Escrita
por Tommy Ramone, foi gravada em janeiro de 1976 e lançada em 23 de
abril de 1976, no disco Ramones, o primeiro disco da banda. Sairia
depois em compacto, com California Sun como Lado B, em setembro de
1976. Foi produzida por Craig Leon e Tommy Ramone.
A
letra:
Hey,
little girl, I want to be your boyfriend Sweet little girl, I want
to be your boyfriend Do you love me, babe? What do you say? Do
you love me, babe? What can I say? Because I want to be your
boyfriend
Hey, little girl, I want to be your
boyfriend Sweet little girl, I want to be your boyfriend Uuu
uuu uuu uuu-au Because I want to be your boyfriend
Hey, little girl, I want to be your
boyfriend Sweet little girl, I want to be your boyfriend Do you
love me, babe? What do you say? Do you love me, babe? What
can I say? Because I want to be your boyfriend
Hey, little girl, I want to be your
boyfriend Sweet little girl, I want to be your boyfriend Hey,
little girl, I want to be your boyfriend
Escrita
por Freddie Mercury, foi gravada em 1976 e lançada no compacto que
tinha White man como Lado B, em 12 de novembro de 1976. Sairia também
no LP A day at the races, o quinto da banda, em 10 de dezembro de
1976. Foi produzida pelo Queen. Possui similaridades com Bohemian
Rhapsody, com harmonias complexas e solos de guitarra. No entanto, ao
invés de imitarem um coral inglês, a banda fez um coral gospel.
Chegou ao número 2 no Reino Unido e número 13 no Billboard Hot 100.
Número 1 na Holanda, número 2 na bëlgica, número 5 no Canadá,
número 6 na Irlanda, número 7 na África do Sul, número 10 na
Itália, número 15 na Áustralia, número 19 na Dinamarca, número
21 na Finlandia e Alemanha. Questiona o papel de Deus em uma vida sem
amor. Com técnicas de gravação, foram criadas camadas de 100 vozes
no couro, com Freddie Mercury, Brian May e Roger Taylor. John Deacon
não gravou pois alegou não ter voz boa o suficiente. A principal
inspiração pra Freddie compor essa canção foi Aretha Franklin.
Freddie Mercury cantou, tocou piano e fez backing vocals. Brian May
tocou guitarra e fez backing vocals. Roger Taylor tocou bateria e fez
backing vocals. John Deacon tocou baixo. Foi regravada por George
Michael com os outros integrantes do Queen em 1993.
A
letra:
Can
anybody find me somebody to love?
Ooh, each morning I get up I die a
little Can barely stand on my feet (Take a look at yourself)
Take a look in the mirror and cry (and cry) Lord, what you're
doing to me? (Yeah, yeah) I have spent all my years in believing
you But I just can't get no relief, Lord Somebody (somebody),
ooh, somebody (somebody) Can anybody find me somebody to love?
Yeah
I work hard (he works hard) every day
of my life I work 'til I ache my bones At the end (at the end
of the day) I take home my hard earned pay (goes home) All on
my own (goes home on his own) I get down (down) on my knees
(knees) And I start to pray (praise the Lord) 'Til the tears
run down from my eyes Lord, somebody (somebody), ooh,
somebody (Please) can anybody find me somebody to love?
Every day (every day), I try and I try
and I try But everybody wants to put me down They say I'm going
crazy They say I got a lot of water in my brain I got no common
sense (He's got) I got nobody left to believe in Yeah, yeah,
yeah, yeah
Ooh, Lord Ooh, somebody, ooh
(somebody) Anybody find me somebody to love? (Can anybody find
me someone to love)
Got no feel, I got no rhythm I just
keep losing my beat (you just keep losing and losing) I'm OK, I'm
alright (he's alright, he's alright) I ain't gonna face no defeat
(yeah, yeah) I just gotta get out of this prison cell One day
(someday) I'm gonna be free, Lord
Find me somebody to love Find me
somebody to love Find me somebody to love Find me somebody to
love Find me somebody to love (find me) Find me somebody to
love (find me, find) Find me somebody to love Find me somebody
to love, love, love (ooh, find me, find me) Find me somebody to
love (somebody to love) Find me somebody to love (ooh) Somebody,
somebody, somebody, somebody Somebody find me Somebody find me
somebody to love Can anybody find me somebody to love? (Find me
somebody to love) Ooh (Find me somebody to love) Find me
somebody, somebody (find me) Somebody, somebody to love (somebody
to love) Find me, find me, find me, find me, find me Ooh,
somebody to love (find me somebody to love) Ooh (find me somebody
to love) Find me, find me, find me somebody to love Anybody,
anywhere (find me) Anybody, find me somebody to love, love, love,
love, love (somebody to love) Find me, find me, find me love
Escrita
por Claude Lemesle, Pierre Delonoe, Joe Dassin e Jean Baudlot, foi
gravada em outubro de 1976 e lançada no disco Le jardin du
Luxemburg, no final de 1976. Sairia também em compacto em 1977 com
Le café des trois colombes como Lado B. Chegou ao número 1 na
França e número 50 na Bélgica.
A
letra:
À
toi À la façon que tu as d'être belle À la façon que tu as
d'être à moi À tes mots tendres un peu artificiels,
quelquefois À toi À la petite fille que tu étais À celle
que tu es encore souvent À ton passé, à tes secrets À tes
anciens princes charmants
À la vie, à l'amour À nos nuits,
à nos jours À l'éternel retour de la chance À l'enfant qui
viendra Qui nous ressemblera Qui sera à la fois toi et moi
À moi À la folie dont tu es la
raison À mes colères sans savoir pourquoi À mes silences et
à mes trahisons, quelquefois À moi Au temps que j'ai passé à
te chercher Aux qualités dont tu te moques bien Aux défauts
que je t'ai cachés À mes idées de baladin
À la vie, à l'amour À nos nuits,
à nos jours À l'éternel retour de la chance À l'enfant qui
viendra Qui nous ressemblera Qui sera à la fois toi et moi
À nous Aux souvenirs que nous
allons nous faire À l'avenir et au présent surtout À la
santé de cette vieille Terre Qui s'en fout À nous À nos
espoirs et à nos illusions À notre prochain premier
rendez-vous À la santé de ces millions d'amoureux qui sont comme
nous
À toi À la façon que tu as d'être
belle À la façon que tu as d'être à moi À tes mots tendres
un peu artificiels, quelquefois À toi À la petite fille que
tu étais À celle que tu es encore souvent À ton passé, à
tes secrets À tes anciens princes charmants À toi
Escrita
por Eric Clapton, foi gravada entre dezembro de 1975 e maio de 1976,
no Shangri-La Studios em Malibu e no Village Recorders, em Los
Angeles. Foi lançada em 27 de agosto de 1976 no disco No reason to
cry e sairia também em compacto, em outubro de 1976 com All our past
times como Lado B. Chegou ao número 24 no Billboard Hot 100, número
37 no Canadá e número 54 na Austrália.
A
letra:
As
I am strolling down the garden path, I saw a flower glowing in the
dark. It looked so pretty and it was unique; I had to bend down
just to have a peek.
Hello old friend, It's really good
to see you once again. Hello old friend, It's really good to
see you once again.
I saw you walking underneath the
stars; I couldn't stop 'cause I was in a car. I'm sure the
distance wouldn't be too far If I got out and walked to where you
are.
Hello old friend, It's really good
to see you once again. Hello old friend, It's really good to
see you once again.
An old man passed me on the street
today; I thought I knew him but I couldn't say. I stopped to
think if I could place his frame. When he tipped his hat I knew
his name.
Hello old friend, It's really good
to see you once again. Hello old friend, It's really good to
see you once again.
Hello old friend, It's really good
to see you once again. Hello old friend, It's really good to
see you once again.
Escrita
por Neil Young, foi gravada entre fevereiro e junho de 1976, no
Criteria Studios, em Miami e lançada em 20 de setembro de 1976 no
disco de mesmo nome. Foi produzida por Don Gehman, Neil Young e
Stephen Stills. Chegou ao número 71 no Reino Unido. Se trata de uma
eulogia de Neil para o seu primeiro carro, que ele apelidou de
“Mort”. Era um Buick Roadmasters Hearse 1948, que bateu as botas
em 1962, quando a transmissão estourou em Blind River, Ontario.
Stephen Stills tocou violão e piano acústico. Neil cantou, tocou
piano, sintetizador, guitarras e gaita. Jerry Aiello tocou orgao e
piano acustico. 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:
We've
been through some things together With trunks of memories still to
come We found things to do in stormy weather Long may you run
Long may you run Long may you
run Although these changes have come With your chrome heart
shining in the sun Long may you run
Well, it was back in blind river in
1962 When I last saw you alive But we missed that shift on the
long decline Long may you run
Long may you run Long may you
run Although these changes have come With your chrome heart
shining in the sun Long may you run (long may you run)
Maybe The Beach Boys have got you
now With those waves singing, "Caroline, no" Rollin'
down that empty ocean road Gettin' to the surf on time
Long may you run Long may you
run Although these changes have come With your chrome heart
shining in the sun Long may you run (long may you run)
Long may you run Long may you
run Although these changes have come With your chrome heart
shining in the sun Long may you run
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"
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
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
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
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
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
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
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
