Escrita
por Bob Marley, foi gravada entre janeiro de 1976 e abril de 1977 e
lançada em 3 de junho de 1977, no disco Exodus, o nono disco da
banda. Sairia também em compacto em 1977, com Roots no Lado B. Foi
produzida pelo próprio Bob Marley and The Wailers. Chegou ao número
27 dos charts britânicos. Foi regravada por Annie Lennox, em 1995,
entre outros artistas.
A
letra:
I
don't wanna wait in vain for your love I don't wanna wait in vain
for your love
From the very first time I placed my
eyes on you, girl My heart says follow through But I know, now,
that I'm way down on your line But the waitin' feel is fine
So don't treat me like a puppet on a
string 'Cause I know how to do my thing Don't talk to me as if
you think I'm dumb I wanna know when you're gonna come
See, I don't wanna wait in vain for
your love I don't wanna wait in vain for your love I don't
wanna wait in vain for your love
'Cause if summer is here I'm still
waiting there Winter is here And I'm still waiting there
Like I said It's been three years
since I'm knockin' on your door And I still can knock some
more Ooh girl, ooh girl, is it feasible? I wanna know now, for
I to knock some more
Ya see, in life I know there's lots of
grief But your love is my relief Tears in my eyes burn, tears
in my eyes burn While I'm waiting, while I'm waiting for my
turn See!
I don't wanna wait in vain for your
love I don't wanna wait in vain for your love I don't wanna
wait in vain for your love I don't wanna wait in vain for your
love
I don't wanna wait in vain for your
love, oh! I don't wanna, I don't wanna, I don't wanna, I don't
wanna I don't wanna wait in vain, no I don't wanna, I don't
wanna, I don't wanna, I don't wanna I don't wanna wait in vain,
no I don't wanna, I don't wanna, I don't wanna, I don't wanna I
don't wanna wait in vain
No no no, I, no I (I don't wanna wait
in vain) It's your love that I'm waiting on It's my love that
you're running from It's your love that I'm waiting on It's my
love that you're running from
Escrita
por Barry, Robin and Maurice Gibb, foi gravada em 1977 e lançada em
15 de novembro de 1977, na trilha sonora do filme Saturday night
fever. Saiu em compacto em dezembro de 1977, com If I can't have you
como Lado B. Foi produzida por Albhy Galuten, Karl Richardson e a
própria banda Bee Gees. É o número 99 da lista da revista Rolling
Stone das 500 greatest songs of all time. AFI colocou-a como número
9 da lista 100 years, 100 songs, das melhores músicas do cinema
americano. Foi número 1 no Billboard Hot 100 por 4 semanas. Chegou
ao número 4 no Reino Unido. Foi número 1 também na Austrália,
Canadá, Itália, México, Holanda e Nova Zelândia. Número 2 na
Áustria, Bélgica, Finlandia França, Alemanha, Portugal, Espanha e
Suíça. Número 3 na Suécia e número 4 na Irlanda e Noruega e
número 15 no Japão. Foi gravada na França, no Chatêau
D'Hérouville, como muitos artistas fizeram, por causa dos altos
impostos cobrados na Inglaterra. O baterista da banda teve que sair
por causa da morte de sua mãe e então fizeram um loop de bateria,
que virou padrão. Barry Gibb co-escreveu quatro número 1
consecutivos no Billboard Hot 100, sendo a única pessoa a ter
conseguido esse feito. Foram elas: Stayin' alive, dos Bee Gees, Love
is ticker than water, de Andy Gibb, o irmão mais novo da família,
Night fever, dos Bee Gees e If I can't have you, de Yvonne Elliman.
George Martin, produtor dos Beatles, disse que essa era uma grande
canção, que tinha um guitarra que deu o tema da musica, a batida
pulsante. E disse que não era coincidencia que a batida disco era de
120 batidas por minuto, o mesmo que o coração humano quando está
excitado, vibrando. E quando os vocais entram, empurram a música
ainda mais pra cima. Você escuta e começa a dançar. Barry Gibb
cantou e fez harmonias vocais e tocou guitarra base. Robin Gibb
cantou e fez harmonias vocais. Maurice Gibb fez harmonias vocais e
backing vocals e tocou baixo. Alan Kendall tocou guitarra solo. Blue
Weaver tocou teclado. Joe Lala tocou timbal.
A
letra:
Well,
you can tell by the way I use my walk I'm a woman's man, no time
to talk Music loud and women warm, I've been kicked around Since
I was born And now it's alright, it's okay And you may look the
other way We can try to understand The New York Times' effect
on man
Whether you're a brother or whether
you're a mother You're stayin' alive, stayin' alive Feel the
city breakin' and everybody shakin' And we're stayin' alive,
stayin' alive Ah, ha, ha, ha, stayin' alive, stayin' alive Ah,
ha, ha, ha, stayin' alive Oh, when you walk
Well now, I get low and I get high And
if I can't get either, I really try Got the wings of Heaven on my
shoes I'm a dancin' man and I just can't lose You know it's
alright, it's okay I'll live to see another day We can try to
understand The New York Times' effect on man
Whether you're a brother or whether
you're a mother You're stayin' alive, stayin' alive Feel the
city breakin' and everybody shakin' And we're stayin' alive,
stayin' alive Ah, ha, ha, ha, stayin' alive, stayin' alive
(oh) Ah, ha, ha, ha, stayin' alive (oh)
Life goin' nowhere, somebody help
me Somebody help me, yeah Life goin' nowhere, somebody help me,
yeah I'm stayin' alive
Well, you can tell by the way I use my
walk I'm a woman's man, no time to talk Music loud and women
warm I've been kicked around since I was born And now it's all
right, it's okay And you may look the other way We can try to
understand The New York Times' effect on man
Whether you're a brother or whether
you're a mother You're stayin' alive, stayin' alive Feel the
city breakin' and everybody shakin' And we're stayin' alive,
stayin' alive Ah, ha, ha, ha, stayin' alive, stayin' alive Ah,
ha, ha, ha, stayin' alive (hey)
Life goin' nowhere, somebody help
me Somebody help me, yeah Life goin' nowhere, somebody help me,
yeah I'm stayin' alive
Life goin' nowhere, somebody help
me Somebody help me, yeah (ah, ah, ah) Life goin' nowhere,
somebody help me, yeah I'm stayin' alive
Life goin' nowhere, somebody help
me Somebody help me, yeah (ah, ah, ah, ay) Life goin' nowhere,
somebody help me, yeah I'm stayin' alive
Life goin' nowhere, somebody help
me Somebody help me, yeah (oh) Life goin' nowhere, somebody
help me, yeah I'm stayin' alive
Escrita
por Roger Hodgson, mas creditada à dupla Hodgson/Davies, foi gravada
entre novembro de 1976 e janeiro de 1977, no Caribou Ranch, no
Colorado e no Record Pant Studios, em Los Angeles. Foi lançada em 3
de abril de 1977 no disco de mesmo nome, o quinto da banda. Foi
produzida pela própria banda. Roger Hodgson cantou e tocou violão
de 12 cordas. Rick Davies tocou orgão e Sintetizador. Dougie Thomson
tocou baixo. John Helliwell tocou clarinete. Bob Siebenberg tocou
bateria.
A
letra:
Even
in the quietest moments I wish I knew what I had to do And even
though the sun is shining Well I feel the rain, here it comes
again, dear And even when you showed me My heart was out of
tune For there's a shadow of doubt that's not letting me find you
too soon The music that you gave me The language of my soul Oh
Lord, I want to be with you. Won't you let me come in from the
cold?
Don't you let the sun fade away Don't
you let the sun fade away Don't you let the sun be leaving Won't
you come to me soon
And even though the stars are
listening And the ocean's deep, I just go to sleep And then I
create a silent movie You become the star, is that what you are,
dear? Your whisper tells a secret Your laughter brings me
joy And a wonder of feeling I'm nature's own little boy But
still the tears keep falling They're raining from the sky Well
there's a lot of me got to go under before I get high
Don't you let the sun disappear Don't
you let the sun disappear Don't you let the sun be leaving No,
you can't be leaving my life Say that you won't be leaving my
life Say that you won't be leaving my life Say won't you
please, stay won't you please Say won't you please, stay won't you
please Lord, won't you come and get into my life Lord, won't
you come and get into my life Say won't you please, stay won't you
please Say won't you please, stay won't you please Lord, don't
go
And even when the song is over Where
have I been, was it just a dream? And though your door is always
open Where do I begin, may I please come in, dear?
Escrita
por Eric Clapton, Marcy Levy e George Terry, foi gravada no Olympic
Studio em Barnes, Londres, em maio de 1977 e lançada em 25 de
novembro de 1977, no disco Slowhand, o quinto da carreira do artista.
Saiu também em compacto, com Cocaine como Lado B, também em
novembro de 1977. Glyn Johns foi o produtor. Chegou ao número 3 dos
charts Billboard Hot 100. Chegou ao número 1 no Canadá, número 2
na Hungria, número 5 no Japão, número 8 na Suécia, número 12 na
França, número 16 na Nova Zelandia, número 38 na Itália, número
39 no Reino Unido e número 57 na Austrália. Trata-se de um
country-blues no estilo de J.J. Cale. Chegou também ao número 26 do
Billboard Country Singles. Foi regravada por Jerry Garcia, entre
outros artistas. Eric Clapton tocou guitarra e cantou. Marcy Levy e
Yvonne Elliman fizeram backing vocals. George Terry tocou guitarra.
Carl Radle tocou baixo. Dick Sims tocou piano elétrico. Jamie
Oldaker tocou bateria.
A
letra:
There
is nothing that is wrong In wanting you to stay here with me I
know you've got somewhere to go But won't you make yourself at
home and stay with me? And don't you ever leave
Lay down, Sally, and rest here in my
arms Don't you think you want someone to talk to? Lay down,
Sally, no need to leave so soon I've been trying all night long
just to talk to you
Sun ain't nearly on the rise We
still got the moon and stars above Underneath the velvet skies,
love is all that matters Won't you stay with me? Don't you ever
leave
Lay down, Sally, and rest here in my
arms Don't you think you want someone to talk to? Lay down,
Sally, and no need to leave so soon I've been trying all night
long just to talk to you
I long to see the morning light Color
in your face so dreamily So don't you go and say goodbye You
can lay your worries down and stay with me And don't you ever
leave
Lay down, Sally, and rest here in my
arms Don't you think you want someone to talk to? Lay down,
Sally, there's no need to leave so soon I've been trying all night
long just to talk to you Lay down, Sally, and rest here in my
arms Don't you think you want someone to talk to? Lay down,
Sally, there's no need to leave so soon I've been trying all night
long just to talk to you
Escrita
por Elvis Costello, foi gravada em 17 de setembro de 1976, no Pathway
Studios, em Londres. Foi lançada apenas em compacto em 1977, com
Less than zero como Lado A. Foi produzida por Nick Lowe. Elvis
Costello cantou, fez backing vocals e tocou guitarra. John McFee
tocou pedal steel guitar. Nick Lowe tocou baixo e fez backing vocals
e Mickey Shine tocou bateria.
A
letra:
My
head is spinning and my legs are weak Goose step dancing, can`t
hear myself speak Hope in the eyes of the ugly girls That
settle for the lies of the last chancers When slow motion drunks
pick wallflower dancers
You come here looking for the ride to
glory Go back home with a hard luck story I can hardly wait
around until the weekend comes to town
Play one more for my radio
sweetheart Hide your love, hide your love Though we are so far
apart You've got to hide your love `Cause that`s the way the
whole thing started I wish we had never parted
When it`s late and the night gets
colder Don`t lay your head on any other shoulder Some hire
themselves out for a good time But you and I, we have been sold So
I keep on saying...
Play one more for my radio
sweetheart Hide your love, hide your love Though we are so far
apart You've got to hide your love `Cause that`s the way the
whole thing started I wish we had never parted
Escrita
por Billy Joel, foi gravada em 1977, no A & R Recording Inc., em
New York City e lançada em 29 de setembro de 1977 no disco de mesmo
nome. Sairia em compacto no Japão em 21 de maio de 1978 com Moving
out (Anthony's song) como Lado B. Foi produzida por Phil Ramone.
Chegou ao número 2 no Japão, vendendo quase 500 mil cópias. Chegou
ao número 8 na Nova Zelandia e número 59 na França e Austrália. É
a homenagem de Billy Joel ao arquetipo A sombra, de Carl Jung.
A
letra:
Well,
we all have a face That we hide away forever And we take them
out and show ourselves When everyone has gone Some are satin,
some are steel Some are silk and some are leather They're the
faces of the stranger But we love to try them on
Well, we all fall in love But we
disregard the danger Though we share so many secrets There are
some we never tell Why were you so surprised That you never saw
the stranger? Did you ever let your lover see The stranger in
yourself?
Don't be afraid to try again Everyone
goes south Every now and then Ooh, ooh You've done it, why
can't someone else? You should know by now You've been there
yourself
Once I used to believe I was such a
great romancer Then I came home to a woman That I could not
recognize When I pressed her for a reason She refused to even
answer It was then I felt the stranger Kick me right between
the eyes
Well, we all fall in love But we
disregard the danger Though we share so many secrets There are
some we never tell Why were you so surprised That you never saw
the stranger? Did you ever let your lover see The stranger in
yourself?
Don't be afraid to try again Everyone
goes south Every now and then Ooh, ooh You've done it, why
can't someone else? You should know by now You've been there
yourself
You may never understand How the
stranger is inspired But he isn't always evil And he is not
always wrong Though you drown in good intentions You will never
quench the fire You'll give in to your desire When the stranger
comes along
Escrita
por Bob Marley, foi gravada em inicialmente em 1965 e lançada por
Bob Marley and The Wailers. Depois em 1970, em um medley, gravado por
eles também. A nossa versão no entanto é a mais famosa, de 1977.
Gravada em 1977 e lançada no disco Exodus, em 3 de junho de 1977.
Sairia também em compacto, somente em 1984, com So much trouble in
the word como Lado B. Foi produzida por Bob Marley and The Wailers.
Em 1984, chegou ao número 1 na Nova Zelandia, número 2 na Holanda,
número 4 na Bélgica, número 5 no Reino Unido, número 6 na
Irlanda e número 24 na Austrália,
A
letra:
One
love, one heart Let's get together and feel all right Hear the
children crying (one love) Hear the children crying (one
heart) Sayin', "Give thanks and praise to the Lord And I
will feel all right" Sayin', "Let's get together and
feel all right" Whoa, whoa, whoa, whoa
Let them all pass all their dirty
remarks (one love) There is one question I'd really love to ask
(one heart) Is there a place for the hopeless sinners Who has
hurt all mankind just to save his own? Believe me
One love (what about the one
heart?) One heart (what about-) Let's get together and feel all
right As it was in the beginning (one love) So shall it be in
the end (one heart) Alright, give thanks and praise to the
Lord And I will feel all right Let's get together and feel all
right
One more thing Let's get together to
fight this Holy Armageddon (one love) So when the Man comes there
will be no, no doom (one song) Have pity on those whose chances
grows thinner There ain't no hiding place from the Father of
Creation
Sayin', one love (what about the one
heart?) One heart (what about-) Let's get together and feel all
right I'm pleading to mankind (one love) Oh, Lord (one heart)
whoa Give thanks and praise to the Lord And I will feel all
right Let's get together and feel all right Give thanks and
praise to the Lord And I will feel all right
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
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
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
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.
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
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
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
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
