1626 – The Rolling Stones – Fool to cry (1976)

 

Escrita por Mick Jagger e Keith Richards, foi gravada entre dezembro de 1974 e fevereiro de 1976 e lançada no compacto que tinha Hot stuff no Lado B, em 26 de março de 1976. Sairia também no disco Black and Blue, em 23 de abril de 1976. Foi produzida por Mick Jagger e Keith Richards. Wayne Perkins tocou guitarra juntamente com Keith Richards. Mick Jagger tocou piano elétrico e Nicky Hopkins tocou piano normal e sintetizadores. Chegou ao número 6 no Reino Unido e Irlanda, e número 10 no Billboard Hot 100. Chegou ao número 8 na Noruega e Holanda e número 11 no Canadá, além de número 16 na Bélgica e número 45 na Australia.

A letra:

When I come home baby
And I've been working all night long
I put my daughter on my knee, and she says
Daddy what's wrong?
She whispers in my ear so sweet
You know what she says, she says
Ooh, daddy you're a fool to cry
You're a fool to cry
And it makes me wonder why

Daddy you're a fool
You know, I got a woman (daddy you're a fool)
And she lives in the poor part of town
And I go see her sometimes
And we make love, so fine
I put my head on her shoulder
She says, tell me all your troubles
You know what she says?
She says, ooh, daddy you're a fool to cry
You're a fool to cry
And it makes me wonder why

Daddy you're a fool to cry
Yeah, she says
Oh, Daddy you're a fool to cry
You're a fool to cry
And it makes me wonder why

She says, ooh, daddy you're a fool to cry
Ooh, daddy you're a fool to cry
Ooh, daddy you're a fool to cry
Ooh, daddy you're a fool to cry

Even my friends say to me sometimes
And make out like I don't understand them
You know what they say?
They say, ooh daddy you're a fool to cry
You're a fool to cry
And it makes me wonder why, ah

I'm a fool baby, ah ya
I'm a certified fool, ah yeah
Gotta tell ya, baby
I'm a fool baby, ah yeah
Whoo
Certified fool for ya, mama, ya, yeah, come on, yeah
I'm a fool, yeah

A versão dos Rolling Stones:

A versão de Tegan and Sara:

A versão de Ten Sharp:

1625 – Bob Dylan – Oh, sister (1976)

Escrita por Bob Dylan e Jacques Levy, foi gravada em 30 de julho de 1975 e lançada em 5 de janeiro de 1976 no disco Desire, o décimo sétimo de Bob e também em compacto, com Mozambique no Lado A, em 17 de fevereiro de 1976. Foi produzida por Don DeVito. Foi a primeira vez que Dylan invocou Deus como método de dar em cima de uma mulher. É um discurso sobre a fragilidade do amor. Emmylou Harris cantou junto com Bob. Assim, Bob Dylan fez os vocais principais, tocou guitarra rítmica e gaita. Scarlet Rivera tocou violino. Emmylou Harris fez backing vocals. Rob Stoner tocou baixo e fez backing vocals e Howard Wyeth tocou bateria e piano.

A letra:

Oh, sister, when I come to lie in your arms
You should not treat me like a stranger
Our Father would not like the way that you act
And you must realize the danger

Oh, sister, am I not a brother to you
And one deserving of affection
And is our purpose not the same on this earth
To love and follow his direction

We grew up together
From the cradle to the grave
We died and were reborn
And then mysteriously saved

Oh, sister, when I come to knock on your door
Don't turn away, you'll create sorrow
Time is an ocean but it ends at the shore
You may not see me tomorrow

A versão de Bob Dylan:

A versão do Black Crowes:

A versão de Andrew Bird e Nora O'Connor:

1624 – Alice Cooper – I never cry (1976)

 

Escrita por Alice Cooper e Dick Wagner, foi gravada em 1976 e lançada em 7 de junho de 1976, no compacto que tinha Go to hell como Lado B. Sairia depois em 25 de junho de 1976 no disco Alice Cooper goes to hell. Foi produzida por Bob Ezrin. Foi o compacto que mais vendeu na carreira de Cooper e um dos seus dois disco de ouro. Fala da experiencia de Cooper com o alcoolismo. Um ano depois, ele estava fazendo tratamento de reabilitação. Chegou ao número 5 no Canadá e número 12 no Billboard Hot100. E ao número 23 na Austrália.

A letra:

If there's a tear on my face
It makes me shiver to the bone
It shakes me, babe
It's just a heartache that got caught in my eye
And you know I never cry, I never cry

Sometimes I drink more than I need
Until the TV's dead and gone
I may be lonely
But I'm never alone
And the night may pass me by
But I never cry

Take away, take away my eyes
Sometimes I'd rather be blind
Break a heart, break a heart of stone
Open it up but don't you leave it alone

'Cause that's all I got to give you
Believe me, babe, it ain't been used
My heart's a virgin, it ain't never been tried
And you know I'll never cry
And you know I'll never cry
Well, you know, you know, you know, you know I never cry
I never cry

Break a heart, break a heart of stone
Open it up but don't you leave it alone
'Cause that's all I got to give you
Believe me, babe, it ain't been used
My heart's a virgin, it ain't never been tried
And you know I never cry
I never cry

A versão de Alice Cooper:

A versão de Peter Jordan:

A versão de Jovs Barrameda:

1623 – ABBA – Money, money, money (1976)

Escrita por Benny Andersson e Bjorn Ulvaeus, foi gravada em 17 de maio de 1976 e lançada em 11 de outubro de 1976 no disco Arrival. Sairia também em compacto em 1 de novembro de 1976, com Crazy world como Lado B. Foi produzida por Benny Andersson e Bjorn Ulvaeus. Anni-Frid Lyngstad cantou os vocais principais. A canção é cantada sob o ponto de vista de uma mulher que apesar de trabalhar duro, mal pode se sustentar e deseja um homem rico. Se tornou hit número 1 na Australia, Bélgica, França, Alemanha Ocidental, Holanda, México e Nova Zelândia. Chegou também ao Top 3 na Austria, Irlanda, Noruega, Suíça e Reino Unido. Chegou também ao número 7 na Finlandia. Anni-Frid Lyngstand cantou os vocais principais. Agnetha Faltskog fez backing vocals. Anders Glenmark tocou guitarra. Bjorn Ulvaeus fez backing vocals. Benny Andersson tocou teclado e sintetizadores. Foi regravada por Mery Streep pro filme Mama Mia, entre outros artistas.

A letra:

I work all night, I work all day to pay the bills I have to pay
Ain't it sad?
And still there never seems to be a single penny left for me
That's too bad
In my dreams I have a plan
If I got me a wealthy man
I wouldn't have to work at all, I'd fool around and have a ball

Money, money, money
Must be funny
In the rich man's world
Money, money, money
Always sunny
In the rich man's world
Aha
All the things I could do
If I had a little money
It's a rich man's world
It's a rich man's world

A man like that is hard to find but I can't get him off my mind
Ain't it sad?
And if he happens to be free I bet he wouldn't fancy me
That's too bad
So I must leave, I'll have to go
To Las Vegas or Monaco
And win a fortune in a game, my life will never be the same

Money, money, money
Must be funny
In the rich man's world
Money, money, money
Always sunny
In the rich man's world
Aha
All the things I could do
If I had a little money
It's a rich man's world

Money, money, money
Must be funny
In the rich man's world
Money, money, money
Always sunny
In the rich man's world
Aha
All the things I could do
If I had a little money
It's a rich man's world
It's a rich man's world

A versão do ABBA:

A versão de Milk'n Blues:

A versão de Meryl Streep:

1622 – Paul McCartney and Wings – She's my baby (1976)

 

Escrita por Paul McCartney e Linda McCartney, foi gravada em 7 de janeir de 1976 e lançada em 25 de março de 1976 no disco Wings at the Speed of Sound. Foi produzida pelo próprio Paul. É uma canção de amor de Paul pra Linda. Paul cantou. Em cada verso, ele fala de uma característica dela. Como em Let 'em in e Silly love songs, o baixo é bem realçado, pra ficar mais dançante. Paul além de cantar, tocou piano elétrico, teclado, baixo e guitarra. Joe English tocou bateria. Linda fez backing vocals. Denny Laine fez backing vocals e baixo. Jimmy McCulloch tocou guitarra. Quando Linda morreu em 1998, Paul fez um arranjo novo pra canção, com um quarteto de cordas e tocou no funeral de Linda.

A letra:

My baby, she comes out at night,
she's takin' me by surprise,
She's my baby.

Like gravy, down to the last drop,
I keep mopping her up
Oh yeah, she's my baby.

She's my baby in the morning time,
when the sleep is in her eyes,
and the world is waking up,
she has a rhythm,
oh believe me, I ain't lyin';
She's a woman.

She's a lady in the evening time,
when the stars are in the sky,
that's the time she changes back into a kitten,
oh believe me, I ain't lyin'.

She's my baby.
She's my baby in the morning time,
when the sleep is in her eyes,
and the world is waking up,
she has a rhythm,
oh believe me, I ain't lyin';
She's a woman.

She's a lady in the evening tiem,
when the stars are in the sky,
that's the time she changes back into a kitten,
oh believe me, I ain't lyin'.

Ooh, like gravy,
sown to the last drop,
I keep moppin' it up,
moppin' it up, yeah,
She's my baby...

A versão de Paul McCartney and Wings:

A versão de Ryan Gebhardt:

1621 – Joni Mitchell – Amelia (1976)

 

Escrita por Joni Mitchell, foi gravada em 1976 e lançada em novembro de 1976, no disco Hejira, o oitavo da carreira de Mitchell. Foi produzido por ela e por Henry Lewy. Foi inspirada na separação dela do parceiro John Guerin e fala de sua experiencia no deserto. Mistura uma história de uma jornada no deserto com a aviadora Amelia Earhart que desapareceu misteriosamente durante um vôo no Oceano Pacífico. O refrão repete, Amelia it was just a false alarm e muda de tom alternadamente, dando uma sensação de constante desconforto. Joni Mitchell cantou, tocou violão e guitarra elétrica. Victor Feldman tocou vibraphone. Larry Carlton tocou guitarra.

A letra:

I was driving across the burning desert
When I spotted six jet planes
Leaving six white vapor trails across the bleak terrain
Like the hexagram of the heavens
Like the strings of my guitar
Amelia, it was just a false alarm

The drone of flying engines
Is a song so wild and blue
It scrambles time and seasons if it gets through to you
Then your life becomes a travelogue
Full of picture post card charms
Amelia, it was just a false alarm

People will tell you where they've gone
They'll tell you where to go
But till you get there yourself you never really know
And where some have found their paradise
Others just come to harm
Amelia, it was just a false alarm

I wish that he was here tonight
It's so hard to obey
His sad request of me to kindly stay away
So this is how I hide the hurt
As the road leads cursed and charmed
I tell Amelia it was just a false alarm

A ghost of aviation
She was swallowed by the sky
Or by the sea like me she had a dream to fly
Like Icarus ascending
On beautiful foolish arms
Amelia, it was just a false alarm

Maybe I've never really loved
I guess that is the truth
I've spent my whole life in clouds at icy altitudes
And looking down on everything
I crashed into his arms
Amelia, it was just a false alarm

I pulled into the Cactus Tree Motel
To shower off the dust
And I slept on strange pillows of my wanderlust
I dreamed of 747s
Over geometric farms
Dreams Amelia, dreams and false alarms

A versão de Joni Mitchell:

A versão de Shawn Covin e Mary Chapin Carpenter:

A versão de JK Jones:

1620 – The Rolling Stones – Hand of fate (1976)

 

Escrita por Mick Jagger e Keith Richards, foi gravada entre dezembro de 1974 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. Trata-se de um hard rock da banda. Mick Jagger cantou. Keith Richards tocou guitarra. Bill Wyman tocou baixo. Charlie Watts tocou bateria. Billy Preston tcou piano, piano elétrico. Wayne Perkins tocou guitarra. Ronniw Woods fez backing vocals.

A letra:

The hand of fate is on me now
It pick me up and knock me down
I'm on the run, I'm prison bound
The hand of fate is heavy now
I killed a man, I'm highway bound
The wheel of fortune keeps turning round
Turning round, turning round
I should have known it was a one horse town

My sweet girl was once his wife
He had papers the judge had signed
The wind blew hard, it was stormy night
He shot me once, but I shot him twice
The hand of fate is on me now
It pick me up and it kicked me right down
Kicked me right down
Kicked me right down

I had to save her life
Yeah, I gunned him twice
Yeah, and I watched him die, watch out boy
Yeah, I watched him die

He was a barroom man, the violent kind
He had no love for that gal of mine
Then one day in a drinking bout
He swore he'd throw me right of town
The hand of fate is on me now
I shot that man I put him underground
I put him underground
Yes I did

I'm on the run, I hear the hounds
My luck is up, my chips are down
So goodbye baby, so long now
Wish me luck, I'm going to need it child
The hand of fate is on me now
Yeah it's too late
Too late baby, too late now
The hand of fate is on me now
The hand of fate is heavy now

It pick you up and knock you down

A versão dos Rolling Stones:

1619 – Bob Dylan – Sara (1976)

Escrita por Bob Dylan, foi gravada em 31 de julho de 1975 e lançada no disco Desire, em 5 de janeiro de 1976. Foi produzida por Don De Vito. É a canção que fecha o disco e fala sobre a sua separação com sua esposa, Sara Dylan. Fala do começo do relacionamento, quando as crianças eram pequenas. Sara estava na gravação, nunca tinha ouvido antes e Dylan antes de gravar disse: “This one's for you”. Tem uma passagem na música em que ele lembra de quando morava no Chelsea Hotel e fala de quando escreveu Sad eyed lady of the Lowlands pra Sara. Essa foi a única vez que Dylan falou do título de outra canção dele em outra canção. Dylan e Sara fizeram as pazes depois dessa gravação mas se separaram de vez em 1977. É canção a mais pessoal de Dylan. A revista Rolling Stone colocou-a como número 48 de sua lista das 100 greatest Bob Dylan Songs. Bob Dylan cantou, tocou violão e gaita. Scarlet Rivera tocou violino. Rob Stoner tocou baixo e Howard Wyeth tocou bateria.

A letra:

I laid on a dune, I looked at the sky
When the children were babies and played on the beach.
You came up behind me, I saw you go by
You were always so close and still within reach.

Sara, Sara
Whatever made you want to change your mind?
Sara, Sara
So easy to look at, so hard to define.

I can still see them playin' with their pails in the sand
They run to the water their buckets to fill.
I can still see the shells fallin' out of their hands
As they follow each other back up the hill.

Sara, Sara
Sweet virgin angel, sweet love of my life
Sara, Sara
Radiant jewel, a mystical wife.

Sleepin' in the woods by a fire in the night
Drinkin' white rum in a Portugal bar
Them playin' leapfrog and hearin' about Snow White
You in the marketplace in Savanna-la-Mar.

Sara, Sara
It's all so clear, I could never forget
Sara, Sara
Lovin' you is the one thing I'll never regret.

I can still hear the sounds of those Methodist bells
I'd taken the cure and had just gotten through
Stayin' up for days in the Chelsea Hotel
Writin' "Sad-Eyed Lady of the Lowlands" for you.

Sara, Sara
Wherever we travel we're never apart.
Sara, oh Sara
Beautiful lady, so dear to my heart.

How did I meet you? I don't know.
A messenger sent me in a tropical storm.
You were there in the winter, moonlight on the snow
And on Lily Pond Lane when the weather was warm.

Sara, oh Sara
Scorpio Sphinx in a calico dress
Sara, Sara
Ya must forgive me my unworthiness.
Now the beach is deserted except for some kelp
And a piece of an old ship that lies on the shore.
You always responded when I needed your help
You gave me a map and a key to your door.
Sara, oh Sara
Glamorous nymph with an arrow and bow
Sara, oh Sara
Don't ever leave me, don't ever go.

A versão de Bob Dylan:

A versão de Ronen Zel:

A versão de Maya Johanna:

1618 – Rod Stewart – The first cut is the deepest (1976)

 

Escrita por Cat Stevens, foi lançada primeiramente por P.P. Arnold em maio de 1967. O próprio Cat Stevens lançaria sua versão ele em dezembro de 1967 no disco New Masters. Além deles, foi regravada por Rod Stewart e por Sheryl Crow, entre outros artistas. A letra fala de uma pessoa que fica pensando como e se é possível amar novamente depois de quando o primeiro amor é perdido. O primeiro corte do título se refere à primeira decepção amorosa. Cat Stevens fez a primeira versão dessa música ainda em 1965. A versão escolhida pela nossa coleção, no entanto, é a versão de Rod Stewart. Gravada em 1976 e produzida por Tom Dowd, foi lançada em 18 de junho de 1976, no disco A night on the town. Sairia em fevereiro de 1977 no compacto que tinha I don't want to talk about it como Lado A. Foi gravada no Muscle Shoals Sound Studio, em Sheffield, Alabama. Foi um grande sucesso. Ficou quatro semanas no número 1 no Reino Unido, número 11 no Canadá e número 21 no Billboard Hot 100. Chegou ao número 19 na Australia e número 21 na Nova Zelandia.

A letra:

I would have given you all of my heart
But there's someone who's torn it apart
And she's taken just all that I had
But if you want, I'll try to love again, oh baby
Honey, I'll try to love again but I know

The first cut is the deepest
Baby, I know, the first cut is the deepest
'Cause when it comes to being lucky, she was cursed
When it comes to loving me, she's worst

I still want you by my side
Just to help me dry the tears that I cried
And I'm sure gonna give you a try
And if you want, I'll, I'll love you again, baby, oh yeah
Honey, I'll try to love again but I know

The first cut is the deepest
Baby, I know, the first cut is the deepest
'Cause when it comes to being lucky, she's cursed
When it comes to loving me, she's worst

I still want you by my side
Just to help me dry the tears that I've been crying
And I'm sure gonna give you another try
And if you want, I'll try to love again, oh baby
I'll try to love again, I'll try

The first cut is the deepest
Baby, I know, the first cut is the deepest
When it comes to being lucky, she was cursed
When it come to loving me, she's worst
Yeah

Is that your ex, mum?
Yeah, sounds like this

A versão de Rod Stewart:

A versão de Cat Stevens:

A versão de Sheryl Crow:

1617 – ABBA – Knowing me, knowing you (1976)

 

Escrita por Benny Andersson, Bjorn Ulvaeus e Stig Anderson, foi gravada em 23 de março de 1976, no Metronome Studio, em Estocolmo. Foi lançada em 11 de outubro de 1976 no disco Arrival. Depois sairia em compacto com Happy Hawaii no Lado B. Anni-Frid Lyngstad cantou os vocais principais. Foi uma das primeiras canções do ABBA que falava de rompimento de relacionamentos. Benny Andersson acha uma das melhores gravações do ABBA. Ela e Dancing queen. Foi um dos compactos com maior sucesso do grupo. Chegou ao número 1 na Alemanha Ocidental, Reino Unido, Irlanda, Mexico e Africa do Sul. Chegou também ao número 2 na Bélgica, Áustria, Holanda e número 3 na Suíça. Chegou ao número 5 no Canadá, número 6 na Noruega, número 7 na Finlandia, número 8 na Nova Zelandia, número 9 n Australia e número 11 na Rodésia. Chegou ao número 14 no Billboard Hot 100. Vendeu um milhão de cópias no Reino Unido. Vendeu 300 mil cópias na Alemanha até 1979. Em 2017, a Billboard ranqueou como n;umero 4 das 15 greatest ABBA songs. Em 2021, a revista Rolling Stone disse que era a canção de número 2 da lista das 25 greatest ABBA Songs. Anni-Frid Lyngstad cantou os vocais principais. Agnetha Faltskog fez backing vocals. Bjorn Ulvaeus tocou guitarra e fez backing vocals. Benny Andersson tocou teclado e sintetizador. Ruther Gunnarsson tocou baixo e fez oa arranjos de cordas. Foi regravada por Cilla Black em 1980, Nils Landgren em 2004, Richard Clayderman fez uma versão instrumental, entre outros artistas que a regravaram.

A letra:

No more carefree laughter
Silence ever after
Walking through an empty house, tears in my eyes
Here is where the story ends, this is goodbye

Knowing me, knowing you (ah-ha)
There is nothing we can do
Knowing me, knowing you (ah-ha)
We just have to face it, this time
(This time, this time) we're through (we're through)
This time we're through, we're really through
Breaking up is never easy, I know, but I have (I have to go) to go
(This time I have to go, this time I know) knowing me, knowing you
It's the best I can do

Memories (memories)
Good days (good days)
Bad days (bad days)
They'll be (they'll be)
With me (with me)
Always (always)
In these old familiar rooms, children would play
Now there's only emptiness, nothing to say

Knowing me, knowing you (ah-ha)
There is nothing we can do
Knowing me, knowing you (ah-ha)
We just have to face it, this time
(This time, this time) we're through (we're through)
This time we're through, we're really through
Breaking up is never easy, I know, but I have (I have to go) to go
(This time I have to go, this time I know) knowing me, knowing you
It's the best I can do

Knowing me, knowing you (ah-ha)
There is nothing we can do
Knowing me, knowing you (ah-ha)
We just have to face it, this time
(This time, this time) we're through (we're through)
This time we're through, we're really through
Breaking up is never easy, I know, but I have (I have to go) to go
(This time I have to go, this time I know) knowing me, knowing you
It's the best I can do

A versão do ABBA:

A versão de Angie McMahon:

A versão de Re-Cover Songs:

1616 – Paul McCartney and Wings – Beware my love (1976)

Escrita por Paul McCartney e Linda McCartney, foi gravada em 23 de janeiro de 1976 e lançada em 25 de março de 1976 no disco Wings at the speed of Sound. Sairia depois em compacto, com Let 'Em in como Lado A. Foi produzida pelo próprio Paul McCartney. Começa com um harmonium e depois entra um violão. Linda faz backing vocals e Paul canta os vocais principais. A cança fala mal de outro homem que a mulher dele está vendo. E que ele vai embora, mas vai deixar a mensagem dele na canção.

A letra:

Beware my love
He'll fold you over
Beware my love
Before you're much older

He'll sweep you up
Under his carpet
You'll be in love
If you can stop it

Take my regards
And don't forget it
Beware my love
And never regret it!
Beware my love
He'll take you under
Beware my love
The sound of his thunder

He'll wear you out
And in a minute
You'll hear a shout
And then you'll be in it
Beware my love
He'll take you under
Beware my love
The sound of his thunder

A versão de Paul McCartney and Wings:

A versão de Mr. Penny Who:

A versão de Babauou:

1615 – Eric Clapton e Bob Dylan – Sign language (1976)

 

Escrita por Bob Dylan, foi gravada entre dezembro de 1975 e maio de 1975, no Shangri-La Studios em Malibu e no Village Recorders, em Los Angeles. Foi lançada em no disco Reason to cry, quarto disco de Eric Clapton, em 27 de agosto de 1976. Shangri-las era o estúdio da The Band. Sign language era uma canção que Bob Dylan havia feito mas nunca gravado. Dylan tava morando numa tenda, no jardim da casa da gravadora. Sempre ele entrava no estúdio pra ver o que estavam fazendo. Então ele ofereceu Seven days, outra canção que nunca havia sido gravada. Clapton não gostou e disse que não iria gravar. Então Dylan mostrou Sign language. Clapton gostou e gravaram juntos. Seven days no entando foi gravada por Ron Wood, que gostou e pediu a canção pra Dylan. Ron Wood tocou guitarra.

A letra:

You speak to me in sign language
As I'm eating a sandwich in a small cafe
At a quarter to three

But I can't respond to your sign language
You're taking advantage, bringing me down
Can't you make any sound?

'Twas there by the bakery, surrounded by fakery
This is my story, still I'm still there
Does she know I still care?

Link Wray was playing on a jukebox, I was paying
For the words I was saying, so misunderstood
He didn't do me no good

You speak to me in sign language
As I'm eating a sandwich in a small cafe
At a quarter to three

'Twas there by the bakery, surrounded by fakery
This is my story, still I'm still there
Does she know I still care?

A versão de Eric Clapton com Bob Dylan:

1614 – The Rolling Stones – Melody (1976)

Escrita por Mick Jagger e Keith Richards, foi inspirada em Billy Preston. Foi gravada entre dezembro de 1974 e fevereiro ed 1976 e lançada em 23 de abril de 1976 no disco Black and blue, o décimo quinto da banda. Melody é baseada em Do you love me, uma canção de Billy Preston de 1973. Mick Jagger cantou, Keith Richards tocou guitarra, Bill Wyman tocou baixo, Charlie Watts tocou bateria. Billy Preston tocou piano, orgão, percussão e fez baking vocals.

A letra:

Melody, it was her second name
Melody, it was her second name
Melody, it was her second name
Melody, it was her second name

Came home one morning about quarter to three
I'm banging on my door cause I just lost my key
Open up, baby, you got someone else inside
I'm going to come get you dead or alive

Melody, it was her second name
Melody, it was her second name
Melody, it was her second name
Melody, it was her second name

I took her out dancing but she drank away my cash
She said, "I'm going to fix my face don't you worry I'll be back"
I'm looking for her high and low like a mustard for a ham
She was crashed out in the bathroom
In the arms of my best friend

Melody, it was her second name
Melody, it was her second name
Melody, it was her second name
Melody, it was her second name

Then one day she left me
She took everything that moved
My car, she took my trailer home
She took my Sunday boots
My nose is on her trail
I'm going to catch her by surprise
Then I'm going to have the pleasure
To roast that child alive

Melody, it was her second name
Melody, it was her second name
Melody, it was her second name
Melody, it was her second name

A versão dos Rolling Stones:

A versão de Byll Wyman's Rhythm Kings: