1712 – Bee Gees – Night fever (1977)

 

Escrita por Barry, Maurice e Robin Gibb, foi gravada entre abril e setembro de 1977 e lançada em 15 de novembro de 1977, no disco Saturday Night Fever, a trilha sonora do filme. Até o ano de 1982, esse disco foi o que mais vendeu na história, tendo alcançado a marca de 40 milhões de cópias. Sairia também em compacto em janeiro de 1978 com Down the road como Lado B. Foi produzida por Albhy Galuten, Karl Richardson e a os próprios Bee Gees. Ficou no numero 1 do Billboard Hot100 por 8 semanas. Chegou ao número 1 no Reino Unido por duas semanas. Chegou ao número 1 também no Brasil, Canadá, Irlanda e Espanha. Número 2 no México, Nova Zelandia, África do Sul, Noruega e Alemanha Oriental. Número 3 na Bélgica, Japão, Holanda e Suíça. Número 4 na Áustria e Portugal. Número 5 na Itália e Suécia. Número 6 na Finlandia e número 7 na Austrália. Barry Gibb cantou, fez harmonias vocais, backing vocals e tocou guitarra. Robin Gibb fez harmonias vocais e backing vocals. Maurice Gibb tocou baixo, fez harmonias vocais e backing vocals. Alan Kendall tocou guitarra solo. Dennis Bryon tocou bateria. Blue Weaver tocou piano elétrico Fender Rhodes e Sintetizador de cordas.

A letra:

Listen to the ground
There is movement all around
There is something goin' down
And I can feel it

On the waves of the air
There is dancin' out there
It's somethin' we can't share
We can't steal it

That sweet city woman
She moved through the light
Controlling my mind and my soul
When you reach out for me, yeah
And the feelin' is right

Then I get night fever, night fever
We know how to do it
Gimme that night fever, night fever
We know how to show it

Here I am
Prayin' for this moment to last
Livin' on the music so fine
Borne on the wind
Makin' it mine

Night fever, night fever
We know how to do it
Gimme that night fever, night fever
We know how to show it

In the heat of our love
Don't need no help for us to make it
Gimme just enough
To take us to the mornin'

I got fire in my mind
I get higher in my walkin'
And I'm glowin' in the dark
Give you warnin'

Sweet city woman
She moves through the light
Controlling my mind and my soul
When you reach out for me
And the feelin' is right

Night fever, night fever
We know how to do it
Gimme that night fever, night fever
We know how to show it

Here I am
Prayin' for this moment to last
Livin' on the music so fine
Borne on the wind
Makin' it mine

Night fever, night fever
We know how to do it
Gimme that night fever, night fever
We know how to show it

Gimme that night fever, night fever
We know how to do it
Gimme that night fever, night fever
We know how to show it
Gimme that night fever, night fever
We know how to do it

A versão do Bee Gees:

A versão de Singitlive:

 

A versão de Tina Arena:

1711 – Supertramp – Give a little bit (1977)

Escrita por Rick Davies e Roger Hodgson nos créditos, foi escrita apenas por Hodgson. Foi gravada entre novembro de 1976 e janeiro de 1977 e lançada em 3 de abril de 1977 no disco Even in the quietest moments, o quinto disco da banda. Sairia também em compacto, com Downstream como Lado B. Foi produzida pela própria banda. Foi um grande hit internacional pra banda. Chegou ao número 15 do Billboard Hot 100 e número 29 no Reino Unido. Chegou ao número 2 na Holanda e 4 na África do Sul, 8 no Canadá e 9 na Noruega. Número 12 na Bélgica, 14 na Nova Zelandia e 29 na Alemanha Ocidental. Foi inspirada em All you need is love, dos Beatles. Roger Hodgson tocou violão de 12 cordas, guitarra elétrica Rickenbacker de 12 cordas, guitarra elétrica de 6 cordas, cantou e fez backing vocals. Dougie Thomson tocou baixo de jazz Fender. Bob Siebenberg tocou bateria e percussão. Rick Davies tocou piano, orgão e clavinet. John Helliwell tocou sax.

A letra:

Ooh, yeah
Alright
Here we go again
Na-na, whoa, no, da-na, hey, hey, yeah

Give a little bit
Oh, give a little bit of your love to me
I'll give a little bit
I'll give a little bit of my love to you
There's so much that we need to share
So send a smile and show you care
(Alright)

I'll give a little bit
I'll give a little bit of my life for you
So give a little bit
Oh, give a little bit of your time to me
See the man with the lonely eyes
Oh, take his hand, you'll be surprised

Oh, take it
Ah, yeah
Come along
Yeah, yeah, yeah, yeah
Yeah, yeah, yeah, yeah, yeah, yeah, yeah

Come a-
Long

Give a little bit
Oh, give a little bit of your love to me
I'll give a little bit
I'll give a little bit of my life for you
Now's the time that we need to share
So find yourself, we're on our way back home

Oh, going home
Don't you need, don't you need to feel at home?
Oh, yeah, we gotta sing
Ooh, yeah, gotta get a feeling
Ooh, yeah, come along too
Woo

Come a-, come along too, yeah
Come a-, come a-, come a-, come along

Cha-ka-doom, yeah
Ooh, yeah, come along too
Yeah, come along too, yeah
Sing, Betty Lou
Come along too
What a long ride
Come a long way
Oh, sing it, tonight
Ooh, yeah

A versão do Supertramp:

A versão de Roger Hodgson:

A versão de Boyce Avenue:

1710 – Eric Clapton – Cocaine (1977)

 

Escrita por J.J. Cale, foi lançada por ele inicialmente em 1976, no disco Troubadour. Nossa versão no entanto é a de Eric Clapton, que foi gravada em 1977 e lançada em 18 de novembro de 1977, no compacto que tinha Lay down Sally como Lado A. Sairia também no disco Slowhand, o quinto de Eric. Foi produzida por Glyn Johns. Chegou ao número 30 no Billboard Hot100, número 3 no Canadá e número 14 na Holanda, em 1980.

A letra:

If you want to hang out, you've gotta take her out, cocaine
If you want to get down, down on the ground, cocaine

She don't lie, she don't lie, she don't lie
Cocaine

If you got bad news, you want to kick them blues, cocaine
When your day is done, and you want to run, cocaine

She don't lie, she don't lie, she don't lie
Cocaine

If your day is gone, and you want to ride on, cocaine
Don't forget this fact, you can't get it back, cocaine

She don't lie, she don't lie, she don't lie
Cocaine

She don't lie, she don't lie, she don't lie
Cocaine

A versão de Eric Clapton:

A versão de Joe Robinson:

A versão de Andy Guitar:

1709 – Elvis Costello – Less than zero (1977)

 

Escrita por Elvis Costello, foi gravada em 1977 e lançada em 11 de março de 1977, no compacto que tinha Radio Sweetheart como Lado B. Sairia também no disco My aim is true, o disco de estréia de Costello, em 22 de julho de 1977. Foi produzida por Nick Lowe. Foi escrita sobre o facista inglês Oswald Mosley. Foi escrita com raiva, depois de Costello ver o antigo lider da Britush Union of Fascists Oswald Mosley ser entrevistado e ter negado seu passado racista. Costello disse que o mesmo não se arrependia de nada do que fez nos anos 30s.

A letra:

Calling Mister Oswald with the swastika tattoo,
there is a vacancy waiting in the English voodoo,
carving "v" for vandal on the guilty boy's head.
When he's had enough of that maybe you'll take him to bed
to teach him he's alive before he wishes he was dead.

Turn up the TV. No one listening will suspect,
even your mother won't detect it,
so your father won't know.
they think that I've got no respect
but everything means less than zero.
Hey, ooh hey, hey, ooh hey.

Oswald and his sister are doing it again.
They've got the finest home movies that you have ever seen.
They've got a thousand variations: every service with a smile.
They're gonna take a little break, and they'll be back after a while.
well I hear that South America is coming into style.

Turn up the TV. No one listening will suspect,
even your mother won't detect it,
so your father won't know.
they think that I've got no respect
but everything means less than zero.
Hey, ooh hey, hey, ooh hey.

A pistol was still smoking, a man lay on the floor.
Mister Oswald said he had an understanding with the law.
He said he heard about a couple living in the USA.
He said they traded in their baby for a Chevrolet.
Let's talk about the future now we've put the past away.

Turn up the TV. No one listening will suspect,
even your mother won't detect it,
so your father won't know.
they think that I've got no respect
but everything means less than zero.
Hey, ooh hey, hey, ooh hey.

A versão de Elvis Costello:

A versão de Sam Gleason:

1708 – Billy Joel – Just the way you are (1977)

 

Escrita por Billy Joel, foi gravada em 1976 e lançada em 29 de setembro de 1977 no disco The Stranger, o quinto de Billy Joel. Saiu também na mesma época em compacto, com Get it right the first time/Vienna como Lado B. Foi produzida por Phil Ramone. Foi o primeiro Top 10 da carreira de Joel nos Estados Unidos, chegndo ao número 3 do Billboard Hot 100 e também o primeiro top 20 no Reino Unido, chegando ao número 19 por lá. Chegou também ao número 1 no Canadá, 6 na Austrália, Nova Zelandia e África do Sul. Número 7 na Irlanda e 14 na Rodésia. Foi também o primeiro disco de ouro de Billy Joel nos Estados Unidos. Ganhou dois Grammies em 1979: Record of the year e Song of the year. Billy disse que a melodia e acordes dessa canção veio em um sonho e que o título foi inspirado na canção Rag Doll, de Frankie Valli and The Four Seasons. Ele disse também que escreveu essa canção pra sua primeira esposa, Elizabeth Weber. Ninguém gostou da canção, nem Billy nem a banda, e não iriam incluir no disco. Mas Linda Ronstadt e Phoebe Snow, que gravavam no estúdio ao lado, pediram pra ele incluí-la no disco e ele o fez. Depois que Billy Joel se separou em 1982 de Elizabeth, ele não quis mais tocar essa canção nos shows, principalmente porque o baterista Liberty DeVitto ficava trocando a letra pra “She got the house, she got the car”, tirando onda com a cara dele. Phil Woods tocou o sax alto. Ele era muito conhecido no mundo do jazz, ganhador de Grammy, mas com essa performance aqui, ele aumentou seu público, ganhando também o público de rock. Billy Joel cantou e tocou piano elétrico Fender Rhodes. Hugh McCracken tocou violão. Steve Burgh tocou violão. Doug Stegmeyer tocou baixo. Liberty DeVitto tocou bateria. Ralph McDonald tocou percussão.

A letra:

Don't go changing to try and please me
You never let me down before, mmm
Don't imagine you're too familiar
And I don't see you anymore

I would not leave you in times of trouble
We never could have come this far, mmm
I took the good times, I'll take the bad times
I'll take you just the way you are

Don't go trying some new fashion
Don't change the color of your hair, mmm
You always have my unspoken passion
Although I might not seem to care

I don't want clever conversation
I never want to work that hard, mmm
I just want someone that I can talk to
I want you just the way you are

I need to know that you will always be
The same old someone that I knew
Oh, but what will it take till you believe in me
The way that I believe in you?

I said I love you, that's forever
And this I promise from the heart, mmm
I couldn't love you any better
I love you just the way you are, right

I don't want clever conversation
I never want to work that hard, mmm
I just want someone that I can talk to
I want you just the way you are

A versão de Billy Joel:

A versão de Barry White:

A versão de Michael Cavanaugh:

1707 – Bob Marley and The Wailers – Three little birds (1977)

Escrita por Bob Marley, foi gravada em 1977 e lançada no disco Exodus, em 3 de junho de 1977. Foi lançada depois em compacto, com Every need got an ego to feed como Lado B, em 12 de setembro de 1980. Foi produzida por Bob Marley and TheWailers. Chegou ao número 17 no Reino Unido, número 3 na Espanha e número 49 na Alemanha. Trata-se de uma das mais populares canções de Bob Mrley e foi bastante regravada, entre elas por Ziggy Marley com Sean Paul e pelo Maroon 5.

A letra:

Don't worry about a thing
'Cause every little thing gonna be alright
Singing' don't worry about a thing
'Cause every little thing gonna be alright

Rise up this mornin'
Smiled with the risin' sun
Three little birds
Pitch by my doorstep
Singin' sweet songs
Of melodies pure and true
Saying', (this is my message to you)

Singing' don't worry 'bout a thing
'Cause every little thing gonna be alright
Singing' don't worry (don't worry) 'bout a thing
'Cause every little thing gonna be alright

Rise up this mornin'
Smiled with the risin' sun
Three little birds
Pitch by my doorstep
Singin' sweet songs
Of melodies pure and true
Sayin', this is my message to you

Singin' don't worry about a thing, worry about a thing, oh
Every little thing gonna be alright, don't worry
Singin' don't worry about a thing, I won't worry
'Cause every little thing gonna be alright

Singin' don't worry about a thing
'Cause every little thing gonna be alright, I won't worry
Singin', don't worry about a thing
'Cause every little thing gonna be alright
Singin' don't worry (worry) about a thing, oh no
'Cause every little thing gonna be alright

A versão de Bob Marley and The Wailers:

A versão de Ziggy Marley and Sean Paul:

A versão do Maroon 5:

1706 – Bee Gees – How deep is your love? (1977)

 

Escrita por Barry, Robin e Mauric Gibb, foi gravada em 1977 e lançada em compacto em setembro de 1977, com Can't keep a good man down como Lado B. Sairia depois no disco Saturday night fever, a trilha sonora do fime de mesmo nome, estrelado por John Travolta. Foi produzida por Karl Richardson, Albhy Galuten e pelos próprios irmãos Gibb. Chegou ao número 1 no Billboard Hot 100 (ficando nessa posição por 1 semanas), número 3 no Reino Unido e Austrália. É o número 375 da lista da revista Rolling Stone das 500 greatest songs of all time. Barry Gibb disse que essa era sua canção favorita dos Bee Gees. Chegar ao número 3 no Reino Unido com essa balada romântica foi um feito incrível, pois naquela época, o Reino Unido respirava Punk e New Wave. Ganhou o Grammy de Best Pop Performance by a group, em 1978. Essa música é também uma das favoritas de Brian Wilson. Barry Gibb cantou os vocais principais, harmonias vocais, backing vocals e guitarra base. Robin Gibb fez vocais principais, harmonias vocais e backing vocals. Maurice Gibb tocou baixo, e fez harmonias vocais e backing vocals. Alan Kendall tocou guitarra. Dennys Bryon tocou bateria e percussão. Blue Weaver tocou teclado, sintetizador e piano elétrico Fender Rhodes. Joe Lala tocou percussão. Foi número 1 também no Brasil, Canadá, Chile, Finlandia e França. Número 2 na Irlanda, Itália e África do Sul. Número 4 na Suécia e 5 na Noruega. Foi número 6 na Bélgica e Nova Zelandia. Número 7 na Espanha e número 8 na Holanda. Número 13 na Áustria e número 21 na Alemanha Ocidental.

A letra:

I know your eyes in the morning sun
I feel you touch me in the pouring rain
And the moment that you wander far from me
I wanna feel you in my arms again
And you come to me on a summer breeze
Keep me warm in your love, then you softly leave
And it's me you need to show

How deep is your love?
How deep is your love?
How deep is your love?
I really mean to learn
'Cause we're living in a world of fools
Breaking us down when they all should let us be
We belong to you and me

I believe in you
You know the door to my very soul
You're the light in my deepest, darkest hour
You're my savior when I fall
And you may not think I care for you
When you know down inside that I really do
And it's me you need to show

How deep is your love?
How deep is your love?
How deep is your love?
I really mean to learn
'Cause we're living in a world of fools
Breaking us down when they all should let us be
We belong to you and me

Na-na-na-na-na
Na-na-na-na-na-na-na-na
Na-na-na-na-na-na-na-na-na
Na-na-na-na-na-na-na

And you come to me on a summer breeze
Keep me warm in your love, then you softly leave
And it's me you need to show

How deep is your love?
How deep is your love?
How deep is your love?
I really mean to learn
'Cause we're living in a world of fools
Breaking us down when they all should let us be
We belong to you and me (na-na-na-na-na)

How deep is your love?
How deep is your love?
I really mean to learn
'Cause we're living in a world of fools
Breaking us down when they all should let us be
We belong to you and me (na-na-na-na-na)

How deep is your love?
How deep is your love?
I really mean to learn
'Cause we're living in a world of fools
Breaking us down when they all should let us be
We belong to you and me

A versão do Bee Gees:

A versão de Music Travel Love:

A versão de Brother Stone and The Get Down:

1705 – Supertramp – Downstream (1977)

 

Escrita por Rick Davis, foi gravada entre novembro de 1976 e janeiro de 1977, no Caribou Ranch, em Nederland, Colorado e no Record Plant Studios, em Los Angeles, California. Foi lançada em 3 de abril de 1977, no disco Even in the quietest moments...o quinto disco da banda. Foi produzida pela própria banda. Foi gravada somente por Rick Davis no piano e voz. Foi gravada em apenas um take.

A letra:

Took a boat sunday, down by the sea
It just felt so nice, you and me
We didn't have a problem or a care on earth
And all around was silence, everywhere

You are the reason I was born
To be with you through all seasons
I'll always hear you when you call

We'll keep the love light shining
Through each night and day
A lonely life behind me
Oh, what a change you've made

So down here, on the ocean
We will stay, we will stay, we will stay
Been through a lot of changes
Turned a lot of pages
When I took a boat on sunday

To know you as I know you now
That is all I need
And we will get along somehow
If we both believe

So down here, on the ocean
We will stay, we will stay, we will stay
Been through a lot of changes
Turned a lot of pages
When I took a boat on sunday

A versão do Supertramp:

A versão de Jorge Duhalde, Martina Perez e Javier Perez:

A versão de Jasen Colson:

1704 – Eric Clapton – Next time you see her (1977)

 

Escrita por Eric Clapton, foi gravada em maio de 1977, no Olympic Studios, em Londres e lançada no disco Slowhand, o quinto da carreira de Clapton, em 27 de novembro de 1977. Foi produzida por Glyn Johns. Eric queria gravar com Glyn Johns, pois o mesmo era o produtos dos Stones e dos Eagles e ele gostava do trabalho dele. Eric Clapton cantou, fez backing vocals e tocou guitarra solo. George Terry tocou guitarra solo e guitarra ritmica. Carl Radle tocou baixo. Dick Sims tocou orgão. Jamie Oldaker tocou bateria e percussão. Yvonne Elliman e Marcy Levy fizeram backing vocals.

A letra:

She's got everything a man could ever ask for
She is lovely, brighter than a morning star
She is so beautiful, portrait of a sunset
She got everything, including my old car

Next time you see her, tell her that I love her
Next time you see her, tell her that I care
Next time you see her, tell her that I love her
Next time I see you, boy you'd better beware

I'm just trying to warn you that you're bound to get hurt
I couldn't be her last love, so how could you be her first?
I want to tell you, buddy, things are bound to get rough
I know that she's only flirting, but I think that I've had enough

Next time you see her, tell her that I love her
Next time you see her, tell her that I care
Next time you see her, tell her that I love her
Next time I see you, boy you'd better beware

If you see her again, I will surely kill you
And if you see her again, I will surely kill you
Next time you see her, tell her that I love her
Next time you see her, tell her that I care
Next time you see her, tell her that I love her
Next time I see you, boy you'd better beware

If you see her again, I will surely kill you
And if you see her again, I will surely kill you
Next time you see her, tell her that I love her
Next time you see her, tell her that I care
Next time you see her, tell her that I love her
Next time I see you, boy you'd better beware

A versão de Eric Clapton:

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: