1649 – Eagles – Hotel California (1976)

 

Escrita por Don Felder, Don Henley e Glenn Frey, foi gravada em 1976 e lançada no disco Hotel California, em 8 de dezembro de 1976. Sairia também em compacto em 22 de fevereiro de 1977, com Pretty maids all in a row como Lado B. A revista Guitarist disse que o solo de Hote California era o melhor solo de guitarra de todos os tenpos. Já na Guitar Magazine foi a número 8 dos TOP 100 guitar solos. A Guitar World disse que era a número 1 na lista das Best 12-string guitar solos of all times. Ganhou o Grammy for the record of the year em 1978. Henley falou que a letra significava a vida de luxo em Los Angeles e uma viagem da inocencia pra experiencia. Chegou ao número 1 no Billboard Hot 100 e número 1 no Canadá. Número 2 na França e Suíça. Nümero 3 na Espanha. Número 5 na Nova Zelandia e Noruega. Número 6 na Alemanha e Holanda. Número 8 no Reino Unido. Número 13 na Áustria e número 24 na Bélgica. A canção foi escrita como um filme. Um cara que tá cansado de dirigir e entra em um hotel pra passar a noite mas logo percebe que caiu em uma armadilha e que jamais sairá dali. É o número 49 da lista da revista Rolling Stone das 500 greatest songs of all time. É uma das 500 songs that shaped rock and roll, do Rock and Roll Hall of Fame. Foi regravada pelos Gipsy Kings, entre outros artistas. Don Felder tocou violão de 12 cordas, guitarra elétrica e fez backing vocals. Don Henley cantou, tocou bateria e percussão. Glenn Frey tocou violão de 12 cordas e fez backing vocals. Joe Walsh tocou guitarra e fez backing vocals. Randy Meisner tocou baixo e fez backing vocals.

A letra:

On a dark desert highway
Cool wind in my hair
Warm smell of colitas
Rising up through the air
Up ahead in the distance
I saw a shimmering light
My head grew heavy and my sight grew dim
I had to stop for the night

There she stood in the doorway
I heard the mission bell
And I was thinking to myself
"This could be Heaven or this could be Hell"
Then she lit up a candle
And she showed me the way
There were voices down the corridor
I thought I heard them say

Welcome to the Hotel California
Such a lovely place (such a lovely place)
Such a lovely face
Plenty of room at the Hotel California
Any time of year (any time of year)
You can find it here

Her mind is Tiffany-twisted
She got the Mercedes Benz
She got a lot of pretty, pretty boys
That she calls friends
How they dance in the courtyard
Sweet summer sweat
Some dance to remember
Some dance to forget

So I called up the Captain
"Please bring me my wine"
He said, 'We haven't had that spirit here
Since 1969"
And still those voices are calling from far away
Wake you up in the middle of the night
Just to hear them say

Welcome to the Hotel California
Such a lovely place (such a lovely place)
Such a lovely face
They livin' it up at the Hotel California
What a nice surprise (what a nice surprise)
Bring your alibis

Mirrors on the ceiling
The pink champagne on ice
And she said, 'We are all just prisoners here
Of our own device"
And in the master's chambers
They gathered for the feast
They stab it with their steely knives
But they just can't kill the beast

Last thing I remember, I was
Running for the door
I had to find the passage back
To the place I was before
"Relax, " said the night man
"We are programmed to receive
You can check out any time you like
But you can never leave"

A versão dos Eagles:

A versão do Main Squeeze:

A versão das Mona Lisa Twins:

1648 – Bob Seger – Sunburst (1976)

 

Escrita por Bob Seger, foi gravada em 1976 com a Silver Bullet Band em Detroit e lançada no disco Night moves, o nono da carreira dele, em 22 de outubro de 1976. Bob Seger cantou e tocou guitarra. Drew Abbott tocou guitarra. Robyn Robbins tocou piano e órgão. Alto Reed tocou sax tenor, sax alto, sax barítono e flauta. Chris Campbell tocou baixo. Charlie Allen Martin tocou bateria, pandeiro e maracas.

A letra:

The crowd without a face
Begins to fill the space
In the arena
Flashlights at his feet
The lion from the street
Awaits the Christians
A single strobe ignites the night

The smoke begins to rise
A sea of staring eyes
Gaze on the sunburst
His weapon at his side
He flashes it with pride
Before his legions
Fires begin to rage
And they engulf the stage
All right
Bring on the night

He's in complete control
He's stepping proud and bold
And everything he touches
Turns to gold
He's got girls by the score
He's got 'em screaming for more
But when they get too close
He bars the door

He makes his great escape
Leaves them in his wake
Without a warning
The ritual is done
A night no longer young
Fades into morning
The sun begins to rise
As he begins to close his eyes

A versão de Bob Seger:

1647 – J. J. Cale – You got something (1976)

 

Escrita por J. J. Cale, foi gravada em 1976 e produzida por Audie Ashworth. Foi lançada em Setembro de 1976 no disco Troubador, o quarto disco da carreira de Cale. J. J. Cale cantou, tocou piano, orgão e guitarra. Joe Osborn tocou baixo. Kenny Buttrey tocou bateria. Audie Ashworth tocou percussão e Don Tweedy tocou ARP (Eletronic Wind Instrument).

A letra:

You don't look like my baby
And you don't feel quite the same
You don't touch quite like my woman
But you got something
I can't explain

The way you wear your clothes drives me crazy
The way you walk around, just hanging 'round
I can't stand it, what you're doing
You got something
I can't live without

The way you wear your clothes drives me crazy
The way you walk around, just hanging out
I can't stand it, what you're doing
You got something
I can't live without

A versão de J. J. Cale:

A versão de Jed Johnson:

1646 – Bob Marley and The Wailers – War (1976)

Escrita por Bob Marley mas creditada à Carlton Barrett (baterista dos Wailers) e Allan Cole (jogador de futebol), ambos amigos de Bob, foi gravada em 1976 e lançada no disco Rastaman Vibration, em 20 de abril de 1976. A letra foi quase toda copiada de um discurso feito pelo Imperador da Etiópia Haile Selassie I, na Assembleia Geral das Nações Unidas em 4 de outubro de 1963. A música é um exemplo do estilo “one-drop drumming”, que Barrett ajudou a desenvolver e refinar, se não foi o inventor. Os dois acordes simples de guitarra e melodia semi improvisada deu estilo de Marley às palavras de Selassie. Bob Marley não achava que Selassie era apenas imperador da Etiópia. Bob marley achava que Selassie era a reincarnação de Deus, de Jah. Foi gravada no estudio Harry J. Em Kingston, Jamaica. Aston Barrett tocou baixo Fender. Carlton Barrett tocou bateria. Earl Smith tocou guitarra. Alvin Patterson tocou percussão. Tyrone Downie tocou teclado. Marcia Griffiths, Judy Mowatt e Rita Marley , juntamente com o I Three fizeram os backing vocals. Foi produzida por Bob Marley and The Wailers e foi mixada em Miami, no Criteria Studio. Foi regravada por Sinead O'Connor em 1992, entre outros artistas.

A letra:

Until the philosophy which hold one race superior
And another inferior
Is finally and permanently
Discredited and abandoned
Everywhere is war
Me say war

That until there no longer first class and second class citizens of any nation
Until the colour of a man's skin is of no more significance than the colour of his eyes
Me say war

That until the basic human rights are equally guaranteed to all
Without regard to race
Dis a war

That until that day, dream of lasting peace, world citizenship
Rule of international morality
Will remain in but a fleeting illusion to be pursued, but never attained
Now everywhere is war
War

And until the ignoble and unhappy regimes that hold our brothers in Angola
In Mozambique, South Africa
Sub-human bondage have been toppled, utterly destroyed
Well, everywhere is war
Me say war

War in the east
War in the west
War up north
War down south
War, war

Rumours of war
And until that day the African continent will not know peace
We Africans will fight, we find it necessary
And we know we shall win, as we are confident
In the victory

Of good over evil
Good over evil, yeah
Good over evil
Good over evil, yeah
Good over evil
Good over evil, yeah

A versão de Bob Marley and The Wailers:

A versão de Ziggy Marley acústica:

A versão de Peliyot CH:

1645 – Al Stewart – Sand in your shoes (1976)

 

Escrita por Al Stewart, foi gravada em janeiro de 1976. Foi produzida por Alan Parsons e lançada em julho de 1976, no disco Year of the cat, o sétimo disco da carreira de Al Stewart. Al cantou, tocou guitarra e teclado. Tim Renwick tocou guitarra. Peter Wood tocou teclado. Don Lobster tocou teclado. George Ford tocou baixo. Stuart Elliott tocou bateria e percussão. Bobby Bruce tocou violino. Marion Driscoll tocou triangulo. Phil Kenzie tocou sax alto. David Pack, John Perry, Tony Rivers e Stuart Calver fizeram backing vocals. Graham Smith tocou gaita.

A letra:

You always were a city kid though you were country raised
And back in some forgotten time we shared the cold north days
But the simple life was not your style, and you just had to escape
So it's goodbye to my lady of the islands

On Remembrance Day the bands all played, the bells pealed through the park
And you lay there by the Do Not signs, and shamed them with your spark
Now winter moans in old men's bones as the day falls into dark
So it's goodbye to my lady of the islands

It was just like this behind the kisses you so soon swept away
I always knew that some day yo'd be bound to just get pulled away

The summer sun beats on and on, the shops swim in the heat
And you're standing by the traffic signs with taxis at your feet
I know that in your city skin you're feeling more complete
So it's goodbye to my lady of the islands

No I never got the letters that you said you'd send me
So it's goodbye to my lady of the islands

A versão de Al Stewart:

A versão de Acousticsongaday:

1644 – Neil Young and Stephen Stills – Midnight on the bay (1976)

 

Escrita por Neil Young, foi gravada entre 16 de fevereiro e 7 de junho de 1976. Foi produzida por Don Gehman, Neil Young e Stephen Stills. Foi lançada em 20 de setembro de 1976 no disco Long may you run. Stephen Stills tocou piano acústico e guitarra. Neil Young cantou, tocou piano acústico, sinterizador, guitarra e gaita. Jerry Aiello tocou órgão e piano acústico. 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:

It's midnight on the bay
Lights are shinin'
And the sailboats sway
And that cool ocean breeze
Blowin' down through the keys
I think I'll call it a day
Oh, midnight on the bay
Sure feels good to me

What's this I see
There's someone comin'
Walkin' right up to me
She tells me, I know your name
And if it's all the same
I'd like to spend some time
And midnight on the bay
Sure feels good to me

And now it's midnight on the bay
Lights are shinin' on the sailboats that sway
In the cool ocean breeze
Blowin' down through the keys
I think I'll call it a day
Oh, midnight on the bay
Sure feels good to me

Midnight, midnight, midnight, midnight
Midnight on the bay
Midnight, midnight, midnight, midnight
Midnight on the bay
Midnight, midnight, midnight, midnight
Midnight on the bay
Midnight, midnight, midnight, midnight
Midnight on the bay

A versão de Neil Young e Stephen Stills:

A versão de Joner:

A versão de Joel Desmarais:

1643 – Bob Dylan – Joey (1976)

Escrita por Bob Dylan e Jacques Levy, foi gravada em 30 de julho de 1975 e em 11 de agosto de 1975, nos estúdios da Columbia, em New York City. Foi produzida por Don DeVito. Foi lançada em 5 de janeiro de 1976 no disco Desire. Fala da vida e da morte do famoso mafioso americano Joey Gallo, que foi assassinado no dia do seu aniversário, na Umberto's Clam House, em Little Italy, em 7 de abril de 1972. Vitor Ramil fez uma versão em Português, chamada Joquim, pro seu disco Tango, de 1987.

A letra:

Born in Red Hook, Brooklyn, in the year of who knows when
Opened up his eyes to the tune of an accordion
Always on the outside of whatever side there was
When they asked him why it had to be that way, well, he answered, just because

Larry was the oldest, Joey was next to last
They called Joe Crazy, the baby they called Kid Blast
Some say they lived off gambling and runnin' numbers too
It always seemed they got caught between the mob and the men in blue

Joey, Joey
King of the streets, child of clay
Joey, Joey
What made them want to come and blow you away

There was talk they killed their rivals, but the truth was far from that
No one ever knew for sure where they were really at
When they tried to strangle Larry, Joey almost got hit the roof
He went out that night to seek revenge, thinkin' he was bulletproof

Then, the war broke out at the break of dawn, it emptied out the streets
Joey and his brothers suffered terrible defeats
Till they ventured out behind the lines and took five prisoners
They stashed them away in a basement, called them amateurs

The hostages were tremblin' when they heard a man exclaim
Let's blow this place to kingdom come, let Con Edison take the blame
But Joey stepped up, he raised his hand, said, we're not those kind of men
It's peace and quiet that we need to go back to work again

Joey, Joey
King of the streets, child of clay
Joey, Joey
What made them want to come and blow you away

The police department hounded him, they called him Mr. Smith
They got him on conspiracy, they were never sure who with
What time is it? said the judge to Joey when they met
Five to ten, said Joey, the judge says, that's exactly what you get

He did ten years in Attica, reading Nietzsche and Wilhelm Reich
They threw him in the hole one time for tryin' to stop a strike
His closest friends were black men 'cause they seemed to understand
What it's like to be in society with a shackle on your hand

They let him out in '71 he'd lost a little weight
But he dressed like Jimmy Cagney and I swear he did look great
He tried to find the way back into the life he left behind
To the boss he said, I have returned and now I want what's mine

Joey, Joey
King of the streets, child of clay
Joey, Joey
What made them want to come and blow you away

It was true that in his later years he would not carry a gun
I'm around too many children, he'd say, they should never know of one
Yet he walked right into the clubhouse of his lifelong deadly foe
Emptied out the register, said, tell 'em it was Crazy Joe

One day they blew him down in a clam bar in New York
He could see it comin' through the door as he lifted up his fork
He pushed the table over to protect his family
Then he staggered out into the streets of Little Italy

Joey, Joey
King of the streets, child of clay
Joey, Joey
What made them want to come and blow you away

Sister Jacqueline and Carmela and mother Mary all did weep
I heard his best friend Frankie say, he ain't dead, he's just asleep
Then I saw the old man's limousine head back towards the grave
I guess he had to say one last goodbye to the son that he could not save

The sun turned cold over President Street and the town of Brooklyn mourned
They said a mass in the old church near the house where he was born
And someday if God's in heaven overlookin' His preserve
I know the men that shot him down will get what they deserve

Joey, Joey
King of the streets, child of clay
Joey, Joey
What made them want to come and blow you away

A versão de Bob Dylan:

A versão de Vitor Ramil. Joquim:

1642 – Lou Reed – Ladies pay (1976)

Escrita por Lou Reed, foi gravada em 1976 e lançada no disco Rock and Roll Heart, o sétimo da carreira solo dele, em outubro de 1976. Foi produzida pelo próprio Lou Reed. Marty Fogel tocou sax, Michael Fonfara tocou piano, órgão Hammond, clavinet e sintetizadores. Bruce Yaw tocou baixo. Michael Suchorsky tocou bateria e Lou Reed cantou, tocou piano e guitarra.

A letra:

All the sailors they're all home from leave
And everybody's waiting for them to try to deceive
The storekeepers have drawn their lace curtains bare
And all the women and the wee young girls all waiting there

Oh, but how the ladies pay
Oh, if they only knew how the ladies pay
Yeah now, how the ladies pay
Oh, when the men they've gone away

Nobody is standing on upon the door
And nobody is feeding any of the poor
The poor sick soldier lies in bed beside his girl
Thinking of another place on the other side of the world
Ah

How the ladies pay
Oh-oh, oh, how the ladies pay
When the men they've gone away
Oh, I wish I knew how the ladies pay

Day and night, night and day
How the ladies pay
Day and night, night and day
How the ladies pay
Day and night
Night and day
Day and night
Day and night, night and day, ladies pay now

Night and day, day and night
How the ladies pay
Day and night, night and day
How the ladies pay
Day and night now
Night and day and now
How the pay now
Oh, how the pay now

Ladies pay, ladies pay
Ah, ladies pay the way now
Ladies pay, ah, ladies pay
Ah, ladies pay
Night and day, night and day, night and day
Oh, how the ladies pay
Oh, night and day, night and day, night and day
Oh, how the ladies pay

A versão de Lou Reed:

1641 – J. J. Cale – Hey baby (1976)

 

Escrita por J. J. Cale, foi gravada em 1976 e lançada no disco Troubador, o quarto da carreira de Cale, em Setembro de 1976. Foi produzida por Audie Ashworth. Hey baby foi a música que abriu o disco. Saiu em compacto também com Travelin' light como Lado A. J. J. Cale catou e tocou guitarra. Charles Dungey tocou baixo. Karl Himmel tocou bateria. Reggie Young tocou guitarra base. Doug Bartenfeld tocou guitarra.

A letra:

Hey baby, it's your time now
Hey baby, you made it somehow
Don't let nobody come and bring you down

Hey baby, you've got 'em on the run
You know, you've got 'em on the run
I know you, you have just begun

When you came into my life, hmm
My love, thought I would die
There's never been nobody like you
You take away these blues

Hey baby, you're looking real good
You know, you're looking real good
You make the day a song like I knew you would

When you came into my life
Lord, I thought I would die
I never met nobody like you
For telling my troubles to

Hey baby, you're looking real good
You know, you're looking real good
You make the day a song like I knew you would

A versão de J. J. Cale:

1640 – Bob Marley and The Wailers – Night shift (1976)

 

Escrita por Bob Marley, foi gravada entra o final de 1975 e o começo de 1976 e lançada no disco Rastaman Vibration, em 30 de abril de 1976. Foi produzida por Bob Marley and The Wailers. Bob Marley cantou. Earl Smith tocou guitarra e percussão. Al Anderson tocou guitarra. Carlton barrett tocou bateria. Aston Barrett tocou baixo. Tyrone Downie tocou teclado. I Thress fizeram backing vocals.

A letra:

The sun shall not smite I by day,
Nor the moon by night;
And everything that I do
Shall be upfull and right.
And if it's all night,
It got to be all right!
If it's all night,
Got to be all right!

Your mamma won't lose this one;
You're the lucky one under the sun.
If you make me move,
Then you know you got the groove:
All night, it's all right!
All night, yeah! It's all right!

Working on a forklift
In the night shift;
Working on a night shift,
With the forklift,
from A.M. (Did you say that? Why did you say that?)
to P.M. (Working all night!)
Working on a night shift, yeah!
(Did you say that? Why did you say that? Upfull and right!)
Well, if it's (all night!) - if it's (all right!)
all night (all night!) -

Warehouse (all right!),
You're empty, yeah!
Go around the corner,
Bring your goods!
Go around the other corner,
Bring your suitcases. (All night!)
By the sweat of my brow, (All right!)
Eat your bread! (All night!)
By the sweat of my brow, (All right!)
Eat your bread!

All night (all night)! All right (all right)!
All night (all night)! All right (all right)!
Oh, yeah! (moon by night)
Why did you say that? Oh, yeah! (Upfull and right!)
Working on a night shift
With the forklift. (Moon by night!)
Working on the night shift,
Oh, yeah! (Upfull and right!) [fadeout]

A versão de Bob Marley and The Wailers:

1639 – Al Stewart – Lord Grenville (1976)

 

Escrita por Al Stewart, foi gravada em janeiro de 1976 e lançada no disco Year of the cat, o sétimo dele, em 17 de julho de 1976. Foi produzida por Alan Parsons. Fala sobre um marinheiro do período Elizabetiano, que viveu entre 1542 e 1591. Al Stewart cantou, tocou guitarra e teclados. Tim Renwick tocou guitarra. Peter Wood tocou teclado. Don Lobster tocou teclados. George Ford tocou baixo. Stuart Elliott tocou bateria e percussão. Bobby Bruce tocou violino. Marion Driscoll tocou triangulo. Phil Kenzie tocou sax alto. Graham Smith tocou gaita. David Pack, John Perry, Tony Rivers e Stuart Calver fizeram backing vocals.

A letra:

Go and tell Lord Grenville that the tide is on the turn
It's time to haul the anchor up and leave the land astern
We'll be gone before the dawn returns
Like voices on the wind.

Go and tell Lord Grenville that our dreams have run aground
There's nothing here to keep us in this shanty town
None of us are caring where we're bound
Like voices on the wind

And come the day you'll hear them saying
"They're throwing it all away"
Nothing more to say
Just throwing it all away

Go and fetch the captain's log and tear the pages out
We're on our way to nowhere now, can't bring the helm about
None of us are left in any doubt
We won't be back again

Send a message to the fleet, they'll search for us in vain
We won't be there among the reaches of the Spanish Main
Tell the ones we left home not to wait

We won't be back again.
(Won't be back again...)

And come the day you'll hear them saying
"They're throwing it all away"
Nothing more to say
Just throwing it all away

Our time is just a point along a line
That runs forever with no end
I never thought that we would come to find
Ourselves upon these rocks again
Oh no...

Go and tell Lord Grenville that the tide is on the turn

A versão de Al Stewart:

1638 – Neil Young and Stephen Stills – Let it shine (1976)

Escrita por Neil Young, foi gravada entre 16 de feverero e 7 de junho de 1976 , no Criteria Studios em Miami, Flórida. Foi lançada no disco Long may you run, em 20 de setembro de 1976. Foi produzida por Don Gehman, Neil Young e Stephen Stills. Stephen Stills cantou, tocou piano acústico e guitarra. Neil Young cantou, tocou piano acustico, sintetizador, guitarra e gaita. Jerry Aiello tocou órgão e piano acústico. 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:

There's a light on over my head, my Lord
There's a light on over my head, my Lord
Let it shine, let it shine, although it may not be the only one
Let it shine, shine, shine, although it may not be the only one

There's a moon roof over my head, my Lord
And my Lincoln is still the best thing built by Ford
Let it roll, let it roll, although it may not be the only one
Let me ride, ride, ride, ride, although I may not be the only one

I got religion in the airport, my Lord
They caught me waiting on my baggage when I was bored
Let them chant, let them chant, although they may not be the only one
Let them dance, dance, dance, although they may not be the only one

There's a light on over my head, my Lord
There's a light on over my head, let it shine
Let it shine, let it shine, although it may not be the only one
Let me shine, shine, shine, shine although I may not be the only one
Oh Lord, let me shine, shine, shine, although I may not be the only one

A versão de Neil Young e Stephen Stills:

1637 – Bob Dylan – Mozambique (1976)

 

Escrita por Bob Dylan e Jaques Levy, fo gravada em 30 de julho de 1975 e lançada em 5 de janeiro de 1976 no disco Desire. Também foi lançada em compacto, com Oh Sister como Lado B em 17 de fevereiro de 1976. Foi produzida por Don DeVito. Chegou ao número 54 do Billboard Hot 100. em 1976, depois de uma guerra de dez anos com Portugal, o país Moçambique finalmente conseguiu sua independencia, em 25 de junho de 1975. Um mês antes da canção ser gravada, mais ou menos. Queriam letras de apoio à independencia, no entando a letra de Mozambique saiu apenas como sendo um lugar de sol, bom pra uma fuga romantica, ao invés de falar sobre um lugar onde o povo vivia livre, essas coisas. A crítica gostou da melodia, como esperado por parte desses esquerdistas de merda e não gostaram da letra.

A letra:

I like to spend some time in Mozambique
The sunny sky is aqua blue
And all the couples dancing cheek to cheek
It's very nice to stay a week or two
And maybe fall in love, just me and you

There's lots of pretty girls in Mozambique
And plenty time for good romance
And everybody likes to stop and speak
To give the special one you seek a chance
And maybe say hello with just a glance

Lying next to her by the ocean
Reaching out and touching her hand
Whispering your secret emotion
Magic in a magical land

And when it's time for leaving Mozambique
To say goodbye to sand and sea
You turn around to take a final peek
And you see why it's so unique to be
Among the lovely people living free
Upon the beach of sunny Mozambique

A versão de Bob Dylan:

A versão de Max Creek:

A versão de Andy Roberts:

1636 – Waylon Jennings – So good woman (1976)

Escrita por Waylon Jennings, foi gravada em março e abril de 1976, no Sound Labs, em Hollywood, California e lançada em junho de 1976, no disco Are you ready for the country? , o primeiro LP da carreira de Waylon Jennings. Foi produzida pelo próprio Waylon Jennings e por Ken Mansfield. Chegou ao número 7 dos charts Billboard country. Waylon cantou e tocou guitarra. Carter Robertson, Gordon Payne e Rance Wasson fizeram backing vocals. Duke Goff tocou baixo. Richie Albright tocou bateria. Billy Graham tocou rabeca. Ralph Mooney tocou dobro e pedal steel.

A letra:

You're so good woman Lord you're just too good for me
The way I am is the way I'll always be
You know I'll run around all of my life
You could've done better cause you been a good wife
You're so good woman Lord you're just too good for me.

You're so good lookin' Lord you could've done better than me
You're so good lookin' no you could've done better than me
Look at them men lookin' you too while you're lookin' at me and I'm happy you do
You're so good lookin' Lord you could've done better than me, yeah.

Look at the man lookin' at you too
But you're lookin' at me Lord, I'm happy you do
You're so good lookin' Lord you could've done better than me
And you're so good woman you're just too good for me...

 
A versão de Waylon Jennings: