the 22nd floor
It's just some friends of mine
And they're busting down the door
Been a lonely night at the Memory Motel

A versão dos Rolling Stones:

1607 – Bob Dylan – Black Diamond Bay (1976)

 

Escrita por Bob Dylan e Jacques Levy, foi gravada em 30 de julho de 1975 e lançada no disco Desire, o décimo sétimo da carreira de Bob, em 5 de janeiro de 1976. Foi produzida por Don DeVito. Fala da destruição de uma pequena ilha, depois de uma erupção de um vulcão, observada sob duas perspectivas. A primeira de um hotel que está dentro da ilha e de um narrador que assistiu a situação pela TV. A canção fala essencialmente sobre o que as pessoas da ilha estavam fazendo no momento em que ocorreu essa tragédia, chamando atenção pra futilidade de suas ações, como por exemplo, um dos moradores da ilha se prepara pra se suicidar quando o vulcão entra em erupção. Do outro lado, o sujeito que está vendo pela TV, pouca importancia atribui ao fato e sua preocupação é abrir outra cerveja. O livro Victory, de Joseph Conrad foi a inspiração pra música. Bob Dyla tocou violão, cantou e tocou gaita. Scarlet Rivera tocou violino. Emmylou Harris fez backing vocals. Rob Stoner tocou baixo e fez backing vocals. Howard Wyeth tocou piano e bateria.

A letra:

Up on the white veranda
She wears a necktie and a Panama hat
Her passport shows a face
From another time and place
She looks nothing like that
And all the remnants of her recent past
Are scattered in the wild wind
She walks across the marble floor
Where a voice from the gambling room is callin' her to come on in
She smiles, walks the other way
As the last ship sails and the moon fades away
From Black Diamond Bay

As the morning light breaks open, the Greek comes down
And he asks for a rope and a pen that will write
Pardon, monsieur, the desk clerk says
Carefully removes his fez
Am I hearing you right
And as the yellow fog is lifting
The Greek is quickly heading for the second floor
She passes him on the spiral staircase
Thinking he's the Soviet Ambassador
She starts to speak, but he walks away
As the storm clouds rise and the palm branches sway
On Black Diamond Bay

A soldier sits beneath the fan
Doing business with a tiny man who sells him a ring
Lightning strikes, the lights blow out
The desk clerk wakes and begins to shout
Can you see anything
Then the Greek appears on the second floor
In his bare feet with a rope around his neck
While a loser in the gambling room lights up a candle
Says, open up another deck
But the dealer says, attendez-vous, s'il vous plait
As the rain beats down and the cranes fly away
From Black Diamond Bay

The desk clerk heard the woman laugh
As he looked around the aftermath and the soldier got tough
He tried to grab the woman's hand
Said, here's a ring, it cost a grand
She said, that ain't enough
Then she ran upstairs to pack her bags
While a horse-drawn taxi waited at the curb
She passed the door that the Greek had locked
Where a handwritten sign read, do not disturb
She knocked upon it anyway
As the sun went down and the music did play
On Black Diamond Bay

I've got to talk to someone quick
But the Greek said, go away, and he kicked the chair to the floor
He hung there from the chandelier
She cried, help, there's danger near
Please open up the door
Then the volcano erupted
And the lava flowed down from the mountain high above
The soldier and the tiny man were crouched in the corner
Thinking of forbidden love
But the desk clerk said, it happens every day
As the stars fell down and the fields burned away
On Black Diamond Bay

As the island slowly sank
The loser finally broke the bank in the gambling room
The dealer said, it's too late now
You can take your money, but I don't know how
You'll spend it in the tomb
The tiny man bit the soldier's ear
As the floor caved in and the boiler in the basement blew
While she's out on the balcony, where a stranger tells her
My darling, je vous aime beaucoup
She sheds a tear and then begins to pray
As the fire burns on and the smoke drifts away
From Black Diamond Bay

I was sitting home alone one night in L.A.
Watching old Cronkite on the seven o'clock news
It seems there was an earthquake that
Left nothing but a Panama hat
And a pair of old Greek shoes
Didn't seem like much was happening
So I turned it off and went to grab another beer
Seems like every time you turn around
There's another hard-luck story that you're gonna hear
And there's really nothing anyone can say
And I never did plan to go anyway
To Black Diamond Bay

A versão de Bob Dylan:

A versão de Virgil Kinsley:

A versão de Joe Marrero e Jeff Feinberg:

1606 – Joe Cocker – Catfish (1976)

Escrita por Bob Dylan e Jacques Levy, foi gravada inicialmente por Bob Dylan em 29 de julho de 1975, pra ser usada no disco Desire, de 1976. Ela não foi usada e foi dada pra Joe Cocker gravar e lançar no seu disco chamado Stingray, o sexto da carreira dele, gravado em 1975 em Kingston, na Jamaica. A versão de Joe Cocker é a versão escolhida pelo blog. A versão de Bob so seria lançada em 1991, no seu disco de Bootlegs. Foi escrita em homenagem à Catfish Hunter, jogador de baseball que entraria no Baseball Hall of Fame no futuro.

A Letra:

Lazy stadium night
Catfish on the mound
Strike three, ' the umpire said
Better have to go back and sit down.

Catfish, million-dollar-man
Nobody can throw the ball like Catfish can

He used to work on Mr. Finley's farm
But the old man wouldn't pay
He packed his glove and took his arm
He just run away

Catfish, million-dollar-man,
Nobody can throw the ball like Catfish can

Come up where the Yankees are
Dressed in a pinstripe suit
Smoke a custom-made cigar
Wear an alligator boot

Catfish, million-dollar-man
Nobody can throw the ball like Catfish can

Carolina born and bred
Love to hunt the little quail
Got a hundred-acre spread
Got some huntin' dogs for sale

Catfish, million-dollar-man
Nobody can throw the ball like Catfish can

Reggie Jackson at the plate
Seein' nothin' but the curve
Swing too early or too late
Got to eat what Catfish serve

Catfish, million-dollar-man,
Nobody can throw the ball like Catfish can.

Even Billy Martin grins
When the Fish is in the game
Every season twenty wins
Gonna make the Hall of Fame

Catfish, million-dollar-man
Nobody can throw the ball like Catfish can

A versã de Joe Cocker:

A versão de Bob Dylan:

1605 – ABBA – Dancing queen (1976)

Escrita por Benny Andersson, Bjorn Ulvaeus e Stig Anderson, foi gravada em 4 e 5 de agosto de 1975 e lançada em 15 de agosto de 1976, no compacto com That's me como Lado B. Sairia depois no disco Arrival, em 11 de outubro de 1976, o quarto disco da banda. Andersson e Ulvaeus foram também os produtores da canção. Foi um hit internacional. Chegou ao número 1 do ABBA nos Estados Unidos e chegou também número na Austrália, Canadá, Holanda, Bélgica, Irlanda, Mexico, Nova Zelandia, Nouega, África do Sul, Espanha, Suécia, Reino Unido, Alemanha Ocidental e Rodésia. Rock your baby de George McCrae foi a fonte de inspiração para o estilo da canção. Em 2015 ela entrou pro Grammy Hall of Fame. É a quarta posição da 100 greatest number one singles do Channel 4. É a numero 148 das Songs of the Century, da Recording Industry Association of America. É a canção de número 174 da revista Rolling Stone da lista das 500 greatest songs of all time, a única canção da ABBA da lista. O VH1 disse que era número da lista das 100 greatest dance songs in Rock and Roll. MTV disse que ela era a décima segunda melhor pop song dos anos 70s. Rolling Stone e MTV disseram que essa era a melhor canção do ABBA. Agnetha Faltskog cantou e fez backing vocals. Anni-Frid Lyngstad cantou e fez backing vocals. Bjorn Ulvaeus tocou guitarra. Benny Andersson tocou piano e sintetizador. Rutber Gunnarson tocou baixo e Roger Palm tocou bateria.

A letra:

Ooh
You can dance
You can jive
Having the time of your life
Ooh, see that girl
Watch that scene
Digging the dancing queen

Friday night and the lights are low
Looking out for a place to go
Where they play the right music
Getting in the swing
You come to look for a king
Anybody could be that guy
Night is young and the music's high
With a bit of rock music
Everything is fine
You're in the mood for a dance
And when you get the chance

You are the dancing queen
Young and sweet
Only seventeen
Dancing queen
Feel the beat from the tambourine, oh yeah
You can dance
You can jive
Having the time of your life
Ooh, see that girl
Watch that scene
Digging the dancing queen

You're a teaser, you turn 'em on
Leave 'em burning and then you're gone
Looking out for another
Anyone will do
You're in the mood for a dance
And when you get the chance

You are the dancing queen
Young and sweet
Only seventeen
Dancing queen
Feel the beat from the tambourine, oh yeah
You can dance
You can jive
Having the time of your life
Ooh, see that girl
Watch that scene
Digging the dancing queen
Digging the dancing queen

A versão do ABBA:

A versão de HSCC:

A versão de Stacey Ryan:

1604 – Paul McCartney and Wings – Silly love songs (1976)

 

Escrita por Paul McCartney e Linda McCartney, foi gravada em 16 de janeiro de 1976 e lançada em 25 de março de 1976 no disco Wings of the speed of sound. Sairia depois em compacto, com Cook of the house como Lado B. O produtor foi o próprio Paul McCartney. A canção tem toques de disco. E foi uma resposta aos críticos e à John Lennon, que diziam que Paul só escrevia canções de amor bobinhas e sentimentais. Foi a vigésima setima canção de Paul como compositor que chegou ao número 1. Ela foi a canção do ano também, fazendo com que Paul fosse uma pessoa que teve essas honrarias como artista solo e como Beatle, com I want to hold your hand em 1964 e Hey Jude em 1968. A canção tem multiplas partes vocais, cantadas em contraponto, similar à música God only knows, dos Beach Boys, uma canção que Paul disse ser a favorita dele de todos os tempos. Paul também deixou os sopros criarem suas próprias partes na gravação. Chegou ao número 1 do Billboard Hot100 e Billboard Year-end of 1976. Foi disco de ouro pois vendeu mais de um milhão de cópias. É a maior canção de Paul da história no Hot100. Foi número 2 no Reino Unido e número 1 na Irlanda. É a 31a da lista da Billboard's Greatest songs of all time. Paul cantou e fez backing vocals, tocou baixo, mellotron, piano, regeu as cordas e tocou percussão. Linda fez backing vocals e tocou pandeiro. Denny Laine tocou piano e fez backing vocals. Joe English tocou bateria. Tony Dorsey tocou trombone, Thaddeus Richard tocou saxofone, Steve Howard tocou trompete e Howie Casey tocou saxofone. Foi número 1 também no Canadá, número 8 na Nova Zelandia, número 9 na Noruega, número 11 na Holanda, número 14 na Alemanha, número 20 na Australia e número 66 no Japão. Foi regravada por Denny Laine, entre outros artistas.

A letra:

You'd think that people would have had enough of silly love songs
But I look around me
And I see it isn't so
Some people want to fill the world
With silly love songs
And what's wrong with that?
I'd like to know
Cos here I go again

I love you, I love you
I love you, I love you

Ah, I can't explain
The feeling's plain to me
Now can't you see?
Ah, she gave me more
She gave it all to me
Now can't you see?
What's wrong with that?
I need to know
Cos here I go again

I love you, I love you

Love doesn't come in a minute
Sometimes it doesn't come at all
I only know that when I'm in it
It isn't silly, no, it isn't silly
Love isn't silly at all

How can I tell you about my loved one?
How can I tell you about my loved one?
How can I tell you about my loved one?
How can I tell you about my loved one?

I love you, I love you
I love you, I love you

Ah, I can't explain
The feeling's plain to me
Say, can't you see?

Ah, he gave me more
He gave it all to me
Say, can't you see?

Ah, I can't explain
The feeling's plain to me
Say, can't you see?

Ah, he gave me more
He gave it all to me
Say, can't you see?

Ah, I can't explain
The feeling's plain to me
Say, can't you see?

Ah, he gave me more
He gave it all to me
Say, can't you see?

You'd think that people would have had enough of silly love songs
But I look around me and I see it isn't so, oh no,
Some people want to fill the world
With silly love songs
And what's wrong with that?

A versão de Paul McCartney and Wings:

A versão de Adam Barrett:

A versão de Record Covers:

1603 – Peter Tosh – Till you well runs dry (1976)

Escrita por Peter Tosh e Bunny Livington, foi gravada em Kingston, em 1976 e lançada em junho de 1976 no disco Legalize it, o disco de estréia de Tosh. Peter Tosh tocou guitarra, teclado e cantou. Al Anderson tocou guitarra. Aston Barrett e Robbie Shakespeare tocaram baixo. Carlton Davis e Carlton Barrett tocaram bateria. Tyrone Downie tocou teclado. Donald Kinsey tocou guitarra. Robbie Lee tocou gaita. Rita Marley, Bunny Wailer e Judy Mowatt fizeram backing vocals.

A letra:

You said you loved me
And then you left
You broke every promise, oh yes you did
You win every bet

You never miss your water
Till your well runs dry

Tell me, tell me
Whatcha gonna do
When your well runs dry
Whatcha gonna do
When your well runs dry
Whatcha gonna do
When your well runs dry, I'd like to know
Whatcha gonna do
When your well runs dry

Listen to me darlin'
You cheat and you lie
Now you come a runnin'
Runnin', wanting second try

You never miss your water
Till your well runs dry

Tell me, tell me
Whatcha gonna do
When your well runs dry
Whatcha gonna do
When your well runs dry
Whatcha gonna do
When your well runs dry, I'd like to know
Whatcha gonna do
When your well runs dry

Sat down and sighed
And I heard you packin'
I watched you pass by me
But you said nothin'
Not one single word
but I know you're gonna miss me
And you're gonna be blue

tell me, tell me
Whatcha gonna do
When you're feeling blue
Whatcha gonna do, woman
When you're feeling blue
Whatcha gonna do
When you're feeling so blue, I'd like to know
Whatcha gonna do
When you're feeling blue

Tell me, tell me
Whatcha gonna do
When you're feeling blue
Whatcha gonna do
When you're feeling blue
Whatcha gonna do
When you're feeling so blue, I'd like to know
Whatcha gonna do
When you're feeling blue

Whatcha gonna do
When your well runs dry, woman
Whatcha gonna do
When your well runs dry
Whatcha gonna do
When your well runs dry
Whatcha gonna do, I'd like to know
Whatcha gonna do, I just know
Whatcha gonna do, I want to know
Whatcha gonna do
Whatcha gonna
Whatcha gonna do
Whatcha gonna do
Whatcha gonna do when your well runs dry
Whatcha gonna do
Whatcha gonna do when your well runs dry
Whatcha gonna do
When your well runs dry
Whatcha gonna do
Whatcha gonna do (when your well runs dry)
Whatcha gonna do when your well runs dry
Whatcha gonna do when your well runs dry
Whatcha gonna do when your well runs dry
Whatcha gonna do when your well runs dry

A versão de Peter Tosh:

A versão de Andrew Tosh:

A versão de Eric Clapton:

1602 – The Rolling Stones – Cherry Oh Baby (1976)

Escrita por Eric Donaldson, foi gravada entre outubro de 1975 e fevereiro de 1976 e lançada em 23 de abril de 1976, no disco Black and blue, o décimo quinto disco da banda. Foi produzida por Mick Jagger e Keith Richards, sob o pseudonimo de Glimmer Twins. Trata-se de um reggae composta e gravada inicialmente por Eric Donaldson, em 1971. Os Stone resolveram fazer um cover dela nesse disco. Mick Jagger cantou e fez backing vocals. Keith Richards tocou guitarra. Bill Wyman tocou baixo. Charlie Watts tocou bateria. Nicky Hopkins tocou órgão. Ronnie Wood tocou guitarra. Ollie E. Brown tocou percussão.

A letra:

Oh, Cherry, oh Cherry, oh baby
Don't ya know I in need of thee
You don't believe it true
Why don't you love me, too
Its so long I've been waiting
For you to come right in
Now that we are together
Is make my joy run over

Yeah [Repeat: x7]

{Chorus]

Oh Cherry, oh Cherry, oh baby
Don't ya know I in love with you
You don't believe I know
So why don't you try me
I'm never gonna let you down
Never make you wear no frown
You say you love me madly
Then why do you treat me badly

Yeah [Repeat: x7]

Oh Cherry, oh Cherry, oh baby
Don't ya know I in love with you
You don't believe I know
So why don't you try me (try me)
I'm never gonna let you down no
Never make you wear no frown
You say you love me madly
Then why do you treat me badly

Yeah [Repeat: x3]

A versão dos Rolling Stones:

A versão de Eric Donaldson:

A versão do UB40:

1601 – Bob Dylan – Romance in Durango (1976)

Escrita por Bob Dylan e Jacques Levy, foi gravada em 28 de julho de 1975, nos estúdios da Columbia Records, em New York City e lançada no disco Desire, em 5 de janeiro de 1976. O refrão tem frases cantadas em espanhol. É uma história que se passa em Durango, no México, com um bandido e sua amante em fuga, com xerife e matadores de aluguel no encalço deles. Porém, o personagem principal é perseguido pela morte de um amigo próximo chamado Ramon. A Rolling Stone magazine disse que era a música de número 79 das 100 greatest Bob Dylan songs. Raimundo Fagner gravou uma versão em português chamada Romance no deserto.

A letra:

Hot chili peppers in the blistering sun
Dust on my face and my cape
Me and Magdalena on the run
I think this time we shall escape

Sold my guitar to the baker's son
For a few crumbs and a place to hide
But I can get another one
And I'll play for Magdalena as we ride

No llores, mi querida
Dios nos vigila
Soon the horse will take us to Durango
Agarrame, mi vida
Soon the desert will be gone
Soon you will be dancing the fandango

Past the Aztec ruins and the ghosts of our people
Hoofbeats like castanets on stone
At night I dream of bells in the village steeple
Then I see the bloody face of Ramon

Was it me that shot him down in the cantina
Was it my hand that held the gun?
Come, let us fly, my Magdalena
The dogs are barking and what's done is done

No llores, mi querida
Dios nos vigila
Soon the horse will take us to Durango
Agarrame, mi vida
Soon the desert will be gone
Soon you will be dancing the fandango

At the corrida we'll sit in the shade
And watch the young torero stand alone
We'll drink tequila where our grandfathers stayed
When they rode with Villa into Torreon

Then the padre will recite the prayers of old
In the little church this side of town
I will wear new boots and an earring of gold
You'll shine with diamonds in your wedding gown

The way it is long but the end is near
Already the fiesta has begun
The face of God will appear
With his serpent eyes of obsidian

No llores, mi querida
Dios nos vigila
Soon the horse will take us to Durango
Agarrame, mi vida
Soon the desert will be gone
Soon you will be dancing the fandango

Was that the thunder that I heard?
My head is vibrating, I feel a sharp pain
Come sit by me, don't say a word
Oh, can it be that I am slain?

Quick, Magdalena, take my gun
Look up in the hills, that flash of light
Aim well, my little one
We may not make it through the night

No llores, mi querida
Dios nos vigila
Soon the horse will take us to Durango.
Agarrame, mi vida
Soon the desert will be gone
Soon you will be dancing the fandango

A versão de Bob Dylan:

A versão de Weathermen:

A versão de Aileen and Sticks:

1600 – Eric Clapton – (We've been told) Jesus is coming soon (1975)

 

Canção tradicional, adaptada por Willie Johnson, foi gravada por Eric Clapton entre o final de 1974 e começo de 1975 e lançada em março de 1975 no disco There's one in every crowd. Eric Clapton cantou, tocou guitarra, violão, dobro e fez os arranjos. Dick Sims tocou orgão Hammond, piano acústico e Fender Rhodes. Albhy Galuten tocou sinterizadores. George Terry tocou guitarra, violão e fez backing vocals. Carl Radle tocou guitarra e baixo. Jamie Oldaker tocou bateria e percussão. Yvonne Elliman e Marcy Levy fizeram backing vocals.

A letra:

God is warning the nations
Warning them in every way
To turn away from the evil
And seek the Lord and pray

We've been told that God done warned us
Jesus coming soon
We've been told that God done warned us
Jesus coming soon

God is warning the nations
Warning them in every way
To turn away from the evil
And seek the Lord and pray

We've been told that God done warned us
Jesus coming soon
We've been told that God done warned us
Jesus coming soon

God is warning the nations
Warning them in every way
To turn away from the evil
And seek the Lord and pray

[7x]
We've been told that God done warned us
Jesus coming soon
We've been told that God done warned us
Jesus coming soon

A versão de Eric Clapton:

1599 – Joni Mitchell – In France they kiss on main street (1975)

 

Escrita e produzida por Joni Mitchell, foi gravada em 1975 e lançada em novembro de 1975, no disco The hissing of summer lawns, o sétimo da carreira de Joni. Sairia depois em compacto com The Boho dance como Lado B. Chegou ao número 66 no Billboard Hot100 e número 19 no Canadá. Joni Mitchell cantou e tocou violão. James Taylor, David Crosby e Graham Nash nos backing vocals e Jeff Baxter tocou guitarra. Victor Feldman tocou piano elétrico. Max Bennett tocou baixo. John Guerin tocou bateria. Robben Ford tocou guitarra.

A letra:

Downtown
My darling dime store thief
In the War of Independence
Rock 'n' roll rang sweet as victory
Under neon signs
A girl was in bloom
And a woman was fading
In a suburban room
I said take me to the dance
Do you want to dance?
I love to dance
And I told him
They don't take chances
They seem so removed from romance
They've been broken in churches & schools
And molded to middle class circumstance
And we were rollin'
Rollin'
Rock 'n' rollin'

Downtown
The dance halls and cafes
Feel so wild you could break somebody's heart
Just doing the latest dance craze
Gail and Louise
In those push up brassieres
Tight dresses and rhinestone rings
Drinking up the band's beers
Young love was kissing under bridges
Kissing in cars
Kissing in cafes
And we were walking down Main Street
Kisses like bright flags hung on holidays
In France they kiss on Main Street
Amour, mama, not cheap display
And we were rollin'
Rollin'
Rock 'n' rollin'

Downtown
In the pinball arcade
With his head full of pool hall pitches
And songs from the hit parade
He'd be singing "Bye, Bye, Love"
While he's racking up his free play
Let those rock 'n' roll choir boys
Come and carry us away
Sometimes Chickie had the car
Or Ron had a car
Or Lead Foot Melvin with his hotwire head
We'd all go looking for a party
Looking to raise Jesus up from the dead
And I'd be kissing in the back seat
Thrilling to the Brando-like things that he said
And we'd be rollin'
Rollin'
Rock 'n' rolling

X2 Rollin'
Rollin'
Rock 'n' rollin'

A versão de Joni Mitchell:

A versão de Mutts of the Planet:

A versão de Both Sides Now:

1598 – The Four Seasons – December, 1963 (Oh, what a night!) (1975)

Escrita por Bob Gaudio and Judy Parker, foi gravada em novembro de 1975, no esúdio Sound Factory, em Hollywood, California e lançada no mesmo mês, novembro de 1975 no disco Who loves you. Sairia também em compacto, com Slip away como Lado B, em dezembro de 1975. Foi produzida pelo próprio Bob Gaudio, o tecladista original dos Four Seasons e sua futura esposa Judy Parker. O baterista foi Gerry Polci nos vocais principais e Frankie Valli cantando na bridge e backing vocals e o baixista Don Ciccone cantando a parte do falsetto. A letra original era December 5^th, 1933, celebrando o fim da Prohibition nos Estados Unidos. No entanto, foi mudado pra December 1963 e em vez de celebrar o fim da Lei Seca, falava de uma lembrança nostálgica de um jovem quando ele teve seu primeiro caso com uma mulher. No caso, o namoro de Gaudio com sua noiva no momento, Judy Parker. Chegou ao número 1 no Reino Unido, número 1 no Canadá, número 1 na África do Sul e no Billboard Hot100. Foi a última canção dos Four Seasons a chegar ao número 1. Chegou também ao número 2 na Australia e Nova Zelandia, número 3 na Bélgica e Holanda, número 6 na Noruega, número 11 na Suécia, númer0 16 na Alemanha Ocidental, número 18 na Irlanda e número 19 na Itália.

A letra:

Oh, what a night
Late December back in sixty three
What a very special time for me
As I remember, what a night

Oh, what a night, you know I didn't even know her name
But I was never gonna be the same
What a lady, what a night

Oh, I, I got a funny feelin' when she walked in the room
And my, as I recall it ended much too soon

Oh what a night, hypnotizin' mesmerizing me
She was ev'rything I dreamed she'd be
Sweet surrender, what a night

I felt a rush like a rollin' ball of thunder
Spinnin' my head around and takin' my body under

Oh, what a night

Oh, I, I got a funny feelin' when she walked in the room
And my, as I recall it ended much too soon

Oh, what a night
Why'd it take so long to see the light?
Seemed so wrong, but now it seems so right
What a lady, what a night

Oh I felt a rush like a rollin' ball of thunder
Spinnin' my head around and takin' my body under
Oh what a night
Do-do-do, do-do-do
Do-do-do-do, oh what a night
Do-do-do, do-do-do
Do-do-do-do-do-do, oh what a night
Do-do-do, do-do-do
Do-do-do-do-do-do, oh what a night
Do-do-do, do-do-do
Do-do-do-do-do-do, oh what a night

A versão dos Four Seasons:

A versão de Under the Streetlamp:

A versão de Sarah Collins:

1597 – Eric Clapton – Opposites (1975)

 

Escrita por Eric Clapton, foi gravada entre o final de 1974 e o começo de 1975, em Miami, Flórida e em Kingston, Jamaica e foi lançada no disco There's one in every crowd, o terceiro disco da carreira solo de Eric, em março de 1975. Eric Clapton cantou, tocou guitarra, dobro e violão. Dick Sims tocou orgao Hammond, piano aúctico e Fender Rhodes. Albhy Galuten tocou sintetizadores. George Terry tocou guitarra, violão e fez backing vocals. Carl Radle tocou guitarra e baixo. Jamie Oldaker tocou bateria e percussão. Yvonne Elliman e Marcy Levy fizeram backing vocals.

A letra:

Night after day, day after night.
White after black, black after white.
Fight after peace, peace after fight.
Life after death, death after life

Night after day, day after night.
White after black, black after white.
Fight after peace, peace after fight.
Life after death, death after life.

Night after day, day after night.
White after black, black after white.
Fight after peace, peace after fight.
Life after death, death after life.

A versão de Eric Clapton: