1677 – Jerry Garcia Band – It must have been the roses (1976)

 

Escrita por Robert Hunter, foi gravada em 1975, no His masters wheels studio, em San Francisco, California e lançada em 15 de fevereiro de 1976, no disco Reflections, o terceiro da carreira solo de Jerry Garcia. Ela já havia sido gravada ao vivo pelo Grateful Dead em 1974 e nessa gravação, a banda também participou. Foi produzida por Jerry Garcia. Jerry tocou guitarra solo, violão, orgao, sintetizador, percussão, chimes e cantou. Bob Weir tocou segunda guitarra e fez backing vocals. Phil Lesh tocou baixo. Bill Kreutzmann tocou bateria. Keith Godchaux tocou piano elétrico Fender Rhodes, piano acústico e tack piano. Donna Jean Godchaux fez backing vocals. Mickey Hart tociu bateria e percussão.

A letra:

Annie laid her head down in the roses
She had ribbons, ribbons, ribbons
In her long brown hair
I don't know, it must have been the roses
All I know is I could not leave her there

I don't know, it must have been the roses
The roses or the ribbons in her long brown hair
I don't know, maybe it was the roses
All I know was I could not leave her there

Ten years the waves rolled the
Ships home from the sea
Thinking well how it may blow
In all good company
If I tell another what
Your own lips told to me
Let me lay neath the roses
Let my eyes no longer see

I don't know, it must have been the roses
The roses or the ribbons in her long brown hair
I don't know, maybe it was the roses
All I know was I could not leave her there

One pane of glass in the window
No one is complaining though
Come in and shut the door
Faded is the crimson from the
Ribbons that she wore
And it's strange how no one
Comes 'round anymore

I don't know, it must have been the roses
The roses or the ribbons in her long brown hair
I don't know, maybe it was the roses
All I know was I could not leave her there

Annie laid her head down in the roses
She had ribbons, ribbons, ribbons
In her long brown hair
I don't know, it must have been the roses
All I know is I could not leave her there

I don't know, it must have been the roses
The roses or the ribbons in her long brown hair
I don't know, maybe it was the roses
All I know was I could not leave her there

A versão de Jerry Garcia:

A versão de Norah Jones:

A versão do Grateful Dead:

1676 – Fleetwood Mac – Go your own way (1976)

 

Escrita por Lindsey Buckingham, foi gravada em 1976 e lançada no compacto que tinha Silver Springs como Lado B, em dezembro de 1976. Sairia também no LP Rumours, o décimo primeiro da banda, em 4 de fevereiro de 1977. Foi produzida pelo Fleetwood Mac, Richard Dashut e Ken Caillat. Foi o primeiro top 10 da banda nos Estados Unidos, sendo o número 10 no Billboard Hot 100. E o número 120 da lista da revista Rolling Stone das 500 greatest songs of all time. A mesma revista disse que essa era a segunda melhor música da banda. Fala sobre o rompimento de Lindsey com sua esposa e companheira de banda, Stevie Nicks. Ele a conhecia desde que a mesma tinha 16 anos de idade e quando ela foi embora, ele ficou devastado. E tinha que compor pra ela e fazer muitas coisas que não gostaria, mas continuava fazendo. Ela pediu pra ele retirar da letra a frase: “Packing up, shaking up is all you wanna do”, mas ele não tirou. Ela disse que tinha vontade de matá-lo toda vez que essa frase era cantada em um show. É uma das 500 songs that shaped rock and roll do Rock and Roll Hall of Fame. NME disse que essa canção era o número 33 da lista das 50 most explosive choruses. Chegou ao número 1 na Bélgica e Holanda, número 4 na África do Sul, número 11 no Canadá e Alemanha Ocidental, número 20 na Austrália, número 23 na Nova Zelandia e número 38 no Reino Unido. Lindsey Buckingham tocou guitarra, violão de 12 cordas, cantou e fez backing vocals. Stevie Nicks fez backing vocals. Christine McVie tocou orgão Hammond e fez backing vocals. John McVie tocou baixo e Mick Fleetwood tocou bateria, maracas e cimbal.

A letra:

Loving you
Isn't the right thing to do
How can I ever change things
That I feel?

If I could
Baby, I'd give you my world
How can I
When you won't take it from me?

You can go your own way
Go your own way
You can call it
Another lonely day
You can go your own way
Go your own way

Tell me why
Everything turned around
Packing up
Shacking up is all you want to do

If I could
Baby, I'd give you my world
Open up
Everything's waiting for you

You can go your own way
Go your own way
You can call it
Another lonely day
You can go your own way
Go your own way

You can go your own way
Go your own way
You can call it
Another lonely day
Another lonely day
You can go your own way
Go your own way
You can call it
Another lonely day

You can go your own way
You can call it
Another lonely day
You can go your own way

A versão do Fleetwood Mac:

A versão de Lissie:

A versão de Short Fall:

1675 – Sex Pistols – Anarchy in the UK (1976)

Escrita por Paul Cook, Steve Jones, John Lydon e Glen Matlock, foi gravada em 17 de outubro de 1976 e lançada em 26 de novembro de 1976 em um compacto com I wanna be me como Lado B. Sairia depois no primeiro e único LP da banda, o Never mind the bollocks, Here's the Sex Pistols, em 28 de outubro de 1977. Foi produzida por Chris Thomas, Bill Price e Dave Goodman. É o número 56 da lista da revista Rolling Stone das 500 greatest songs of all time e é uma das 500 Songs that shaped rock and roll do Rock and Roll Hall of Fame. Chegou ao númeo 38 dos charts do Reino Unido. Foi regravada pelo Megadeth, Mötley Crüe, entre outros artistas. Johnny Rotten cantou. Steve Jones tocou guitarra e fez backing vocals. Glen Matlock tocou baixo e fez backing vocals. Paul Cook tocou bateria.

A letra:

Right
Now
ha ha ha ha ha...

I am an antichrist
I am an anarchist
Don't know what I want
But I know how to get it
I wanna destroy passer by

Cause I
Wanna be
Anarchy
No dogs body

Anarchy for the UK
It's coming sometime and maybe
I give a wrong time stop at traffic line
Your future dream is a shopping scheme

Cause I
I wanna be
Anarchy
In the city

How many ways to get what you want
I use the best
I use the rest
I use the enemy
I use anarchy

Cause I
Wanna be
Anarchy
It's the only way to be

Is this the M.P.L.A
Or is this the U.D.A
Or is this the I.R.A
I thought it was the UK
Or just
Another
Country
Another council tenancy

I wanna be
Anarchy
And I wanna be
Anarchy
Know what I mean
And I wanna be
Anarchist
Get pissed
Destroy

A versão dos Sex Pistols:

A versão do Megadeth:

A versão do Motley Crue:

1674 – Chicago – If you leave me now (1976)

Escrita por Peter Cetera, foi gravada entre março e abri de 1976 e lançada em 14 de junho de 1976 no oitavo disco da banda, Chicago X. Sairia também em compacto em 30 de julho de 1976 com Together again como Lado B. Foi produzida por James Wiliam Guercio. Chegou ao número 1 do Billboard Hot 100, se tornando o primeiro número 1 do grupo. Foi o maior hit internacional do grupo, chegando ao número 1 na Austrália, Canadá, Holanda, Irlanda, África do Sul e Reino Unido. Chegou ao número 2 na Bélgica, Nova Zelandia e Suécia. Chegou ao número 3 na Áustria, Alemanha, Itália e Suíca. Número 4 na Noruega e número 5 na França. Ganhou Grammy de Best Arrangement Accompanying Vocalist pro arranjador Jimmie Haskel e produtor James William Guercio e Best pop vocal performance by a duo, group or chorus. Peter Cetera cantou, fez backing vocals e tocou baixo. Terry Kath tocou violão e fez backing vocals. Robert Lamm tocou piano elétrico Fender Rhodes e fez backing vocals. Lee Loughnane tocou trompete e fez backing vocals. Jimmy Pankow tocou trombone. Walt Parazaider tocou woodwinds. Danny Seraphine tocou bateria. Laudir de Oliveira tocou congas, shakers, cimbal de dedo e wind chimes. James William Guercio tocou violão solo e ritmico e baixo. Gene Sherry e George Hyde tocaram cornetas francesas. Foi regravada por Peter Cetera e The Isley Brothers, entre outros artistas.

A letra:

If you leave me now
You'll take away the biggest part of me
Ooh-ooh-hoo, no
Baby, please don't go

And if you leave me now
You'll take away the very heart of me
Ooh-ooh-hoo, no
Baby, please don't go
Ooh-ooh-hoo, girl
I just want you to stay

A love like ours is love that's hard to find
How could we let it slip away?

We've come too far to leave it all behind
How could we end it all this way?
When tomorrow comes and we'll both regret
The things we said today

A love like ours is love that's hard to find
How could we let it slip away?

We've come too far to leave it all behind
How could we end it all this way?
When tomorrow comes and we'll both regret
The things we said today

If you leave me now
You'll take away the biggest part of me
Ooh-ooh-hoo, no
Baby, please don't go

Ooh, girl
Just got to have you by my side

Ooh-ooh-hoo, no
Baby, please don't go

Ooh, mama
I just got to have your loving here

A versão do Chicago:

A versão de Peter Cetera:

A versão dos Isley Brothers:

1673 – Jackson Browne – The pretender (1976)

Escrita por Jackson Browne, foi gravada entre o fim de 1975 e começo de 1976 e lançada em novembro de 1976 no disco de mesmo nome, o quarto disco de Browne. Foi produzida por Jon Landau. Foi lançada em compacto em maio de 1977, com Daddy's tune como Lado B. Craig Doerge toca o piano, Jeff Porcaro toca bateria, Leland Sklar toca o baixo, Fred Tackett toca guitarra e violão. David Crosby e Graham Nash fazem as harmonias vocais. David Campbell fez os arranjos de cordas. Chegou ao número 58 do Billboard Hot 100.

A letra:

I'm going to rent myself a house
In the shade of the freeway
Gonna pack my lunch in the morning
And go to work each day

And when the evening rolls around
I'll go on home and lay my body down
And when the morning light comes streaming in
I'll get up and do it again, Amen
Say it again, Amen

I want to know what became of the changes
We waited for love to bring
Were they only the fitful dreams
Of some greater awakening?

I've been aware of the time going by
They say, in the end, it's the wink of an eye
When the morning light comes streaming in
You'll get up and do it again, Amen

Caught between the longing for love
And the struggle for the legal tender
Where the sirens sing and the church bells ring
And the junk man pounds his fender
Where the veterans dream of the fight
Fast asleep at the traffic light
And the children solemnly wait
For the ice cream vendor

Out into the cool of the evening
Strolls the pretender
He knows that all his hopes and dreams
Begin and end there

ah, the lovers as they run through the night
(Leaving nothing) leaving nothing but to choose off and fight
And tear at the world with all their might
While the ships bearing their dreams
Sail out of sight

I'm gonna find myself a girl
Who can show me what laughter means
And we'll fill in the missing colors
In each other's paint-by-number dreams

And then we'll put our dark glasses on
And we'll make love until our strength is gone
And when the morning light comes streaming in
We'll get up and do it again
Get it up again

I'm gonna be a happy idiot
And struggle for the legal tender
Where the ads take aim and lay their claim
To the heart and the soul of the spender
And believe in whatever may lie
In those things that money can buy
Where true love could have been a contender

Are you there? Say a prayer for the pretender
Who started out so young and strong only to surrender

Say a prayer for the pretender
Are you there for the pretender?
Say a prayer for the pretender
Are you there for the pretender?
Are you prepared for the pretender?

A versão de Jackson Browne:

A versão de Jake Thistle:

A versão de Reed McKenzie:

1672 – Rod Stewart – The Killing of Georgie (1976)

 

Escrita por Rod Stewart, foi gravada entre dezembro de 1975 e abril de 1976, e lançada em 18 de junho de 1976 no disco A night on the town, o sétimo disco do artista. Foi produzida por Tom Dowd. Sairia também em compacto com Fool for you como Lado B, em 13 de agosto de 1976. Conta a história de um amigo de Stewart, chamado Georgie, gay, que foi assassinado em New York City. Chegou ao número 2 no Reino Unido, número 25 na Holanda, número 30 no Billboard Hot 100, número 33 no Canadá e número 38 na Austrália. Georgie se mudou pra NYC pois foi expulso de casa pelos seus pais. Georgie se tornou bem relacionado em NYC, todas as festas do high society ele era convidado, mas em um dia que foi ver um show na Broadway, saiu mais cedo e foi atacado na East 53^rd Street, por uma gang de ladrões de New Jersey e assassinado.

A letra:

Oh yeah
In these days of changing ways
So called liberated days
A story comes to mind of a friend of mine

Georgie boy was gay I guess
Nothin' more or nothin' less
The kindest guy I ever knew

His mother's tears fell in vain
The afternoon George tried to explain
That he needed love like all the rest

Pa said there must be a mistake
How can my son not be straight
After all I've said and done for him

Da da da da da da duh
Da da da da da da duh
Da da da da da da duh

Leavin' home on a Greyhound bus
Cast out by the ones he loves
A victim of these gay days it seems

Da da da da da da duh
Da da da da da da duh
Da da da da da da duh

Georgie went to New York town
Where he quickly settled down
And soon became the toast of the great white way

Accepted by Manhattan's elite
In all the places that were chic
No party was complete without George

Along the boulevards he'd cruise
And all the old queens blew a fuse
Everybody loved Georgie boy

Da da da da da da duh
Da da da da da da duh
Da da da da da da duh

The last time I saw George alive
Was in the summer of seventy-five
He said he was in love I said I'm pleased

George attended the opening night
Of another Broadway hype
But split before the final curtain fell

Deciding to take a short cut home
Arm in arm they meant no wrong
A gentle breeze blew down fifth avenue

Da da da da da da duh
Da da da da da da duh
Da da da da da da duh

Out of a darkened side street came
A New Jersey gang with just one aim
To roll some innocent passer-by
There ensued a fearful fight
Screams rang out in the night
Georgie's head hit a sidewalk cornerstone

A leather kid, a switchblade knife
He did not intend to take his life
He just pushed his luck a little too far that night

The sight of blood dispersed the gang
A crowd gathered, the police came
An ambulance screamed to a halt on fifty-third and third

Da da da da da da duh
Da da da da da da duh
Da da da da da da duh

Georgie's life ended there
But I ask who really cares
George once said to me and I quote

He said "never wait or hesitate
Get in kid, before it's too late
You may never get another chance
'Cause youth a mask but it don't last
Live it long and live it fast"
Georgie was a friend of mine

Da da da da da da duh
Da da da da da da duh
Da da da da da da duh

Da da da da da da duh
Da da da da da da duh
Da da da da da da duh

Oh Georgie stay,
Don't go away
Georgie please stay
You take our breath away
Oh Georgie stay,
Don't go away
Georgie please stay
You take our breath away
Oh Georgie stay,
Don't go away
Georgie, Georgie stay (please stay)
You take our breath away

A versão de Rod Stewart:

A versão de Melissa Etheridge:

1671 – Joan Baez – Sweeter for me (1976)

Escrita por Joan Baez, foi gravada em 1976 no Sound Labs em Los Angeles e no TONTO, em Santa Monica, California e lançada no disco Gulf winds, o décimo sétimo da carreira da artista, em novembro de 1976. Foi produzida por David Kershenbaum. Joan Baez cantou, tocou violão, piano e sintetizador. Duck Dunn tocou baixo. Jim Gordon bateria. Ray Kelley e Jesse Ehrlich tocaram cello. Larry Knetchtel tocou piano elétrico e acústico e orgão. Dean Parks tocou violão, guitarra e bandolim. Sid Sharp tocou violino. Malcolm Cecil tocou sintetizador.

A letra:

Red telephone sitting by my bed
Practically bore your name
Lying alone in the twilight zone
Waiting for your call to come in
Hadn't been for the kid
Who was sleeping upstairs
You'd have found me well on my way
On that midnight plane to L.A.

You suffered sweeter for me
Than anyone I've ever known

I dared to look into the years
Would you still have your wife?
I dared to peer through my tears
Could we ever have a life?
Even thought I was pregnant by you
But I didn't care
I just talked to my son
Would he mind another one?

You suffered sweeter for me
Than anyone I've ever known

Once more the mist rolls to the sea
Like a hundred times we've known
Trees are faded and the clouds have stopped
Where the wind had blown
How I dread when the evening comes
And I cannot be
What you want me to be
When you are next to me

How silent you are as the veils come down
Before my eyes
Soft and reserved as you move away
Donning your disguise
While every folk song that I ever knew
Once more comes true
And loves grows old
And waxes cold

You suffered sweeter for me
Than anyone I've ever known

Just one favor of you, my love
If I should die today
Take me down to where the hills
Meet the sea on a stormy day
Ride a ridge on a snow white horse
And throw my ashes away
To the wind and the sand
Where my song began

You suffered sweeter for me
Than anyone I've ever known

A versão de Joan Baez:

1670 – Led Zeppelin – Achilles last stand (1976)

 

Escrita por Jimmy Page e Robert Plant, foi gravada em novembro de 1975 e lançada no disco Presence, o sétimo da banda, em 31 de março de 1976. Foi produzida por Jimmy Page. Na verdade, ela abre o disco. Com influencias de música oriental, mitologia e diversas culturas que aprenderam durante suas viagens, esta peça é uma das mais complexas do grupo, com muitas seções e muitas partes de guitarra. É a música favorita de Jimmy Page da banda e ele acha o solo pau a pau com o de Stairway to heaven. Eles estavam em Marrocos, fugindo do sistema de impostos inglês. O som local do Marrocos influenciou no solo desta canção. O título é uma referencia irônica à um acidente de carro que Robert Plant sofreu em agosto de 1975, onde machucou seu calcanhar. Plant ficou sem andar por um ano e gravou essa canção em uma cadeira de rodas. Aquiles morreu com uma flecha no seu calcanhar.

A letra:

It was an April morning when they told us we should go
As I turn to you, you smiled at me
How could we say no?

Oh, the fun to have
To live the dreams we always had
Oh, the songs to sing
When we at last return again

Slipping off a glancing kiss
To those who claim they know
Below the streets that steam and hiss
The devil's in his hole

Oh, to sail away
To sandy lands and other days
Oh, to touch the dream
Hides inside and never seen, yeah

Into the sun, the south, the north
At last the birds have flown
The shackles of commitment fell
In pieces on the ground

Oh, to ride the wind
To tread the air above the din
Oh, to laugh aloud
Dancing as we fought the crowds, yeah

To seek the man whose pointing hand
The giant step unfolds
With guidance from the curving path
That churns up into stone

If one bell should ring
In celebration for a king
So fast the heart should beat
As proud the head with heavy feet, yeah

Days went by when you and I
Bathed in eternal summer's glow
As far away and distant
Our mutual child did grow

Oh the sweet refrain
Soothes the soul and calms the pain
Oh Albion remains
Sleeping now to rise again

Wandering and wandering
What place to rest the search?
The mighty arms of Atlas
Hold the heavens from the earth

For the mighty arms of Atlas
Hold the heavens from the earth
From the earth

I know the way, know the way, know the way, know the way
I know the way, know the way, know the way, know the way

Oh, oh, oh, oh, oh, oh oh
Oh, oh, oh, oh, oh, oh oh

Ah, ah, ah, ah
Ah, ah, ah, ah
Ah, ah, ah, ah
Ah, ah, ah, ah
Ah, ah, ah, ah

Oh, oh, oh, oh, oh, oh oh
Oh, oh, oh, oh, oh, oh oh

Oh, oh, oh, oh, oh, oh oh
Oh, oh, oh, oh, oh, oh oh

For the mighty arms of Atlas
Hold the heavens from the earth

Ah, ah, ah, ah
Ah, ah, ah, ah
Ah, ah, ah, ah
Ah, ah, ah, ah

A versão do Led Zeppelin:

A versão de Temple of the Dog:

A versão da banda iraniana Part:

1669 – Neil Young and Stephen Stills – Ocean girl (1976)

 

Escrita por Neil Young, foi gravada entre fevereiro e junho de 1976, no Criteria Studios, em Miami, Flórida. Foi lançada em 20 de setembro de 1976 no disco Long May you run, de Neil Young e Stephen Stills. Foi produzida por Don Gehman, Neil Young e Stephen Stills. Stephen Still tocou piano acústico e guitarra. Neil 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:

In the jungle land
With the sea and the sand
Can I meet you there?

We'll be drinkin' bananas
From long tall glasses
In the open air

Ocean girl
Come 'round the world
From forgotten shores

There'll be music playin'
What no words could say
When you first get there

We'll be lost in a corner
That we find in each other
There' so much to share

Ocean girl
Come 'round the world
From forgotten shores

Ocean girl
Come 'round the world
From forgotten shores

Ocean girl
Come 'round the world
From forgotten shores

Ocean girl
Ocean girl
Ocean girl (ocean girl)
Ocean girl

Ocean girl
Come 'round the world
From forgotten shores

A versão de Young-Stills:

A versão dos Mighty Manatees:

1668 – Blue Oyster Cult – (Don't fear) The reaper (1976)

 

Escrita por Donald Roeser, foi gravada em 1975 e lançada no disco Agents of fortune, o quarto disco da banda, em 21 de maio de 1976. Foi produzida por David Lucas, Murray Krugman e Sandy Pearlman. Saiu depois em compacto com Tattoo Vampire como Lado B. Fala sobre amor eterno e inevitabilidade da morte. É o maior sucesso da banda, chegando ao número 12 no Billboard Hot 100. É o número 405 das 500 greatest songs of all time, da revista Rolling Stone. Chegou ao número 7 no Canadá e número 16 no Reino Unido. Eric Bloom tocou guitarra e fez backing vocals. Danoal Roeser “Buck Dharma” cantou e tocou guitarra. Allen Lanier tocou teclado e guitarra. Joe Bouchard tocou baixo. Albert Bouchard tocou bateria, percussão e sino de vaca. Michael e Randy Brecker fizeram os sopros e David Lucas fez backing vocals e tocou teclado e percussão. A revista Rolling Stone disse que essa canção foi a canção do ano de 1976. Mojo disse que é a 80a melhor canção de todos os tempos. A revista Q disse que era a canção número 404 das 1001 best songs ever. The Guardian colocou-a na sua lista das 1000 songs everyone must hear. No livro The heart of rock and roll: the 1001 greatest singles ever made, o crítico de rock David Marsh colocou-a como número 997.

A letra:

All our times have come
Here but now they're gone
Seasons don't fear the reaper
Nor do the wind, the sun or the rain
We can be like they are

Come on, baby (don't fear the reaper)
Baby, take my hand (don't fear the reaper)
We'll be able to fly (don't fear the reaper)
Baby, I'm your man

La, la, la, la, la
La, la, la, la, la

Valentine is done
Here but now they're gone
Romeo and Juliet
Are together in eternity (Romeo and Juliet)
40, 000 men and women everyday (like Romeo and Juliet)
40, 000 men and women everyday (redefine happiness)
Another 40, 000 coming everyday (we can be like they are)

Come on, baby (don't fear the reaper)
Baby, take my hand (don't fear the reaper)
We'll be able to fly (don't fear the reaper)
Baby, I'm your man

La, la, la, la, la
La, la, la, la, la

Love of two is one
Here but now they're gone
Came the last night of sadness
And it was clear she couldn't go on

Then the door was open and the wind appeared
The candles blew and then disappeared
The curtains flew and then he appeared
Saying don't be afraid

Come on, baby (and she had no fear)
And she ran to him (then they started to fly)
They looked backward and said goodbye (she had become like they are)
She had taken his hand (she had become like they are)
Come on, baby (don't fear the reaper)

A versão do Blue Oyster Cult:

A versão de Mike Masse e Jeff Hall:

A versão de Joe Hodgin:

1667 – Rod Stewart – Fool for you (1976)

 

Escrita por Rod Stewart, foi gravada entre dezembro de 1975 e abril de 1976, foi lançada em 18 de junho de 1976 no disco A night on the town, o sétimo da carreira do artista.

A letra:

Hey baby I gotta leave you

By the time you read this letter
I'll be outta your life
Gone forever more
But guess I'll survive
I'm gonna leave my records
And a forwarding address
Ain't you glad honey
That I'm off of your chest

You said you wanted Paris
Rome 'n' St. Tropez
Perfume by Chanel
And a ring by Cartier
But I gave you headaches
With my old fashioned ways
But that's all irrelevant
To what I'm tryin' to say
I'm a fool for you baby
Pride won't let me stay
I'm a fool for you honey
and I'll come back any day
Guess I'll always love you all my life

You can keep your Streisands
Bardots and Lorens
You're my everything
But now you're my end
It may be over
But just before I go
I can make a new start
But I can't mend a broken heart

So when I read about you
In all the national press
On the arm of so and so
I may get depressed
Cause I tried to love you
But didn't fit in
I came on the dust
I'll leave on the wind

I'm a fool for you baby
My pride won't let me stay
I'm a fool for you honey
I'll come back any day
I'm a fool for you baby
I don't care what your friends say
I'm a fool for you honey
And that's the way I'll stay
I guess I'll always love you all my life

A versão de Rod Stewart:

A versão de Thomas Ribeiro: