Escrita
por John Denver, foi gravada em 1976 e lançada em agosto de 1976 no
disco Spirit, o décimo primeiro disco de John Denver. Saiu também
em compacto, no mesmo mês, com Pegasus como Lado B. Foi produzida
por Milton Okun. Chegou ao número 36 no Billboard Hot 100 e número
34 no Billboard Hot Country Singles.
A
letra:
Usually
in the morning I'm filled with sweet belonging And everything is
beautiful to see Even when it's raining, the sound of heaven
singing Is simply joyful music to me
Sometimes I feel like a sad song Like
I'm all alone without you
So many different places, a million
smiling faces Life is so incredible to me Especially to be near
you and how it is to touch you Oh, paradise was made for you and
me
I know that life goes on just
perfectly And everything is just the way that it should be Still
there are times when my heart feels like breaking Anywhere is
where I'd rather be
Oh, and in the night time I know that
it's the right time To hold you close and say I love you so To
have someone to share with And someone I can care with And that
is why I wanted you to know
Sometimes I feel like a sad song Like
I'm all alone without you, without you
Sometimes I feel like a sad song Like
I'm all alone without you, without you
Escrita
por James Taylor, foi gravada entre 1975 e 1976, nos estúdios da
Warner Bros., em Hollywood e nos estúdios Burbank. Foi lançada em
junho de 1976 no disco In the Pocket, o sétimo da carreira de James
Taylor. Sairia também em compacto, no mesmo mês, com I can dream of
you como Lado B. Foi produzida por Lenny Waronker e Russ Titelman.
James Taylor cantou, tocou violão e fez harmonia vocal. Carly Simon
fez harmonias vocais. Danny Kortchmar tocou guitarra. Leland Sklar
tocou baixo. Russ Kunkel tocou bateria e percucussão. Clarence
McDonald tocou piano elétrico Fender Rhodes e orgão horn. Nick
DeCaro tocou orgao horn e orgão voice. Chegou ao número 22 do
Billboard Hot 100.
A
letra:
You
can play the game You can act out the part Though you know It
wasn't written for you Tell me how can you stand there With
your broken heart Ashamed to playin' a fool?
One thing can be to another It
doesn't take any sacrifice Oh, Father and Mother And sister and
brother If it feels nice Don't think twice
Just shower the people you love with
love Show them the way that you feel Things are gonna work out
fine If you only will Do as I say
Shower the people you love with
love Show them the way that you feel Things are gonna be much
better If you only will
You can run but you cannot hide This
is widely known Now what you plan to do with your foolish
pride When you're all by yourself alone
Once you tell somebody The way that
you feel You can feel it beginning to ease I think it's true
what they say About the squeaky wheel Always getting the grease
Better to Shower the people you love
with love Yes and show them the way that you feel I know things
are gonna be just fine If you only will, what I like to do to you
Shower the people you love with
love Show them the way that you feel Things are gonna be much
better, if you only will
Shower the people you love with
love Show them the way you feel Shower the people you love with
love Show them the way that you feel
Shower the people you love with
love Show them the way that you feel Shower the people you love
with love Show them the way that you feel
Shower the people you love with
love Show them the way that you feel Shower the people you love
with love Show them the way that you feel
Shower the people you love with
love Show them the way that you feel Shower the people you love
with love Show them the way that you feel
Shower the people you love with
love Show them the way that you feel Shower the people you love
with love
Escrita
por Jackson Browne e Nancy Farnsworth, foi gravada em 1976 e lançada
no disco The Pretender, o quarto disco de Browne, em novembro de
1976. Sairia também em compacto, em janeiro de 1977, com Linda
Paloma como Lado B. Foi produzida por Jon Landau. Chegou ao número
23 dos charts Billboard Hot 100. Foi o oitavo compacto na ordem de
sucesso de Browne. Nancy era sua sogra, mãe de sua esposa Phillys
Major, que havia se suicidado durante as gravações do disco The
Pretender. Phillys morreu em março de 1976. Nancy escreveu uma letra
e pediu pra Browne finalizar. A letra fala de um amor que foi deixado
pelo seu parceiro porque aquela pessoa precisava ser livre e que
tinha algo pra fazer sozinha. John Hall toca o solo de guitarra, Bill
Payne toca o piano e Mike Utley toca orgão. Bonnie Raitt e Rosemary
Butler fazem os backing vocals. Tim Powers tocou bateria.
A
letra:
Here
come those tears again Just when I was getting over you Just
when I was going to make it through Another night without missing
you Thinking I might just be strong enough after all When I
hear your footsteps echoing in the hall
Baby here we stand again Where we've
been so many times before Even though you looked so sure As I
was watching you walking out my door But you always walk back in
like you did today Acting like you never even went away Well I
don't know if I can Open up and let you in baby Here come those
tears Here come those tears again
I can hear you telling me How you
needed to be free And you had some things to work out alone Now
you're standing here telling me How you have grown Here come
those tears again Now you'll tell me how to hold them in Here
come those tears Here come those tears again
Some other time baby When I'm strong
and feeling fine maybe When I can look at you without crying You
might look like a friend of mine But I don't know if I can Open
up enough to let you in Here come those tears Here come those
tears again
Walk away I'm going back inside and
turning out those lights And I'll be in the dark but you'll be out
of sight
Escrita
por Gordon Lightfoot, foi gravada em dezembro de 1975 no Eastern
Sound, um estúdio formado por duas casas Vitorianas no número 48
Yorkville Avenue, na época o distrito Hippie de Toronto e lançada
em junho de 1976 no disco Sumemrtime dream, o décimo segundo do
artista. Sairia também em compacto, com The house you ive in como
Lado B, em agosto de 1976. Foi produzida por Lenny Waronker e Gordon
Lightfoot. Esse estúdio seria onde também gravariam Rush, Cat
Stevens, Bruce Springsteen, Jimi Hendrix, entre outros, é hoje um
estacionamento. A canção foi escrita pra comemorar o afunfamento do
navio SS Edmundo Fitzgerald no Lago Superior, em 10 de novembro de
1975. Lightfoot acha que essa canção é o seu trabalho mais
incrível. Chegou ao número 1 no Canadá e número 2 no Billlboard
Hot 100, só perdendo pra Tonight's the night, de Rod Stewart. Foi o
segundo maior sucesso de Lightfoot, perdendo apenas pra Sundown.
Chegou também ao número 46 na Austrália.
A
letra:
The
legend lives on from the Chippewa on down Of the big lake they
called Gitche Gumee The lake, it is said, never gives up her
dead When the skies of November turn gloomy With a load of iron
ore twenty-six thousand tons more Than the Edmund Fitzgerald
weighed empty That good ship and true was a bone to be chewed When
the gales of November came early
The ship was the pride of the American
side Coming back from some mill in Wisconsin As the big
freighters go, it was bigger than most With a crew and good
captain well seasoned Concluding some terms with a couple of steel
firms When they left fully loaded for Cleveland And later that
night when the ship's bell rang Could it be the north wind they'd
been feelin'?
The wind in the wires made a
tattle-tale sound And a wave broke over the railing And every
man knew, as the captain did too T'was the witch of November come
stealin' The dawn came late and the breakfast had to wait When
the gales of November came slashin' When afternoon came it was
freezin' rain In the face of a hurricane west wind
When suppertime came, the old cook came
on deck sayin' "Fellas, it's too rough to feed ya" At
seven PM, a main hatchway caved in, he said "Fellas, it's
been good to know ya" The captain wired in he had water
comin' in And the good ship and crew was in peril And later
that night when his lights went outta sight Came the wreck of the
Edmund Fitzgerald
Does any one know where the love of God
goes When the waves turn the minutes to hours? The searchers
all say they'd have made Whitefish Bay If they'd put fifteen more
miles behind her They might have split up or they might have
capsized They may have broke deep and took water And all that
remains is the faces and the names Of the wives and the sons and
the daughters
Lake Huron rolls, Superior sings In
the rooms of her ice-water mansion Old Michigan steams like a
young man's dreams The islands and bays are for sportsmen And
farther below Lake Ontario Takes in what Lake Erie can send
her And the iron boats go as the mariners all know With the
gales of November remembered
In a musty old hall in Detroit they
prayed In the maritime sailors' cathedral The church bell
chimed 'til it rang twenty-nine times For each man on the Edmund
Fitzgerald The legend lives on from the Chippewa on down Of the
big lake they called Gitche Gumee Superior, they said, never gives
up her dead When the gales of November come early
Escrita
por Elton John e Bernie Taupin, foi gravada em 27 de março de 1976 e
lançada no compacto com Snow queen como Lado B, em 21 de junho de
1976. Foi produzida por Gus Dudgeon. A intenção de gravar em dupla
foi pra imitar os duetos feitos pela gravadora Motown, de um homem e
uma mulher. Em 1994, Elton John regravaria a canção, desta vez em
um dueto com a drag queen RuPaul. Os compositores John e Taupin
receberam o premio Ivor Novello de Best song musically and lyrically.
Nunca saiu em disco de carreira de Elton John, somente em um disco
chamado Duets, em 1994. Chegou ao número 1 nos charts Billboard hot
100 e número 1 no Reino Unido, Rodésia, Africa do Sul, Nova
Zelandia, Irlanda, França, Canadá e Austrália, número 2 na
Holanda, número 3 na Bélgica e Suécia, número 4 na Suiça, número
5 na Noruega e Alemanha Ocidental, número 8 na Áustria e número 23
na Finlandia. Foi o primeiro número 1 de Elton John no seu país
natal, a Inglaterra. Elton John só chegaria ao número 1 no Reino
Unido novamente em 1990, com Sacrifice. Nos Estados Unidos, era o
sexto número 1 de Elton John no Billboard Hot 100. Elton John só
teria outro número 1 com Candle in the wind 1997. Elton John cantou
e fez backing vocals e tocou piano. Kiki Dee cantou e fez backing
vocals. James Newton Howard tocou piano. Caleb Quaye tocou guitarra.
Kenny Passarelli tocou baixo. Roger Pope tocou bateria. Ray Cooper
tocou pandeiro, congas e bongôs.
A
letra:
Don't
go breaking my heart I couldn't if I tried Honey if I get
restless Baby you're not that kind
Don't go breaking my heart You take
the weight off of me Honey when you knock on my door
Ooh, I gave you my key
Woo hoo Nobody knows it When I
was down I was your clown Woo hoo Nobody knows it (Nobody
knows... it)
Right from the start I gave you my
heart Oh-oh I give you my heart
So don't go breaking my heart I
won't go breaking your heart Don't go breaking my heart
Nobody told us 'Cause nobody showed
us Now it's up to us babe Whoa I think we can make it
So don't misunderstand me You put
the light in my life Oh, you put the spark to the flame I got
your heart in my sight
Woo hoo Nobody knows it But when
I was down I was your clown Woo hoo
Nobody knows it (Nobody knows...
it) Right from the start I gave you my heart Oh-oh I give
you my heart
Don't go breaking my heart I won't
go breaking your heart Don't go breaking my heart
Woo hoo Nobody knows it (Woo hoo)
When I was down (Woo hoo) I was your clown (Woo hoo) Right from
the start (Woo hoo) I gave you my heart Oh-oh I give you my
heart
Don't go breaking my heart I won't
go breaking your heart (Don't go breaking my) (Don't go
breaking my) Don't go breaking my heart
I won't (aaah) go breaking your heart
Don't go breaking my heart (Don't go
breaking my) I won't (aaah) go breaking your heart Don't go
breaking my heart (Don't go breaking my)
I won't (aaah) go breaking your
heart Don't go breaking my heart (Don't go breaking my) I
won't (aaah) go breaking your heart Don't go breaking my
heart (Don't go breaking my)
I won't (aaah) go breaking your
heart Don't go breaking my heart (Don't go breaking my) I
won't (aaah) go breaking your heart Don't go breaking my
heart (Don't go breaking my) I won't (aaah) go breaking your
heart Don't go breaking my heart
Escrita
por Eric Stewart e Graham Gouldman, foi gravada em 1976 e lançada em
3 de dezembro de 1976 no compacto que tinha Hot to trot como Lado B.
Sairia depois no disco Deceptive Bends, o quinto disco da banda, em
maio de 1977. Foi produzida pela própria banda. Foi o primeiro
lançamento depois da saída dos membros Kevin Godley e Lol Creme.
Eric Stewart cantou e fez backing vocals, além de tocar guitarra
solo, piano e orgão. Graham Gouldman tocou baixo, violão, guitarra,
pandeiro, bateu palmas e fez backing vocals. Paul Borgess tocou
bateria, bateu palmas e tocou gongo. Chegou ao número 5 dos charts
Billboard Hot 100, número 1 no Canadá, Irlanda número 2, número 5
na Austrália, número 6 no Reino Unido, número 13 na Holanda e
número 27 na Nova Zelandia.
A
letra:
Too
many broken hearts have fallen in the river Too many lonely souls
have drifted out to sea You lay your bets and then you pay the
price The things we do for love (The things we do for love)
Communication is the problem to the
answer You've got her number and your hand is on the phone The
weather's turned and all the lines are down The things we do for
love (The things we do for love)
Like walking in the rain and the
snow When there's nowhere to go When you're feeling like a part
of you is dying And you're looking for the answer in her eyes You
think you're gonna break up Then she says she wants to make up
Ooh, you make me love you Ooh,
you've got a way Ooh, you had me crawling up the wall
Like walking in the rain and the
snow When there's nowhere to go When you're feeling like a part
of you is dying And you're looking for the answer in her eyes You
think you're gonna break up Then she says she wants to make up
Ooh, you make me love you Ooh,
you've got a way Ooh, you had me crawling up the wall
A compromise would surely help the
situation Agree to disagree, but disagree to part When after
all it's just a compromise Of the things we do for love (The
things we do for love)
The things we do for love (The things
we do for love) The things we do for love (The things we do for
love) The things we do for love (The things we do for love) The
things we do for love (The things we do for love) The things we do
for love (The things we do for love) The things we do for love
(The things we do for love) The things we do for love (The things
we do for love)
Escrita
por Tom Petty, foi gravada em 1976 no Shelter Studios, em Hollywood,
California e lançada em 9 de novembro de 1976 no disco Tom Petty and
The Heartbreakers, o disco de estréia da banda. Sairia também em
compacto, com The wild one forever como Lado B, na mesma data. Foi
produzida por Dennny Cordell. O fato curioso é que o lick de
guitarra de Mike Campbell seria usado somente no final da canção,
mas eles gostaram e resolveram usá-lo durante toda a canção. Jeff
Jourard fez uma participação na guitarra e Phil Seymour fez uma
participação nos backing vocals. Chegou ao número 40 nos charts
Billboard Hot 100 e também número 40 no Canadá.
A
letra:
It's
alright if you love me It's alright if you don't I'm not afraid
of you runnin' away, honey I get the feeling you won't
Say
there is no sense in pretending Your eyes give you away Something
inside you is feeling like I do We said all there is to
say
Baby Breakdown, go ahead and give it to me Breakdown,
honey, take me through the night (Take me, baby, breakdown,
ooh) Breakdown, now I'm standin' here, can't you see? Breakdown,
it's alright It's alright, it's alright
Breakdown, go ahead
and give it to me Breakdown, honey, take me through the
night (Take me, baby, breakdown, ooh) Breakdown, now I'm
standin' here, can't you see? Breakdown, it's alright It's
alright, it's alright
Escrita
por Joseph Hill e Albert Walker, foi gravada em 1976 no Joe Gibbs
Recording Studio, em Kingston, Jamaica, e lançada como compacto
antes do disco, de mesmo nome, que só sairia em 1977. A música se
espalhou como fogo pela Jamaica. Foi produzida pelo próprio Joe
Gibbs. O título é uma referencia à data 7/7/77, ou seja, 7 de
julho de 1977. Marcus Garvey fez uma profecia de que haveria caos
nesse dia, quando os “setes” iriam se encontrar. Com essa
mensagem apocalíptica, a canção criou um sentimento na Jamaica que
algo ia dar errado nesse dia e muitas lojas e escolas não abriram
nesse dia. Na verdade os dois setes se referem somente ao ano de 77.
Joseph Hill cantou, Albert Walker e Keneth Dayes fizeram harmonias
vocais. Lloyd Parks tocou baixo. Sly Dunbar tocou bateria. Lennox
Gordon, Robbie Shakespeare e Eric Lamont tocaram guitarra. Franklin
Waul, Errol Nelson e Harold Butler tocaram teclado. Uziah Thompson
tocou percussão. Herman Marquis tocou sax alto. Vin Gordon tocou
trombone. Tommy McCook tocou sax tenor. Bobby Ellis tocou trompete.
A
letra:
Wat
a liiv an bambaie When the two sevens clash Wat a liiv an
bambaie When the two sevens clash
My good old prophet Marcus Garvey
prophesize, say "St. Jago de la Vega and Kingston is gonna
read" And I can see with mine own eyes It's only a housing
scheme that divide
Wat a liiv an bambaie When the two
sevens clash (it dread) Wat a liiv an bambaie When the two
sevens clash
Look up a cotton tree out by Ferry
police station How beautiful it used to be And it has been
destroyed by lightning Earthquake and thunder, I say
Wat a liiv an bambaie When the two
sevens clash (it dread) Wat a liiv an bambaie When the two
sevens clash
I take a ride sometimes On Penn
Overland and Bronx And sometimes I ride on bus X-82, say what?
Wat a liiv an bambaie When the two
sevens clash Wat a liiv an bambaie When the two sevens clash
Marcus Garvey was inside of Spanish
Town district Prison And when they were about to take him out He
prophesied and said "As I have passed through this gate"
"No other prisoner shall enter and
get through" And so it is until now The gate has been
locked, so what?
Wat a liiv an bambaie When the two
sevens clash (it dread) Wat a liiv an bambaie When the two
sevens clash (it bitter, bitter, bitter)
Wat a liiv an bambaie When the two
sevens clash (a man a go feel it) Wat a liiv an bambaie When
the two sevens clash (you better do right)
Escrita
por Tom Scholz, foi gravada entre outubro de 1975 e abril de 1976 e
lançada em 25 de agosto de 1976, no disco Boston, álbum de estréia
da banda Boston. Sairia também em compacto, com Smokin' como Lado
B, em 18 de setembro de 1976. Foi produzida por Tom Scholz, John
Boylan e Rodney C. Thompson. Chegou ao número 5 do Billboard Hot
100, número 4 no Canadá, número 9 na Suíça, número 11 na Suíça,
Número 13 na Holanda, número 14 na Bélgica, número 15 na Alemanha
e Nova Zelandia, número 22 no Reino Unido e número 68 no Japão.
VH1 disse em 2008, que era o número 39 das Best Hard Rock Songs of
all time. É uma das 500 Songs that shaped rock and roll, do Rock and
Roll Hall of Fame. É o número 212 da lista da revista Rolling Stone
das 500 greatest songs of all time. Levou cinco anos pra ficar
pronta. É baseada na idéia de perder allguém próximo e na maneira
que a música pode conectar uma pessoa à memórias do passado.
Marianne era a prima dele, mais velha do que ele, que ele era
secretamente apaixonado. Tom Scholz tocou violão, guitarra e baixo.
Brad Delp cantou e fez backing vocals. Sib Hashian tocou bateria.
A
letra:
I
looked out this morning and the sun was gone Turned on some music
to start my day I lost myself in a familiar song I closed my
eyes and I slipped away
It's more than a feeling (More than
a feeling) When I hear that old song they used to play (More
than a feeling) I begin dreaming (More than a feeling) 'Til
I see Marianne walk away I see my Marianne walkin' away
So many people have come and gone Their
faces fade as the years go by Yet I still recall as I wander on As
clear as the sun in the summer sky
It's more than a feeling (More than
a feeling) When I hear that old song they used to play (More
than a feeling) I begin dreaming (More than a feeling) 'Til
I see Marianne walk away I see my Marianne walkin' away
When I'm tired and thinking cold I
hide in my music, forget the day And dream of a girl I used to
know I closed my eyes and she slipped away She slipped away
It's more than a feeling (More than
a feeling) When I hear that old song they used to play (More
than a feeling) I begin dreaming (More than a feeling) 'Til
I see Marianne walk away
Escrita
por Billy Joel, foi gravada entre o verão de 1975 e janeiro de 1976,
no Ultra Sonic Studio, em Hempstead, New York e lançada no disco
Turnstiles, o quarto disco do artista. Foi produzida pelo próprio
Billy Joel. A inspiração veio depois que ele retornou pra New York
City, vindo de Los Angeles, onde morou por três anos. O prazer de
voltar pra casa em New York foi quem o motivou. Ele estava de fato em
um onibus da Greyhound na linha do Hudson River quando teve a idéia
desta canção. Billy Joel tocou o piano e cantou. Ritchie Cannata
tocou sax. Liberty de Vitto tocou bateria e Doug Stegmeyer tocou
baixo. Foi regravada por Barbra Streisend, Frank Sinatra, entre
outros artistas. Billy Joel também gravou-a em um dueto com Tony
Bennett, outra com dueto com Elton John, outra com Garth Brooks,
outra com Bruce Springsteen e outra com Barbra Streisend.
A
letra:
Some
folks like to get away Take a holiday from the neighborhood Hop
a flight to Miami Beach Or to Hollywood But I'm taking a
Greyhound On the Hudson River Line I'm in a New York state of
mind
I've seen all the movie stars In their fancy cars and
their limousines Been high in the Rockies under the evergreens But
I know what I'm needing And I don't want to waste more time I'm
in a New York state of mind
It was so easy living day by
day Out of touch with the rhythm and blues But now I need a
little give and take The New York Times, The Daily News
It
comes down to reality And it's fine with me 'cause I've let it
slide Don't care if it's Chinatown or on Riverside I don't have
any reasons I've left them all behind I'm in a New York state
of mind
It was so easy living day by day Out of touch with
the rhythm and blues But now I need a little give and take The
New York Times, The Daily News
It comes down to reality And
it's fine with me 'cause I've let it slide Don't care if it's
Chinatown or on Riverside I don't have any reasons I've left
them all behind I'm in a New York state of mind
I'm just
taking a Greyhound on the Hudson River Line 'Cause I'm in a New
York state of mind
Escrita
por Dan Peek, foi gravada em fevereir de 1976, no Caribou Ranch, no
Colorado, e foi lançada em 9 de abril de 1976 no disco Hideaway, o
sexto disco da banda. Sairia também em compacto, com Hideaway Part
II como Lado B. Foi produzida por George Martin. Essa canção foi a
inspiração pra Tonight's the night, de Rod Stewart. Peek se lembra
quando tocou essa canção pra Stewart e o mesmo disse que havia tido
uma ideia pra uma canção baseada nessa aí. Chegou ao número 23 do
Billboard Hot 100 e número 5 no Canadá. Foi a última canção da
banda à chegar ao Top do Billboard Hot 100. Chegou também ao número
55 na Austrália e número 67 na França.
A
letra:
Hold
me close You turn nighttime into day And you're the most
Brightest star that lights my way
So come home to me now Cause it
won't matter anyhow I've got this feeling that today's the day
I've got this feeling today's the day
Turn me out Turn me out on this
fine day 'Cause all about All the people like to play
I've got this feeling that today's the
day I've got this feeling today's the day
Hold me close You turn nighttime
into day And you're the most Brightest star that lights my
way
I've got this feeling that today's the
day I've got this feeling today's the day [Repeat: x3]
Escrita
por Eric Stewart, Graham Gouldman e Kevin Godley, foi gravada em 1975
no Reino Unido e lançada em janeiro de 1976 no disco How dare you, o
quarto disco da banda. Sairia depois em compacto, em março de 1976
com How dare you como Lado B. Foi produzida pela própria banda.
Chegou ao número seis no Reino Unido. Chegou ao número 3 na
Irlanda, número 18 na Suécia, número 25 na Nova Zelandia, número
50 na Holanda, número 60 no Billboard Hot 100 e número 62 na
Austrália. A National Airlines tinha um poster com uma linda
aeromoça convidando os passageiros à entrarem no avião. Mas o nome
era Cindy, não era Mandy. E um dia ele viu um homem de rua olhando
pro poster, apenas sonhando com o avião e com Cindy e pensou que ali
daria uma música. Eric Stewart cantou, tocou piano, grand piano,
guitarra solo (segundo solo), assoviou e fez backing vocals. Graham
Gouldman tocou baixo ,double baixo, baixo de seis cordas, violão,
zither e fez backing vocals. Lol Creme tocou violão, guitarra solo
(primeiro solo), sintetizador Moog, vibraphone e fez backing vocals.
Kevin Godley tocou bateria e fez backing vocals.
A
letra:
Just
like a rolling stone I'm outside looking in But if your chance
came would you take it Where on earth do I begin?
I'm Mandy fly me
I've often heard her jingle It's
never struck a chord With a smile as bright as sunshine She
called me through the poster And welcomed me aboard
She led me she fed me She read me
like a book But I'm hiding in the small print Won't you take
another look? And take me away Try me Mandy fly me away
The world was spinning like a ball And
then it wasn't there at all And as my heart began to fall
I saw her walking on the water As
the sharks were coming for me I felt Mandy pull me up give me the
kiss of life Just like the girl in Dr. No, No, No, No
Ah when they pulled me from the
wreckage And her body couldn't be found Was it in my mind it
seems I had a crazy dream? I told them so But they said no,
no, no, no
I found me on a street And starin'
at a wall If it hadn't have been for Mandy Her promise up above
me Well I wouldn't be here at all So if you're travellin' in
the sky Don't be surprised if someone said: "Hi" I'm
Mandy fly me
