1633 – Al Stewart – Year of the cat (1976)

Escrita por Al Stewart e Peter Wood, foi gravada em janeiro de 1976, nos estúdios da Abbey Road, o mesmo dos Beatles. Foi lançada em julho de 1976, no disco Year of the cat, assim como saiu em compacto com Broadway Hotel como Lado B, também em julho de 1976. Foi produzida por Alan Parsons. Chegou ao número 8 do Billboard Hot 100, número 3 no Canadá, número 6 na Holanda, número 9 na Bélgica, número 13 na Austrália, número 15 na Nova Zelândia e número 31 no Reino Unido. E apesar de seu lugar mais alto no Billboard Hot 100 ser Time passages, de 1978, Year of the cat continua a ser a canção mais importante da carreira do artista, ainda hoje tocando bastante nas rádios de clássic rock mundo afora. Trata-se de uma barrativa em segunda pessoa, onde o protagonista, que é um turista, visita um mercado exótico quando uma mulher vestida em seda o leva pra uma aventura romantica. No dia seguinte, ele percebe que o onibus que ele estava foi embora e ele resolve ficar onde está. O ano do gato no Vietnam foi entre 11 de fevereiro de 1975 e janeiro de 1976, enquanto na China era o ano do coelho nesse mesmo perído. Assim, a canção foi escrita e gravada no ano do gato vietnamita. A canção é conhecida por seus longos momentos apenas instrumentais. Dos 6 minutos e quarenta segundos, um pouco mais de 4 minutos é so instrumental, com solos de cello, violino, piano, violão, guitarra, sintetizador e sax. Tim Renwick toca os violões e guitarras e George Ford toca baixo. Phil Kenzie toca o sax alto. Al Stewart canta, toca guitarra base e teclado. Peter Wood toca teclados. Don Lobster toca teclados. Stuart Elliott toca bateria e percussão. Bobby Bruce toca violino. Marion Driscoll toca triangulo.

A letra:

On a morning from a Bogart movie
In a country where they turn back time
You go strolling through the crowd like Peter Lorre
Contemplating a crime
She comes out of the sun in a silk dress running
Like a watercolor in the rain
Don't bother asking for explanations
She'll just tell you that she came
In the year of the cat

She doesn't give you time for questions
As she locks up your arm in hers
And you follow 'till your sense of which direction
Completely disappears
By the blue tiled walls near the market stalls
There's a hidden door she leads you to
These days, she says, I feel my life
Just like a river running through
The year of the cat

While she looks at you so cooly
And her eyes shine like the moon in the sea
She comes in incense and patchouli
So you take her, to find what's waiting inside
The year of the cat

Well morning comes and you're still with her
And the bus and the tourists are gone
And you've thrown away your choice you've lost your ticket
So you have to stay on
But the drum-beat strains of the night remain
In the rhythm of the newborn day
You know sometime you're bound to leave her
But for now you're going to stay
In the year of the cat

Year of the cat

A versão de Al Stewart:

A versão do Grupo Philadelfia:

A versão de Greg Hall:

1632 – Neil Young and Stephen Stills – Fontaineblue (1976)

 

Escrita por Neil Young, foi gravada entre 6 de fevereiro de 1976 e 7 de junho de 1976, no dia que eu completei um ano de idade. Foi lançada no disco Long may you run, em 20 de setembro de 1976. Foi produzida por Din Gehman, Stephen Stills e Neil Young. Stephen Stills tocou piano e guitarra. Neil Young cantou, tocou piano, sintetizador, guitarra e gaita. Jerry Aiello tocou orgao e piano. George Perry tocou baixo e fez backing vocals. Joe Vitale tocou bateria, flauta e fez backing vocals. Joe Lala tocou percussão e fez backing vocals.

A letra:

Who put the palm over my blond?
Who put all the tar on the morning sand?
Who took everything from where it once was
And put it where it last was seen?

Fontainebleau, they painted it green
Fontainebleau, for the well-to-do
At the Fontainebleau

There's a palace in the gravy
That's holding on and on and on
Even after all the blue-haired ladies
And the wheelchairs are gone

I guess the reason I'm so scared of it
Is I stayed there once and I almost fit
I left before I got out of it
People were drownin' in their own

Fontainebleau, was that me?
Fontainebleau, well, I guess I'll see
Fontainebleau

Fontainebleau, where the surfer works
Fontainebleau, 'til the break of day
Fontainebleau, 'cause it takes a shark
Fontainebleau, to catch a wave at the Fontainebleau

Fontainebleau
Fontainebleau
Fontainebleau

A versão de Young e Stills:

1631 – Bob Dylan – Isis (1976)

Escrita por Bob Dylan, e Jacques Levy, foi gravada em 31 de julho de 1975 e lançada em 5 de janeiro de 1976, no disco Desire. Foi produzida por Don De Vito. Faz alusões ao Egito Antigo, inclusive Isis sendo o nome de uma deusa egipcia. Bob Dylan disse se tratar de uma canção sobre o casamento. Isis fala a lenda de um que casou com uma mulher enigmatica (uma criança mística) chamada Isis. Fala da separação do narrador com ela, sua aventura e seu retorno. O casamento aconteceu em cinco de maio, mas pouco tempo depois do casamento, ele não aguentou e foi embora. Cortou o cabelo e saiu pelo país desconhecido. Entrou em uma lavanderia pra se lavar do passado. Encontra um personagem escabroso que promete mundos e fundos e saem em busca de um tesouro. O sujeito morre e não encontram nada. E então ele decide voltar pra Isis. Ela pergunta se ele vai ficar dessa vez, ele diz que se ela quiser, ele fica. Foi essa parceria entre Bob Dylan e Jacques Levy que se desenvolveu em outras canções e no disco Desire. Isis foi a primeira. Bob cantou e tocou piano e gaita. Scarlet Rivera tocou violino. Rob Stoner tocou baixo. Howie Wyeth tocou bateria. Foi regravada pelos White Stripes, entre outros artistas.

A letra:

I married Isis on the fifth day of May
But I could not hold on to her very long
So I cut off my hair and I rode straight away
For the wild unknown country where I could not go wrong

I came to a high place of darkness and light
The dividing line ran through the center of town
I hitched up my pony to a post on the right
Went in to the laundry to wash my clothes down

A man in the corner approached me for a match
I knew right away he was not ordinary
He said, "Are you lookin' for somethin' easy to catch?"
I said, "I got no money." He said, "That ain't necessary"

We set out that night for the cold in the North
I gave him my blanket, and he gave me his word
I said, "Where are we goin'?" He said we'd be back by the fourth
I said, "That's the best news that I've ever heard"

I was thinkin' about turquoise, I was thinkin' about gold
I was thinkin' about diamonds and the world's biggest necklace
As we rode through the canyons, through the devilish cold
I was thinkin' about Isis, how she thought I was so reckless

How she told me that one day we would meet up again
And things would be different the next time we wed
If I only could hang on and just be her friend
I still can't remember all the best things she said

We came to the pyramids all embedded in ice
He said, "There's a body I'm tryin' to find
If I carry it out it'll bring a good price"
'Twas-a then that I knew what he had on his mind

The wind it was howlin' and the snow was outrageous
We chopped through the night and we chopped through the dawn
When he died I was hopin' that it wasn't contagious
But I made up my mind that I had to go on

I broke into the tomb, but the casket was empty
There was no jewels, no nothin', I felt I'd been had
When I saw that my partner was just bein' friendly
When I took up his offer I must-a been mad

I picked up his body and I dragged him inside
Threw him down in the hole and I put back the cover
I said a quick prayer then I felt satisfied
Then I rode back to find Isis just to tell her I love her

She was there in the meadow where the creek used to rise
Blinded by sleep and in need of a bed
I came in from the East with the sun in my eyes
I cursed her one time then I rode on ahead

She said, "Where ya been?" I said, "No place special"
She said, "You look different." I said, "Well, I guess"
She said, "You been gone." I said, "That's only natural"
She said, "You gonna stay?" I said, "If you want me to, yes"

Isis, oh, Isis, you're a mystical child
What drives me to you is what drives me insane
I still can remember the way that you smiled
On the fifth day of May in the drizzlin' rain

A versão de Bob Dylan:

A versão de Jackie Greene:

A versão de Virgil Kinsley:

1630 – Crosby and Nash – Broken bird (1976)

Escrita por David Crosby e Graham Nash, foi gravada em 1976, no Rudy Recorders, em San Francisco, California e no Sound Lab em Los Angeles, California e lançada em 25 de junho de 1976, no disco Whistling down the wire, o terceiro disco da dupla. Foi produzida por David Crosby, Graham Nash e Stephen Barncard. David Crosby cantou e tocou guitarra. Graham Nash cantou, tocou violão, guitarra elétrica e gaita. David Lindley tocou guitarra, slide guitar, violino, viola e pedal steel guitar. Danny Kortchmar tocou dobro e guitarra elétrico. Laura Allan tocou zither. Craig Doeger tocou piano, piano eletrico, orgão e gaita. Tim Drummond tocou baixo. Russ Kunkel tocou bateria e percussão.

A letra:

There's a story I'd like you to listen to
About a lady and a broken bird
Broken by the hammer
You took it so hard
You hardly said a word

Sending them back over the lines
Whistling down the wire from pole to pole
Bending them over the times
Trying to burn the diamond from the holy coal

Sending them over the lines
Whistling down the wire from pole to pole
Bending them over the times
Trying to burn the diamonds from the holy coal

Telling this story slowly together
Reading in the dark
The bird that you saw dying
We saw flying

A versão de Crosby and Nash:

A versão de Claudio Maffei:

 

1629 – J.J. Cale – Super blue (1976)

 

Escrita por J.J. Cale, foi gravada em 1976 e lançada em setembro de 1976 no disco Troubador, o quarto da carreira dele. Foi produzida por Audie Ashworth. J. J. Cale cantou e tocou guitarra. Charles Dungey tocou baixo. Karl Himmel tocou bateria. Reggie Young tocou guitarra ritmica e guitarra solo. Lloyd Green tocou slide guitar e Farell Morris tocou percussão.

A letra:

Days are longer
By yourself
You sold your soul to someone else
Now you're paying,
Can't you see
You want to pass it back to me
Told you once,
Told you twice
When you're gone
Don't expect to come back
Things don't work out
Like I planned
'Cause you've got
Yourself another man
Danger signal, danger ahead
I know you'd be better
If you thought,
If you thought I was dead
I won't tell you,
I won't tell you no lie
I'll come back
And haunt you as another guy
Things don't work out
Like I planned them
'Cause you've got
Yourself another man

A versão de J. J. Cale:

1628 – Paul McCartney and Wings – Warm and beautiful (1976)

 

Escrita por Paul McCartney e Linda McCartney, foi gravada em 2 de fevereiro de 1976 e lançada em 25 de março de 1976 no disco Wings at the Speed of Sound. Foi produzida pelo próprio Paul McCartney. Foi feita pra Linda e em 1998, na ocasião da morte dela, Paul fez os arranjos pra quarteto de cordas pra ser tocada no funeral dela. Fala do amor como algo eterno e diz que o amor, fé e esperança são as coisas que fazem as pessoas transcederam a tristeza. Paul cantou e tocou piano. Jimmy McCulloch tocou slide guitar. Fiachra Trench tocaram o quarteto de cordas.

A letra:

A love so warm and beautiful
Stands when time itself is falling
A love so warm and beautiful
Never fades away

Love, faith and hope are beautiful
When your world is touched by sadness
To each his own is wonderful
Love will never die

Sunlight's morning glory
Tells the story of our love
Moonlight on the water
Brings me inspiration ever after

Sunlight's morning glory
Tells the story of our love
Moonlight on the water
Brings me inspiration ever after

A love so warm and beautiful
Stands when time itself is calling
A love so warm and beautiful
Never fades away
Never fades away

A versão de Paul McCartney and Wings:

A versão de Elvis Costello:

A versão de John Pizzarelli:

1627 – Bob Marley and The Wailers – Roots, Rock, Reggae (1976)

 

Escrita por Vincent Ford, foi gravada entre o final de 1975 e começo de 1976, e lançada em 30 de abril de 1976 no disco Rastaman Vibration, o oitavo disco do artista. Foi produzida pelo próprio Bob Marley and The Wailers. O compacto foi o mais bem sucedido de Marley nos Estados Unidos, chegando ao número 51 do Billboard Hot 100. Na verdade, Vincent Ford não escreveu a música, mas como Bob estava tendo problemas com gravadoras e direitos autorais, ele escreveu a música e colocou no nome de Ford pra evitar futuros problemas. Bob Marley cantou, Earl Smith tocou guitarra e percussão. Al Anderson tocou guitarra, Carlton Barrett tocou bateria, Aston Barrett tocou baixo, Jean Alain Roussel tocou órgão Hammond. Tyrone Downie tocou teclado. I Threes fizeram os backing vocals. Tommy McCook tocou sax e Donald Kinsey tocou overdub de guitarra.

A letra:

Play I some music: (dis a) reggae music!
Play I some music: (dis a) reggae music!
Roots, rock, reggae: dis a reggae music!
Roots, rock, reggae: dis a reggae music!

Hey, Mister Music, sure sounds good to me!
I can't refuse it: what to be got to be.
Feel like dancing, dance 'cause we are free;
Feel like dancing, come dance with me!

Roots, rock, reggae: dis a reggae music!
Roots, rock, reggae, yeah! Dis a reggae music!
Play I some music: dis a reggae music!
Play I some music: dis a reggae music!

Play I on the R&B - wo-oh! Want all my people to see:
We're bubblin' on the Top 100, just like a mighty dread!
Play I on the R&B; want all my people to see:
We bubblin' on the Top 100, just like a mighty dread!

Roots, rock, reggae: dis a reggae music! Uh-uh!
Roots, rock, reggae, ee-mi duba! Dis a reggae music!
Play I some music: (dis a reggae music!)
Play I some music: (dis a reggae music!)

Play I on the R&B; I want all my people to see: (doo-doo-doo-doo!)
We bubblin' on the Top 100, just like a mighty dread!
(Doo-doo-doo-doo!)
Play I some music: (dis a) reggae music!
Play I some music: (dis a) reggae music!
(Dis a reggae music!)
(Dis a reggae music!)

A versão de Bob Marley and The Wailers:

A versão de Tribu by Rasta:

A versão de Lenny Kravitz:

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: