1703 – Elvis Costello – Alison (1977)

Escrita por Elvis Costello, foi gravada em 1977 e lançada em 21 de maio de 1977 no compacto que tinha Welcome to the working week como Lado B. Sairia também no disco My aim is true, o disco de estréia de Elvis Costello. Foi produzida por Nick Lowe. Costello disse que foi escrita pra uma garota que ele viu trabalhando em um supermercado. Nunca entrou em nenhum chart mas se tornou uma das canções mais conhecidas dele. Linda Ronstadt gravou uma versão em 1979. Foi gravada antes da banda The Attractions ser formada. Ela foi gravada com uma banda chamada Clover. Costello disse também que a canção era sobre desapontar alguém. Costello e Billie Joe Armstrong, do Green Day, tocaram Alison ao vivo em 2006, na VH1. A revista Rolling Stone colocou-a como número 318 da sua lista das 500 greatest songs of all time.

A letra:

Oh it's so funny to be seeing you after so long, girl.
And with the way you look I understand
That you are not impressed.
But I heard you let that little friend of mine
Take off your party dress.
I'm not going to get too sentimental
Like those other sticky valentines,
Cause I don't know if you've been loving somebody.
I only know it isn't mine.

Alison, I know this world is killing you.
Oh, Alison, my aim is true.

Well I see you've got a husband now.
Did he leave your pretty fingers lying
In the wedding cake?
You used to hold him right in your hand.
I'll bet he took all he could take.
Sometimes I wish that I could stop you from talking
When I hear the silly things that you say.
I think somebody better put out the big light,
Cause I can't stand to see you this way.

Alison, I know this world is killing you.
Oh, Alison, my aim is true.
My aim is true.

A versão de Elvis Costello:

A versão de Billie Joe Armstrong e Elvis Costello:

A versão de Linda Ronstadt:

1702 – Billy Joel – Scenes from an Italian Restaurant (1977)

 

Escrita por Billy Joel, foi gravada entre julho e agosto de 1977, no A&R Recordings, em New York City. Foi lançada em 29 de setembro de 1977, no disco The Stranger, o quinto disco da carreira de Billy Joel. Foi produzida por Phil Ramone. Apesar de nunca ter saído em compacto, é uma das canções mais populares de Billy. É a canção de número 324 da lista da revista Rolling Stone das 500 greatest songs of all time. A canção é uma junção de três partes. A primeira, começa com um piano com uma balada melódica, em primeira pessoa, descreve a cena de dois antigos colegas de classe se reunindo em um restaurate italiano. Aí entra uma parte rápida de jazz e os colegas de classe começam a falar de outras pessoas. Temos solos de clarinete, trombone, tuba e sax e chegamos então na parte de rock and roll. Essa parte fala, em terceira pessoa, de um casal do high school que eram considerado “O casal mais top”, e que casaram e logo logo se divorciaram. A canção começa a ficar devagar novamente e um personagem fala pro outro “I'll meet anytime you want, at our italian restaurant”. Essa é a canção preferida do próprio Billy Joel. Billy Joel cantou, fez backing vocals e tocou piano. Dominic Cortese tocou sanfona. Steve Burgh tocou guitarra solo. Hugh McCracken tocou violão. Doug Stegmeyer tocou baixo. Liberty De Vitto tocou bateria e Richie Cannata tocou sax, flauta e clarinete.

A letra:

A bottle of white, a bottle of red
Perhaps a bottle of rose instead
We'll get a table near the street
In our old familiar place
You and I, face to face

A bottle of red, a bottle of white
It all depends upon your appetite
I'll meet you any time you want
In our Italian Restaurant

Things are okay with me these days
Got a good job, got a good office
Got a new wife, got a new life
And the family's fine
We lost touch long ago
You lost weight I did not know
You could ever look so nice after
So much time

Do you remember those days hanging out
At the village green
Engineer boots, leather jackets
And tight blue jeans
Drop a dime in the box play the
Song about New Orleans
Cold beer, hot lights
My sweet romantic teenage nights

Brenda and Eddie were the
Popular steadys
And the king and the queen
Of the prom
Riding around with the car top
Down and the radio on
Nobody looked any finer
Or was more of a hit at the
Parkway Diner
We never knew we could want more
Than that out of life
Surely Brenda and Eddie would
Always know how to survive

Brenda and Eddie were still going
Steady in the summer of '75
When they decided the marriage would
Be at the end of July
Everyone said they were crazy
Brenda you know you're much too lazy
Eddie could never afford to live that
Kind of life
But there we were wavin' Brenda and
Eddie goodbye

They got an apartment with deep
Pile carpet
And a couple of paintings from Sears
A big waterbed that they bought
With the bread
They had saved for a couple
Of years
They started to fight when the
Money got tight
And they just didn't count on
The tears

They lived for a while in a
Very nice style
But it's always the same in the end
They got a divorce as a matter
Of course
And they parted the closest
Of friends
Then the king and the queen went
Back to the green
But you can never go back
There again

Brenda and Eddie had had it
Already by the summer of '75
From the high to the low to
The end of the show
For the rest of their lives
They couldn't go back to
The greasers
The best they could do was
Pick up the pieces
We always knew they would both
Find a way to get by
That's all I heard about
Brenda and Eddie
Can't tell you more than I
Told you already
And here we are wavin' Brenda
And Eddie goodbye

A bottle of red, a bottle of white
Whatever kind of mood you're in tonight
I'll meet you anytime you want
In our Italian Restaurant

A versão de Billy Joel:

A versão de Michael Cavanaugh:

A versão de Rob Grande:

1701 – Bob Marley and The Wailers – Turn your lights down low (1977)

Escrita por Bob Marley, foi gravada em 1977 e lançada no disco Exodus, em 3 de junho de 1977. Foi produzida por Bob Marley and The Wailers. Foi regravada por Lauryn Hill em dueto com Bob Marley, além de Colbie Caillat, entre outros artistas.

A letra:

Uh, turn your lights down low
And pull your window curtain (yeah)
Oh, let Jah moon come shining in
Into our life again
Sayin', "Ooh, it's been a long, long time"
(Long, long time)
I got this message for you, girl
But it seems I was never on time
Still I wanna get through to you, girly
On time, on time (word)
I want to give you some love
I want to give you some good, good lovin'
(Uh, uh, uh)
Oh I, oh I, oh I
Yeah, I want to give you some good, good lovin' (uh)

Turn your lights down low
(Word, w-word, uh)
Never ever try to resist, oh no
(Na, na, na)
Oh, let your love come shinin' in
(Na, na, na)
Into our lives again
(Na, na, na)
Saying ooh, I love you
(I love you, I love you)
And I want you to know right now
(Know right now)
Ooh, I love you
(Uh-uh, yeah, uh)
And I want you to know right now (uh)
That I, that I (na, na, na)
I wanna give you some love (uh, yeah, I)
I wanna give you some good, good lovin' (good, good)
Oh I, oh I, oh I
I wanna give you some good, good lovin' (yeah uh-uh)

Loving you is a like a song I replay (loving you is easy 'cause you're beautiful)
Every three minutes and thirty seconds of every day (uh, uh)
And every chorus was written for us to recite (right)
Every beautiful melody of devotion every night
This potion might, this ocean might, carry me
In a wave of emotion to ask you to marry me
And every word, every second, and every third
Expresses the happiness more clearly than ever heard (uh)
And when I play 'em, every chord is a poem
Tellin' the Lord how grateful I am because I know him (what? word)
The harmonies possess a sensation similar to your caress (uh)
If you askin' then I'm tellin' you it's yes (yes, yes)
Stand in love, take my hand in love, Jah bless (right)

I want to give you some good, good lovin' (yeah)

Turn your lights down low (right, right now)
And pull your window curtain (I said, right, right now)
And let Jah love come tumbling in (right, right now)
Into our lives again (uh, uh, said, right, right now)
Sayin' (sayin' ooh)
Ooh, it's been a long, long time (yeah)
I got this message for you, boy
But it seems I was never on time
Still I wanna get through to you, boy
On time (right, right now), on time (said right, right now, uh)
I want to give you some love (wha-what, yeah, wha-what?)
Oh, how I
I want to give you some good, good lovin' (can you hear me?)
Oh I, oh I, oh I (uh, uh, yeah, it's like)
I want to give you some good, good lovin' (uh)

Yeah, it's like
You, you, you, you, you (yeah, yeah, yeah)
I want to give you some good, good lovin' (good, good)
Oh I, oh I (uh, yeah-yeah, right, right now)
I wanna give you some good, good lovin' (yo, yo, uh, right right now)

I wanna, I wanna, I wanna, I wanna, I wanna
Ooh, ooh, ooh, ooh
Ooh, ooh yeah
What, what, what (feels so good)

Please, don't forget passionate
Babies in the bassinet
You call, we be ready
Ha ha, Ma steady (feels so good)
Yes, yes
Baby love (it feels so)

A versão de Bob Marley and The Wailers:

A versão de Lauryn Hill ao vivo:

A versão do Play for Change:

1700 – Rush – Tears (1976)

Escrita por Geddy Lee, foi gravada em fevereiro de 1976 e lançada em 1 de abril de 1976 no disco 2112, o quarto da banda. Foi produzida pela banda e Terry Brown. É a primeira música do Rush a ter um Melllotron, que foi tocado po Hugh Syne. Foi regravada pelo Alice in The Chains.

A letra:

All of the seasons
And all of the days
All of the reasons
Why I've felt this way

So long
So long

Then lost in that feeling
I looked in your eyes
I noticed emotion
And that you had cried

For me
I can see

What would touch me deeper
Tears that fall from eyes
That only cry?
Would it touch you deeper
Than tears that fall from eyes
That know why?

A lifetime of questions
Tears on your cheek
I tasted the answers
And my body was weak

For you
The truth

What would touch me deeper
Tears that fall from eyes
That only cry?
Would it touch you deeper
Than tears that fall from eyes
That know why?

A versão do Rush:

A versão do Orogeny:

A versão de Cathy Rankin:

1699 – Willie Nelson – That lucky old sun (Just rolls around heaven all day) (1976)

 

Escrita por Beasley Smith e Haven Gillispie, foi lançada por Frankie Laine inicialmente em 1946. A nossa versão no entanto é a versão do bom e velho Willie Nelson, que foi gravada em 1975 no Autumn Golden Studios, em Garland, Texas e foi lançada no seu disco The sound in your mind, o décimo nono de sua carreira, em fevereiro de 1976. Foi produzida pelo próprio Willie Nelson. Serie regravada também por Frank Sinatra, Louis Armstrong, Pat Boone, Jerry Lee Lewis, Bobby Darin, Sam Cooke, Ray Charles, Aretha Franklin, Tom Jones, Righteous Brothers, George Benson, Big Mama Thornton, Jerry Garcia, Johnny Cash, K.D. Lang, Brian Wilson, Chris Isaak, Bob Dylan, Solomon Burke, entre outros artistas.

A letra:

Up in the morning out on my job work like a devil for my pay
And that lucky old sun ain't got nothing to do but roll around heaven all day
Fuss with my woman toil with my kids sweat till I'm wrinkled and gray
But that lucky old sun ain't got nothing to do but roll around heaven all day
Lord above can't you see I'm cryin' tears are in my eyes
Sendin' down my cloud with that silvery linin' take me to paradise
Show me that river lead me across take all my troubles away
Like that lucky old sun I have nothing to do but roll around heaven all day
Like that lucky old sun I have nothing to do but roll around heaven all day

A versão de Willie Nelson:

A versão de Solomon Burke:

A versão de Bob Dylan:

1698 – Ringo Starr – I'll still love you (1976)

 

Escrita por George Harrison, foi inicialmente gravada por Ringo no Cherokee Studios, em Los Angeles e lançada por ele em 17 de setembro de 1976, no disco Ringo's Rotogravure, o seu primeiro disco pela Atlantic Records. Arif Mardin foi o produtor. Foi escrita em 1970 e George queria dar pra cantora gaulesa Shirley Bassey. George também chegou a gravar pro disco Allthings must pass, mas decidiu não incluí-la. George também tentou gravar cm Ronnie Spector e com Cilla Black, mas não ficou satisfeito. Ringo cantou e tocou bateria. Lon Van Eaton tocou guitarra. Jane Getz tocou piano. Arif Mardin tocou Sintetizador ARP de cordas. Klaus Voorman tocou baixo. Jim Keltner tocou a outra bateria. David Lasley fez backing vocals.

A letra:

When ev'ry song is sung,
When ev'ry bell's been rung,
When ev'ry picture's hung,
I'll still love you.

When ev'ry wind has blown,
When ev'ry seed is sown,
When ev'rything is known,
Then i'll still love you.

You know that i'll love you,
Yes, i will.
You know i'll love you, love you, love you,
Always will, until

When ev'ry soul is free,
When ev'ry eye can see,
When people all agree,
Then i'll still love you.

You know i'll love you,
Yes, i do.
When times gets so hard, you know,
I'll be there loving you.

You know i'll love you,
Yes, i will.
Yes i'm gonna hold you, need you, love you,
Always will, love you still.

When ev'ry note's been sung,
When ev'ry bell's been rung,
When ev'ry picture's hung,
I'll still love you.

I really love you.

A versão de Ringo Starr:

A versão de Cilla Black:

1697 – Emmylou Harris – Pancho and Lefty (1976)

 

Escrita por Townes Van Zandt, foi gravada por ele e lançada em 1972. Mas a nossa versão não é a dele e sim a de Emmylou Harris, que foi gravada em 1976 e lançada no quarto disco dela, chamado Luxury Liner, em 28 de dezembro de 1976. O cover que ela fez foi o primeiro cover dessa canção, que é a mais conhecida de Townes Van Zandt. Foi produzida por Brian Ahern. Seria regravada também em dueto por Willie Nelson e Merle Haggard, em 1983. Essa versão da dupla foi a versão mais vendida e que chegou ao número 1 do Billboard Country. Willie Nelson conheceu a música através da gravação de Emmylou e não de Townes. Lefty é um jovem inquieto que vai buscar sua fortuna no México, deixando sua mãe pra trás. Pancho era um bandido mexicano, que foi morto pela polícia, traído por seu amigo Lefty. Ele então usa o dinheiro pra voltar pra Ohio e encontrar seus amigos e família, mas eles não estão mais lá e ele fica velho vivendo em hotéis baratos. Western Writers of America escolheram-a como a décima sétima melhor canção de country de todos os tempos. A revista Rolling Stone colocou-a como número 41 da lista das 100 greatest country songs of all time. E a mesma revista disse que a canção era a número 498 da revista Rolling Stone das 500 greatest songs of all time.

A letra:

Livin' on the road my friend
Was gonna keep you free and clean
Now you wear skin like iron
And your breath's as hard as kerosene
You weren't your mama's only boy
But her favorite one it seems
She began to cry when you said goodbye
And sank into your dreams

Pancho was a bandit, boys
His horse was fast as polished steel
Wore his gun outside his pants
For all the honest world to feel
Well, Pancho met his match you know
On the deserts down in Mexico
And nobody heard his dyin' words
Ah but that's the way it goes

All the Federales say
Could of had him any day
Only let him any day
Hang around
Out of kindness I suppose

Lefty, he can't sing the blues
All night long like he used to
The dust that Pancho bit down south
Ended up in Lefty's mouth
The day they laid poor Pancho low
Lefty split for Ohio
Where he got the bread to gop
There ain't nobody knows

Well, the poets tell how Pancho fell
And Lefty's livin' in a cheap hotel
The dessert's quiet and Cleveland's cold
So the story end's, we're told
Pancho needs your prayer's it's true
But save a few for Lefty too
He just did what he had to do
And now he's growin' old
A few gray Federales say
Could have had him any day
Only let him go so long
Out of kindness I suppose

A versão de Emmylou Harris:

A versão de Townes Van Zandt:

A versão de Willie Nelson e Merle Haggard:

1696 – Billy Joel – James (1976)

Escrita por Billy Joel, foi gravada entre o verão de 1975 e janeiro de 1976 e foi lançada em 19 de maio de 1976 no disco Turnstiles, o quarto disco da carreira de Billy. Foi produzida pelo próprio Billy Joel. James é referente à varios tipos de pessoas que ele conheceu na vida real e o personagem James é um conjunto dessas pessoas. Billy Joel cantou e tocou piano acústico, piano elétrico, sintetizador Moog, clavinet e orgão. Howie Emerson tocou guitarra e violão. Russel Javors tocou guitarra e violão. James Smith tocou violão. Doug Stegmeyer tocou baixo. Liberty DeVitto tocou bateria. Mingo Lewis tocou percussão e Richie Cannata tocou sax e clarinete.

A letra:

James, we were always friends,
From our childhood days
And we made our plans,
And we had to go our separate ways.
I went on the road-
You pursued an education.

James, do you like your life,
Can you find release,
And will you ever change-
Will you ever write your masterpiece.
Are you still in school-
Living up to expectations, James

You were so relied upon, everybody knows how hard you tried-
Hey, just look at what a job you've done,
Carrying the weight of family pride.
James, you've been well behaved,
You've been working so hard
But will you always stay,
Someone else's dream of who you are.
Do what's good for you, or you're not good for anybody, James.

I went on the road,
You pursued an education, James
How you gonna know for sure, everything was so well organized.
Hey, now everything is so secure,
And everybody else is satisfied.

James, do you like your life,
Can you find release
And will you ever change,
When will you write your masterpiece.
Do what's good for you, or you're not good for anybody, James.

A versão de Billy Joel:

1695 – Lynyrd Skynyrd – All I can do is write about it (1976)

 

Escrita por Allen Collins e Ronnie Van Zant, foi gravada em novembro de 1975, no Capricorn Studios, em Maicon, Georgia. Foi lançada no disco Gimme back my bullets, o quarto disco da banda, em 2 de fevereiro de 1976. Foi produzida por Tom Dowd. Ronnie Van Zant cantou, Gary Rossington tocou gitarra, Allen Collins tocou guitarra, Leon Wilkeson tocou baixo e fez backing vocals, Artimus Pyle tocou bateria e percussão e Billy Powell tocou teclado e Barry Lee Harwood tocou dobro e bandolim.

A letra:

Well this life that I live took me everywhere
There ain't no place I ain't never gone
Well it's kind of like the sayin
That you heard so many times
Well there just ain't no place like home

Did you ever see a she-gator protect her youngin'
Or fish in a river swimmin' free
Did you ever see the beauty of the hills of Carolina
Or the sweetness of the grass in Tennessee

And Lord I can't make any changes
All I can do is write 'em in a song
'Cause if I can seen the concrete a slowly creepin'
Lord take me and mine before that comes

Like to see a mountain stream a flowin'
Do ya like to see a youngin' with his dog
Did ya ever stop and think about
Well the air your breathin'
Well ya better listen to my song

And Lord I can't make any changes
All I can do is write 'em in a song
'Cause when I can see the concrete a slowly creepin'
Lord take me and mine before that comes

I'm not tryin' to put down no big city
But the things they write about us is just a bore
Well you can take a boy out of ole' Dixieland, Lord
But you'll never take ole' Dixie from a boy

And Lord I can't make any changes
All I can do is write 'em in a song
'Cause when I can see the concrete a slowly creepin'
Lord take me and mine before that comes

If I can see the concrete a slowly creepin'
Lord take me and mine before that comes

A versão do Lynyrd Skynyrd:

A versão de Jacob William:

A versão de Chris Robertson:

1694 – Kiss – Beth (1976)

Escrita por Bob Ezrin, Stan Penridge e Peter Criss, foi gravada em 1976, no Record Plant, em New York City e lançada em 15 de março de 1976 no disco Destroyer, o quarto disco da banda. Sairia também em compacto, com Detroit rock city como Lado B. Foi produzida por Bob Ezrin. Beth foi o maior sucesso comercial do Kiss nos Estados Unidos, chegando ao número 7 do Billboard Hot 100. VH1, em 2003, colocou Beth como número 3 das 25 greatest power ballads. Foi escrita pra tirar onda com Becky, a esposa de outro membro da banda Chelsea, Mike Brand. Chelsea era a banda que Stan e Peter estavam antes do Kiss. A história é que ela vivia ligando pra saber que horas o marido iria embora e virou piada. Ezrin trouxe a Filarmonica de Nova York pra gravação de Beth. O guitrrista Ace Frehley não participou da gravação pois estava em um campeonato de poker com os amigos. Ezrin então trouxe Dick Wagner pra tocar em seu lugar, Chegou ao número 5 no Canadá e número 79 na Austrália. Peter Criss cantou. Bob Ezrin tocou piano. Dick Wagner tocou violão, além da New York Phillarmonic que foi a orquestra.

A letra:

Beth, I hear you calling
But I can't come home right now
Me and the boys are playing
And we just can't find the sound

Just a few more hours
And I'll be right home to you
I think I hear them calling

Oh, Beth, what can I do?
Beth, what can I do?

You say you feel so empty
That our house just ain't a home
That I'm always somewhere else
And you're always there alone

Just a few more hours
And I'll be right home to you
I think I hear them calling

Oh, Beth, what can I do?
Beth, what can I do?

Beth, I know you're lonely
And I hope you'll be alright
'Cause me and the boys will be playing
All night...
Ah-aah...

A versão do Kiss:

A versão de Mike Massé:

A versão de Ostpunk:

1693 – Joni Mitchell – Coyote (1976)

 

Escrita por Joni Mitchell, foi gravada em 1976 e lançada em novembro de 1976, no disco Hejira. Sairia depois em 1977 em compacto, com Blue Motel room como Lado B. Foi produzida por Henry Lewi e Joni Mitchell. Foi inspirada em Sham Shepard, que era casado e que Joni teve uma rápida ligação durante a turnê de Bob Dylan de 1975-1976 chamada Rolling Thunder Revue. No documentário de Martin Scorcese sobre essa turnê tem uma filmagem de Joni tocando essa música na casa de Gordon Lightfoot, com Bob Dylan e Roger McGuinn acompanhando-a nos violões. McGuinn antes dela cantar disse: “Joni compôs essa música sobre essa turnê, durante esse turnê e para essa turnê”. É uma canção sobre uma trepada. Bay of Fundy era um cottage que Sam Shepard tinha em West Advocate, Nova Scotia, Canadá. Baljennie é em Saskatchewan, onde Joni Mitchell cresceu. Chegou ao número 79 no Canadá. Joni Mitchell tocou violão e guitarra e cantou. Jaco Pastorius tocou baixo e Bobbye Hall tocou percussão.

A letra:

No regrets, coyote
We just come from such different sets of circumstance
I'm up all night in the studios
And you're up early on your ranch
You'll be brushing out a brood mare's tail
While the sun is ascending
And I'll just be getting home with my reel to reel
There's no comprehending
Just how close to the bone and the skin and the eyes
And the lips you can get
And still feel so alone
And still feel related
Like stations in some relay
You're not a hit and run driver, no, no
Racing away
You just picked up a hitcher
A prisoner of the white lines on the freeway

We saw a farmhouse burning down
In the middle of nowhere
In the middle of the night
And we rolled right past that tragedy
'Til we turned down to some road house lights
Where a local band was playing
Locals were up kicking and shaking on the floor
And the next thing I know
That coyote's at my door
He pins me in a corner and he won't take no
He drags me out on the dance floor
And we're dancing close and slow
Now he's got a woman at home
He's got another woman down the hall
He seems to want me anyway
Why'd you have to get so drunk
And lead me on that way
You just picked up a hitcher
A prisoner of the white lines on the freeway

I looked a coyote right in the face
On the road to Baljennie, near my old home town
He went running thru the whisker wheat
Chasing some prize down
And a hawk was playing with him
Coyote was jumping straight up and making passes
He had those same eyes just like yours
Under your dark glasses
Privately probing the public rooms
And peeking through keyholes in numbered doors
Where the players lick their wounds
And take their temporary lovers
And their pills and powders
To get them through this passion play
No regrets, coyote
I just get off up aways
You just picked up a hitcher
A prisoner of the white lines on the freeway

Coyote's in the coffee shop
He's staring a hole in his scrambled eggs
He picks up my scent on his fingers
While he's watching the waitresses' legs
He's too far from the Bay of Fundy
From appaloosas and eagles and tides
And the air conditioned cubicles
And the carbon ribbon rides
Are spelling it out so clear
Either he's going to have to stand and fight
Or take off out of here
I tried to run away myself
To run away and wrestle with my ego
With this, this flame
You put here in this Eskimo
In this hitcher
In this prisoner
Of the fine white lines
Of the white lines on the free, freeway

A versão de Joni Mitchell:

 

A versão de Aoife O'Dovan:

A versão de JK Jones:

1692 – John Sebastian – Welcome back (1976)

Escrita por John Sebastian, foi gravada em 1976 e lançada em compacto em março de 1976, com Warm baby como Lado B. Sairia também no disco de mesmo nome, em 19 de abril de 1976. Foi produzida por Steve Barri e John Sebastian. Foi o tema de uma série de TV americana dos anos 70s, o sitcom Welcome back, Kotter, que tinha John Travolta como estrela que estava em alta. A gravação de Welcome back chegou ao número 1 do Billboard Hot 100. Foi encomendada pelo produtor da série Alan Sachs para John Sebastian escrever uma canção do tipo da sua ex-banda The Lovin' Spoonful e assim foi feita. Chegou também ao número 1 no Canadá e número 24 na Austrália.

A letra:

Welcome back
Your dreams were your ticket out
Welcome back
To that same old place that you laughed about

Well, the names have all changed
Since you hung around
But those dreams have remained
And they've turned around

Who'd have thought they'd lead you
(Who'd have thought they'd lead you)
Back here where we need you?
(Back here where we need you?)

Yeah, we tease him a lot
'Cause we got him on the spot
Welcome back

Welcome back, welcome back, welcome back
Welcome back, welcome back

Welcome back
We always could spot a friend
Welcome back
And I smile when I think how you must have been

And I know what a scene
You were learnin' in
Was there somethin' that
Made you come back again?

And what could ever lead you
(What could ever lead you)
Back here where we need you?
(Back here where we need you?)

Yeah, we tease him a lot
'Cause we got him on the spot
Welcome back

Welcome back, welcome back, welcome back
Welcome back, welcome back

And I know what a scene
You were learnin' in
Was there somethin' that
Made you come back again?

And what could ever lead you
(What could ever lead you)
Back here where we need you?
(Back here where we need you?)

Yeah, we tease him a lot
'Cause we got him on the spot
Welcome back

Welcome back, welcome back, welcome back
Welcome back, welcome back

Yeah, we tease him a lot
(Welcome back, welcome back)
'Cause we got him on the spot
(Welcome back, welcome back)

Yeah, we tease him a lot
'Cause we got him on the spot
Welcome back

Welcome back, welcome back, welcome back
Welcome back, welcome back, welcome back
Welcome back, welcome back, welcome back

A versão de John Sebastian:

A versão dos Beach Bums:

A versão de Larry L.:

1691 – John Denver – Like a sad song (1976)

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

A versão de John Denver:

A versão de Mark Robinson:

1690 – James Taylor – Shower the people (1976)

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

A versão de James Taylor:

A versão de Dixie Chicks:

A versão de Emily Albert: