1739 – Neil Young – Hold back the tears (1977)

Escrita por Neil Young, foi gravada em abril de 1977 com a banda Crazy Horse. Foi lançada no disco American Stars 'n Bars, o oitavo de Neil, em 27 de maio de 1977. Foi produzida por Neil Young, Tim Mulligan e David Briggs. Neil cantou, tocou violão e gaita. Frank Sampedro tocou guitarra. Ben Keith tocou pedal steel guitar. Carole Mayedo tocou violino. Billy Talbot tocou baixo. Ralph Molina tocou bateria. Linda Ronstadt e Nicolette Larson fizeram backing vocals.

A letra:

Hello, my old friend
It's good to see you smiling
You've been around so long, you must be strong
And single life really has its fine points
Like friends to help you out when things go wrong

Hold back the tears
That you've been cryin'
Push off the fears
When they come around

Hold back the tears
And keep on trying
Just around the next corner
May be waiting your true love

Two lying fools
And then four cryin' eyes
Counting on one another to survive
Crazy love must surely have this pain
If getting up means going down again

Hold back the tears
That you've been cryin'
Push off the fears
When they come around

Hold back the tears
And keep on trying
Just around the next corner
May be waiting your true love

A versão de Neil Young e Crazy Horse:

A versão de Jay Wilkins Band:

A versão de Sandy Mountain:

1738 – James Taylor – Your smiling face (1977)

Escrita por James Taylor, foi gravada entre março e abril de 1977 e lançada no disco JT, o oitavo de James Taylor, em 22 de junho de 1977. Foi produzida por Peter Asher. Sairia em compacto em setembro de 1977, com If I keep my heart out of sight como Lado B. Chegou ao número 20 do Billboard Hot 100. Chegou ao número 11 no Canadá. Frases como Isn't it amazing a man like me can feel this way?, reflete a surpresa de Taylor ao descobrir a felicidade no seu relacionamento com Carly Simon. James Taylor cantou e tocou violão. Danny Kirtchmar tocou guitarra. Leland Skalr tocou baixo. Dr. Clarence McDonald tocou piano. Russell Kunkel tocou bateria.

A letra:

Whenever I see your smilling face
I have to smile myself
Because I love you, yes I
And when you give me that pretty little pout
It turns me inside out
There's something about you, baby
I don't know

Isn't it amazing a man like me
Can feel this way?
Tell me how much longer
It can grow stronger every day
Oh, how much longer?

I thought I was in love a couple of times before
With the girl next door
But that was long before I met you
Now I'm sure that I won't forget you

And I thank my lucky stars
That you are who you are
And not just another lovely lady
Sent down to break my heart

Isn't it amazing a man like me
Can feel this way?
Oh tell me how much longer
It can grow stronger every day

Somebody tell me
No one can tell me that I'm doing wrong today
Whenever I see you smilin' at me
Nobody can tell me that, tell me that I'm doing wrong today
Whenever I see you shining everything my way

Nobody, nobody, nobody shout a little loud, no no no no
Lalalalala come on
Nobody gonna turn me around, nobody gonna put me down
Nobody gonna turn me around
Whenever I see you smilin'
No one can tell me that, you were wrong babe

A versão de James Taylor:

A versão dos Logins:

A versão de Bob Woolcock:

1737 – Bob Marley and The Wailers – Exodus (1977)

Escrita por Bob Marley, fo igravada entre janeiro e abril de 1977, e lançada em 3 de junho de 1977 no disco de mesmo nome, o nono da banda. Sairia depois em compacto, com Exodus apenas instrumental no Lado B. Chegou ao número 14 nos charts britânicos. E foi número 19 no Billboard R&B. Foi o primeiro compacto do artista a ser tocada em massa nas rádios negras dos Estados Unidos, expandindo o público de Bob Marley, que até então era predominantemente branco universitário e caribenho. A canção junta a história bíblica de Moisés liderando os israelenses no Egito com a esperança dos Rastafaris de serem liderados pra liberdade.

A letra:

Exodus, Movement of Jah people! Oh-oh-oh, yea-eah!
Heaven will tell to let me tell you this

Men and people will fight ya down, tell me why!
(When ya see Jah light) Ha-ha-ha-ha-ha-ha-ha!
Let me tell you if you're not wrong; then, why?
(Everything is alright)
So we gonna walk - alright! - through the roads of creation:
We the generation, tell me why!
(Trod through great tribulation) Trod through great tribulation

Exodus, alright! Movement of Jah people
Oh, yeah! O-oo, yeah! Alright!
Exodus, Movement of Jah people! Oh, Hell

Yeah-yeah-yeah, well!
Uh! Open your eyes (And look within)
Are you satisfied? (With the life you're livin'?) Uh!
We know where we're goin', uh!
We know where we're from
We're leavin' Babylon
We're goin' to our Fatherland

Two, three, four: Exodus, Movement of Jah people! Oh, yeah!
(Movement of Jah people!) Send us another brother Moses!
(Movement of Jah people!) From across the Red Sea!
(Movement of Jah people!) Send us another brother Moses!
(Movement of Jah people!) From across the Red Sea!
(Movement of Jah people!)
Exodus, alright! Oo-oo-ooh! Oo-ooh!
Movement of Jah people! Oh, yeah!
Exodus!
Exodus! Alright!
Exodus! Now now, now now!
Exodus!
Exodus! Oh, yea-ea-ea-ea-ea-ea-eah!
Exodus!
Exodus! Alright!
Exodus!

One, two, three, four: move!
Move!
Move!
Move!
Move!
Move!

Open your eyes and look within:
Are you satisfied with the life you're livin'?
We know where we're goin'
We know where we're from
We're leavin' Babylon, y'all!
We're goin' to our Father's land

Exodus, alright! Movement of Jah people!
Exodus, Movement of Jah people!
Movement of Jah people!
Movement of Jah people!
Movement of Jah people!
Movement of Jah people!

Move!
Move!
Move!
Move!
Move!
Move!
Move!

Jah come to break downpression
Rule equality
Wipe away transgression
Set the captives free

Exodus, alright, alright!
Movement of Jah people! Oh, yeah!
Exodus, Movement of Jah people! Oh, now now, now now!

Movement of Jah people!
Movement of Jah people!
Movement of Jah people!
Movement of Jah people!
Movement of Jah people!
Movement of Jah people!
Move!
Move!
Move!
Move!
Move!
Move! Uh-uh-uh-uh!
Move! (Movement of Jah people!)
Move! (Movement of Jah people!)
Move! (Movement of Jah people!)
Move! (Movement of Jah people!)
Move! (Movement of Jah people!)
Move! (Movement of Jah people!)
Movement of Jah people!
Movement of Jah people!
Movement of Jah people!

A versão de Bob Marley and The Wailers:

A versão de Ziggy Marley:

A versão de 1Xtra Jamaica:

1736 – ABBA – The name of the game (1977)

Escrita por Benny Andersson, Bjorn Ulvaeus e Stig Anderson, foi gravada em 31 de maio de 1977, no Marcus Music Studio. Foi lançada em 14 de outubro de 1977, no compacto que tinha I wonder (depature) como Lado B. Sairia também no The Album, o quinto disco da banda, em 12 de dezembro de 1977. Foi produzida por Benny Andersson e Bjorn Ulvaeus. Chegou ao número 1 no Reino Unido, ficando nessa posição por 4 semanas, em novembro de 1977. O título provisório era A bit of myself e foi a primeira canção gravada pro The Album. Era a composição mais complexa deles até o momento e teve os vocais principais divididos entre Agnetha Faltskog e Anni-Frid Lyngstad, embora tenham cantado trechos separados. O riff de baixo e sintetizador foi inspirada em I wish, de Stevie Wonder. Foi a última vez que Stig Anderson ajudou com a letra de um compacto. Billboard disse que era a número 6 das músicas do ABBA, enquanto a revista Rolling Stone disse que era o número 3. Foi o oitavo maior hit do ABBA no Reino Unido. Em 1996 foi sampleada pelos Fugees, pro hit Rumble in the jungle. Foi a primeira vez que uma música do ABBA foi sampleada legalmente por outro grupo. Além de número 1 no Reino Unido, foi também número 2 na Bélgica, Irlanda, Holanda e Suécia. Número 3 na Noruega e África do Sul. Número 4 Nova Zelandia e Rodésia. Número 5 na Finlandia. Número 6 na Austrália e Suíça. Número 7 na Alemanha Ocidental. Número 12 no Billboard Hot 100, no Canadá e n Austria. Foi regravada por Cher e Nils Landgren, entre outros artistas.

A letra:

I've seen you twice, in a short time
Only a week since we started
It seems to me, for every time
I'm getting more open-hearted

I was an impossible case
No-one ever could reach me
But I think I can see in your face
There's a lot you can teach me
So I wanna know

What's the name of the game?
Does it mean anything to you?
What's the name of the game?
Can you feel it the way I do?
Tell me please, 'cause I have to know
I'm a bashful child, beginning to grow

And you make me talk
And you make me feel
And you make me show
What I'm trying to conceal
If I trust in you, would you let me down?
Would you laugh at me, if I said I care for you?
Could you feel the same way too?
I wanna know

The name of the game

I have no friends, no-one to see
And I am never invited
Now I am here, talking to you
No wonder I get excited

Your smile, and the sound of your voice
And the way you see through me
Got a feeling, you give me no choice
But it means a lot to me
So I wanna know

What's the name of the game? (Your smile and the sound of your voice)
Does it mean anything to you? (Got a feeling you give me no choice)
(But it means a lot)
What's the name of the game? (Your smile and the sound of your voice)
Can you feel it the way I do?
Tell me please, 'cause I have to know
I'm a bashful child, beginning to grow

And you make me talk
And you make me feel
And you make me show
What I'm trying to conceal
If I trust in you, would you let me down?
Would you laugh at me, if I said I care for you?
Could you feel the same way too?
I wanna know
Oh, yes, I wanna know

The name of the game (I was an impossible case)
Does it mean anything to you? (But I think I can see in your face)
(That it means a lot)
What's the name of the game? (Your smile and the sound of your voice)
Can you feel it the way I do? (Got a feeling you give me no choice)
(But it means a lot)
What's the name of the game? (I was an impossible case)
Does it mean anything to you? (But I think I can see in your face)
(That it means a lot)

A versão do ABBA:

A versão de Luke Friend:

A versão de Cher:

1735 – Supertramp – From now on (1977)

Escrita por Rick Davies mas creditada à dupla Davies/Hodgson, foi gravada no Caribou studios no Colorado e no Record Plant, em Los Angeles, entre novembro de 1976 e janeiro de 1977 e lançada no disco Even in the quietest moments, o quinto da banda, em 3 de abril de 1977. Foi produzida pela própria banda. Roger Hodgson cantou e tocou guitarra. Rick Davies cantou, tocou piano, orgão, piano elétrico e melodica. Dougie Thomson tocou baixo. John Helliwell tocou sax. Bob Siebenberg tocou bateria e percussão.

A letra:

Monday has come around again
I'm in the same old place
With the same old faces always watching me
Who knows how long I'll have to stay
Could be a hundred years
Of sweat and tears
At the rate that I get paid

Sometimes I slowly drift away
From all the dull routine
That's with me every day
A fantasy will come to me
Diamonds are what I really need
Think I'll rob a store, escape the law
And live in Italy

Lately my luck has been so bad
You know the roulette wheel's
A crooked deal
I'm losing all I had

Soon be like a man that's on the run
And live from day to day
Never needing anyone
Play hide and seek
Throughout the week

My life is full of romance

Guess I'll always have to be
Living in a fantasy
That's the way it's got to be
From now on

Guess I'll always have to be
Living in a fantasy
Though it won't be really me
From now on

You think I'm crazy I can see
It's you for you, and me for me
Living in a fantasy
From now on

Guess I'll always have to be
Living in a fantasy
That's the way it's got to be
From now on

Guess I'll always have to be
Living in a fantasy
It's you for you, and me for me
From now on

Guess I'll always have to be
Living in a fantasy
That's the way it's got to be
From now on

Guess I'll always have to be
Living in a fantasy
It's you for you, and me for me
From now on, on, on, on

Guess I'll always have to be
Living in a fantasy
That's the way it's got to be?
From now on

Guess I'll always have to be

A versão do Supertramp:

A versão de EnDress:

A versão de Rick Davies:

1734 – Fleetwood Mac – Gold dust woman (1977)

 

Escrita por Stevie Nicks, foi gravada em 1976 e lançada em 4 de fevereiro de 1977 no disco Rumours, o décimo primeiro disco da banda. Sairia também em compacto na mesma época com You making love fun como Lado A. Foi produzida pela própria banda, Richard Dashut e Ken Caillat. Foi gravada às 4 da manhã, com Nicks com um pano preto cobrindo toda sua cabeça, com exceção da boca. Ela queria cobrir todos os sentidos. Foi usado um harpsichord elétrico com um jet phaser. Mick Fleetwood ficou batendo em vidros pra quebrar, pra acentuar a voz de Nicks. O título vem da Gold Dust ane, em Wickenburg, Arizona, onde Stevie Nicks morou quando criança. Mas Gold Dust era também uma metáfora pra cocaína. Stevie Nicks cantou, Lindsey Buckingham tocou guitarra, dobro e fez backing vocal. Mick Fleetwood tocou bateria, sino de vaca, harpsichor elétrico e efeitos sonoros. Christine McVie tocou piano elétrico Fender Rhodes e fez backing vocals. John McVie tocou baixo. Foi regravada pela banda Hole e Por Waylon Jennings, entre outros artistas.

A letra:

Rock on, Gold Dust Woman
Take your silver spoon, dig your grave
Heartless challenge
Pick your path and I'll pray

Wake up in the morning
See your sunrise, loves to go down
Lousy lovers pick their prey
But they never cry out loud, cry out

Well, did she make you cry
Make you break down
Shatter your illusions of love?
And is it over now, do you know how?
Pick up the pieces and go home

Rock on, ancient queen
Follow those who pale in your shadow
Rulers make bad lovers
You better put your kingdom up for sale
Up for sale

Well, did she make you cry
Make you break down
Shatter your illusions of love?
And is it over now, do you know how?
Pick up the pieces and go home

But did she make you cry
Make you break down
Shatter your illusions of love?
And now tell me, is it over now?
Do you know how to pick up the pieces
And go home? Go home, go home

Pale shadow of a woman
Black widow
Pale shadow of a dragon
Dust woman

Pale shadow of a woman
Black widow
Pale shadow, she's a dragon
Gold Dust Woman
Woman, woman

A versão do Fleetwood Mac:

A versão do Hole:

A versão de Waylon Jennings:

1733 – Neil Young – Like a Hurricane (1977)

 

Escrita por Neil Young, foi gravada em 29 de novembro de 1975, no Brokwn Arrow Ranch, em Woodisde, California. Foi lançada em 27 de maio de 1977, no disco American Stars 'n Bars, o oitavo disco de Neil Young. Sairia depois em 8 de agosto de 1977 no compacto com Hold back the tears como Lado B. Foi produzida por Neil Young, David Briggs e Tim Mulligan. A melodia foi inspirada em Runaway, de Del Shannon, de 1961. Foi regravada por Adam Sandler, entre outros artistas. Neil Young tocou guitarra solo e cantou. Frank Sampedro tocou sintetizador e fez backing vocals. Billy Talbot tocou baixo e fez backing vocals. Ralph Molina tocou bateria e fez backing vocals.

A letra:

Once I thought I saw you in a crowded hazy bar
Dancing on the light from star to star
Far across the moonbeam I know that's who you are
I saw your brown eyes turning once to fire

You are like a hurricane
There's calm in your eye
And I'm gettin' blown away
To somewhere safer where the feeling stays
I want to love you but I'm getting blown away

I am just a dreamer but you are just a dream
And you could have been anyone to me
Before that moment you touched my lips
That perfect feeling when time just slips
Away between us on our foggy trip

You are like a hurricane
There's calm in your eye
And I'm gettin' blown away
To somewhere safer where the feeling stays
I want to love you but I'm getting blown away
Blown away

You are just a dreamer and I am just a dream
You could have been anyone to me
Before that moment you touched my lips
That perfect feeling when time just slips
Away between us on our foggy trip

You are like a hurricane
There's calm in your eye
And I'm gettin' blown away
To somewhere safer where the feeling stays
I want to love you but I'm getting blown away

A versão de Neil Young:

A versão de Mike Massé:

A versão de Adam Sandler:

1732 – James Taylor – Handyman (1977)

Escrita por Jimmy Jones e Otis Blackwell, foi gravada inicialmente por Jimmy Jones e lançada em dezembro de 1959, em um compacto com The search is over como Lado B e foi um tremendo sucesso, vendendo mais de um milhão de cópias e chegando ao número 3 no Billboard R&B e número 2 no Billboard Hot 100. Del Shannon iria regravá-la em 1964, sendo também um hit, chegando ao número 22 do Billboard Hot 100. No entanto a nossa versão é a de James Taylor, gravada entre março e abril de 1977, no Sound Factory, em Hollywood, California e lançada em 22 de junho de 1977, no disco JT, o oitavo da sua carreira. Sairia também em compacto, no mesmo mês, com Bartender's blues como Lado B. Foi produzida por Peter Asher, ex-cunhado de Paul McCartney e que fez dupla com Gordon. A versão de James Taylor chegou ao número 1 no Canadá, número 4 no Billboard Hot 100 e deu a Taylor um Grammy Award for best male pop vocal performance. Leah Kunkel fez backing vocal, fazendo famoso “comma comma”, feito por Jimmy Jones ainda em 1959. James Taylor cantou, tocou violão e fez backing vocals. Danny Kortchmar tocou guitarra. Leland Sklar tocou baixo. Clarence McDonald tocou piano elétrico. Russell Kunkel tocou bateria. Leah Kunkel fez backing vocals e Peter Asher tocou congas e cabasa.

A letra:

Hey girls, gather round
Listen to what I'm puttin' down
Hey, baby, I'm your handy man
I'm not the kind that uses pencil or rule
I'm handy with the love and I'm no fool
I fix broken hearts, I know I truly can

If your broken heart, she needs repair
Then I'm the man to see, I whisper sweet things
You tell all your friends, they'll come running to me
Here is the main thing I want to say
I'm busy twenty four hours a day
I fix broken hearts, I know that I truly can

Come, come, come, come, come, come, come
Yeah, yeah, yeah
Come, come, come, come, come, come, come, oh now
They'll come runnin' to me

Here is the main thing I want to say
I'm busy twenty four hours a day
I fix broken hearts, baby I'm your handy man

Come, come, come, come, come, come, come
Yeah, yeah, yeah
Come, come, come, come, come, come, come
Yeah, yeah, yeah
That's me
(Come, come, come, come, come, come)
I'm your handy man
(Yeah, yeah, yeah)
That's me
(Come, come, come, come, come, come)
I'm your handy man
(Yeah, yeah, yeah)

A versão de James Taylor:

A versão de Larry L:

A versão de Del Shannon:

1731 – Bob Marley and The Wailers – Jamming (1977)

 

Escrita por Bob Marley, foi gravada entre janeiro e abril de 1977 e lançada no disco Exodus, em 3 de junho de 1977. Sairia também em compacto no mesmo dia com Punky reggae party como Lado B. Foi produzida por Bob Marley and The Wailers. No linguajar jamaicano, jamming significa festa ou celebração. Chegou ao número 9 no Reino Unido e número 99 na Austrália.

A letra:

Ooh, yeah! All right!

Alright.

We're jammin'
(See)
I wanna jam it wid you
We're jammin', jammin',
And I hope you like jammin', too

We're jammin'
To think that jammin' was a thing of the past
We're jammin',
And I hope this jam is gonna last

We're jammin'
Jammin'
Jammin'
Jammin'
Jammin'

Now we're jammin' in the name of the Lord
We're jammin',
Jammin'
Jammin'
Jammin'
Now we're jammin' right straight from yard

Ooh, yeah!

We're jammin'
I wanna jam it wid you
We're jammin', jammin',
And I hope you like jammin', too

Jam's about my pride and truth I cannot hide
To keep you satisfied
Love that now exist, true love I can't resist,
Jam by my side. Oh, yea-ea-yeah!

We're jammin'
(See)
I wanna jam it wid you
We're jammin', jammin',
And I hope you like jammin', too

We're jammin'
To think that jammin' was a thing of the past
We're jammin',
And I hope this jam is gonna last

We're jammin'
Jammin'
Jammin'
Jammin'

Now we're jammin' in the name of the Lord
We're jammin',
Jammin'
Jammin'
Jammin'
Now we're jammin' right straight from yard

Ooh, yeah!

We're jammin'
I wanna jam it wid you
We're jammin', jammin',
And I hope you like jammin', too

We're jammin',
Jammin'
Jammin'
Jammin'
I wanna jam it wid you
We're jammin', jammin',
And I hope you like jammin', too

We're jammin',
We're jammin',
(See)
We're jammin',
We're jammin',
Oh yeah!

A versão de Bob Marley and The Wailers:

A versão de Ziggy Marley:

A versão de Stephen Marley:

1730 – ABBA – Thank you for the music (1977)

Escrita por Benny Andersson e Bjorn Ulvaeus, foi gravada em 21 de julho de 1977 e lançada em 12 de dezembro de 1977, no disco The Album, o quinto disco do ABBA. Sairia também em compacto, com Eagle como Lado A, em 18 de maio de 1978. Foi produzida pela própria dupla de compositores. Agnetha Faltskog cantou e fez backing vocals. Anni-Frid Lyngstad fez backing vocals. Bjorn Ulvaeus fez backing vocals, tocou violão base e bandolim. Benny Andersson fez backing vocals e tocou teclado. Lasse Wellander tocou violão solo e bandolim. Rutger Gunnarsso tocou baixo. Roger Palm tocu bateria e pandeiro. Foi regravada pelos Carpenters, entre outros artistas.

A letra:

I'm nothing special, in fact I'm a bit of a bore
If I tell a joke, you've probably heard it before
But I have a talent, a wonderful thing
'Cause everyone listens when I start to sing
I'm so grateful and proud
All I want is to sing it out loud

So I say
Thank you for the music, the songs I'm singing
Thanks for all the joy they're bringing
Who can live without it? I ask in all honesty
What would life be?
Without a song or a dance, what are we?
So I say thank you for the music
For giving it to me

Mother says I was a dancer before I could walk
She says I began to sing long before I could talk
And I've often wondered, how did it all start?
Who found out that nothing can capture a heart
Like a melody can?
Well, whoever it was, I'm a fan

So I say
Thank you for the music, the songs I'm singing
Thanks for all the joy they're bringing
Who can live without it? I ask in all honesty
What would life be?
Without a song or a dance what are we?
So I say thank you for the music
For giving it to me

I've been so lucky, I am the girl with golden hair
I wanna sing it out to everybody
What a joy, what a life, what a chance

Thank you for the music, the songs I'm singing
Thanks for all the joy they're bringing
Who can live without it, I ask in all honesty
What would life be?
Without a song or a dance what are we?
So I say thank you for the music
For giving it to me

So I say
Thank you for the music, for giving it to me

A versão do ABBA:

A versão do Carpenters:

A versão de Amanda Seyfried:

1729 – Supertramp – Fool's overture (1977)

 

Escrita por Roger Hodgson, mas creditada à dupla Hodgson/Davies, foi gravada entre novembro de 1976 e janeiro de 1977, no Colorado e em Los Angeles. Foi lançada no disco Even in the quietest moments, o quinto da banda, em 3 de abril de 1977. Foi produzida pela própria banda. São três músicas diferentes que se uniram pra forma uma. Contém partes do discurso de Churchill de 4 de junho de 1940, quando do envolvimento da Grã-Bretanha na Segunda Guerra Mundial, conhecido como “Never Surrender”. Tem também a leitura do primeiro verso do poema And did those feet in ancient time, do poeta William Blake. Roger Hodgson cantou, tocou piano, sintetizador e orgão. Rick Davies cantou, e tocou sintetizador. Dougie Thomson tocou baixo. John Helliwell tocou sax e clarinete. Bob Sienberg tocou bateria.

A letra:

History recalls how great the fall can be
While everybody's sleeping, the boats put out to sea
Borne on the wings of time
It seemed the answers were so easy to find
"To late, " the prophets (profits) cry
The island's sinking, let's take to the sky

Called the man a fool, striped him of his pride
Everyone was laughing up until the day he died
And though the wound went deep
Still he's calling us out of our sleep
My friends, we're not alone
He waits in silence to lead us all home

So tell me that you find it hard to grow
Well I know, I know, I know
And you tell me that you've many seeds to sow
Well I know, I know, I know

Can you hear what I'm saying
Can you see the parts that I'm playing
"Holy Man, Rocker Man, Come on Queenie,
Joker Man, Spider Man, Blue Eyed Meanie"

So you found your solution
What will be your last contribution?
"Live it up, rip it up, why so lazy?
Give it out, dish it out, let's go crazy,
Yeah!"

A versão do Supertramp:

A versão de Magic Blend:

A versão de Beto Eliezer:

1728 – Fleetwood Mac – Dreams (1977)

Escrita por Stevie Nicks, foi gravada entre fevereiro e agosto de 1976, no Record Plant, em Sausalito e e no Wally Heider's Studio, em Hollywood e lançada em 4 de fevereiro de 1977 no disco Rumours, o décimo primeiro da banda. Saiu também em compacto, em março de 1977, com Songbird como Lado B. Foi produzida pela própria banda, por Ken Caillat e por Richard Dashut. Chegou ao primeiro lugar do Billboard Hot 100 e vendeu mais de um milhão de cópias somente nos Estados Unidos. Foi o único número 1 da banda naquele país. Chegou também ao número 1 no Canadá e número 24 no Reino Unido. . Chegou ao número 8 na Holanda, número 16 na Nova Zelandia, número 19 na Austrália, número 22 na Bélgica e número 33 na Alemaha Ocidental. É o número 9 da lista das 500 greatest songs of all time da revista Rolling Stone. Foi regravada pelo The Corrs, entre outros artistas. Stevie Nicks cantou e fez backing vocals. Christine McVie tocou piano elétrico Fender Rhodes, orgão, vibrafone e fez backing vocals. Lindsey Buckingham tocou violão, guitarra e fez backing vocals. Mick Fleetwood tocou bateria e congas. John McVie tocou baixo.

A letra:

Now here you go again, you say you want your freedom
Well, who am I to keep you down?
It's only right that you should play the way you feel it
But listen carefully to the sound of your loneliness

Like a heartbeat, drives you mad
In the stillness of remembering what you had
And what you lost
And what you had
And what you lost

Oh, thunder only happens when it's raining
Players only love you when they're playing
Say, women, they will come and they will go
When the rain washes you clean, you'll know
You'll know

Now here I go again, I see the crystal vision
I keep my visions to myself
But it's only me who wants to wrap around your dreams, and
Have you any dreams you'd like to sell, dreams of loneliness?

Like a heartbeat, drives you mad
In the stillness of remembering what you had
And what you lost
And what you had
Ooh, what you lost

Thunder only happens when it's raining
Players only love you when they're playing
Women, they will come and they will go
When the rain washes you clean, you'll know

Oh, thunder only happens when it's raining
Players only love you when they're playing
Say, women, they will come and they will go
When the rain washes you clean, you'll know

You'll know
You will know
Oh-oh-oh, you'll know

A versão do Fleetwood Mac:

A versão de Lanie Gardner:

A versão de Dana Williams e Leighton Meester:

1727 – Elvis Costello – Watching the detectives (1977)

 

Escrita por Elvis Costello, foi gravada em maio de 1977 e lançada em compacto em 14 de outubro de 1977, com Blame it on Cain como Lado B. Foi produzida por Nick Lowe. Foi inspirada no The Clash e em Bernard Herrmann, tem uma batida de reggae e uma letra cínica. Sendo seu quarto compacto, foi o primeiro dele a entrar nos charts, chegando ao número 15 no Reino Unido, número 35 na Austrália e número 60 no Canadá. Chegou ao número 108 do Billboard Hot 100. É o número 363 das 500 greatest songs of all time da revista Rolling Stone. A canção fala de um amante que prefere assistir TV do que namorar. Elvis Costello disse que essa é a música que ele mais gosta da fase que compreende os cinco primeiros anos de sua carreira. Steve Goulding tocou bateria e Andrew Bodnar tocou baixo. Steve Nason tocou teclado e órgão. Elvis Costello canto e tocou guitarra. Foi regravada por Toto e Duran Duran, entre outros artistas. Steve Nason tinha apenas 19 anos e foi a primeira vez que ele gravou algo na sua vida.

A letra:

Nice girls, not one with a defect
Cellophane shrink-wrapped, so correct
Red dogs under illegal legs
She looks so good that he gets down and begs

She is watching the detectives
"Ooh, it's so cute"
She's watching the detectives
When they shoot, shoot, shoot, shoot
They beat him up until the teardrops start
But he can't be wounded 'cause he's got no heart

Long shot of that jumping sign
Invisible shivers running down my spine
Cut to baby taking off her clothes
Close-up of the sign that says: "We never close"

You snatch a chill and you match a cigarette
She pulls the eyes out with a face like a magnet
I don't know how much more of this I can take
She's filing her nails while they're dragging the lake

She is watching the detectives
"Oh, he's so cute"
She is watching the detectives
Oh, and they shoot, shoot, shoot, shoot
They beat him up until the teardrops start
But he can't be wounded 'cause he's got no heart

You think you're alone until you realize you're in it
Now baby's here to stay, love is here for a visit
They call it instant justice when it's past the legal limit
Someone's scratching at the window, I wonder, who is it?

The detectives come to check if you belong to the parents
Who are ready to hear the worst about their daughter's disappearance
Though it nearly took a miracle to get you to stay
It only took my little fingers to blow you away

Just like watching the detectives
Don't get cute
Just like watching the detectives
I get so angry when the teardrops start
But he can't be wounded 'cause he's got no heart

Watching the detectives
It's just like watching the detectives
Watching the detectives
Watching the detectives
Watching the detectives
We're watching the detectives
They're watching the detectives
Watching the detectives
Watching the detectives

A versão de Elvis Costello:

A versão de Toto:

A versão do Duran Duran:

1726 – Neil Young – Star of Bethlehem (1977)

 

Escrita por Neil Young, foi gravada em novembro de 1974 e lançada no disco Stars'n'bars, o oitavo da carreira de Neil, em 27 de maio de 1977. Foi produzida por Elliot Mazer. Nei Young cantou, tocou violão e gaita. Ben Keith tocou dobro e fez backing vocals. Tim Drummond tocou baixo. Karl T. Himmel tocou bateria. Emmylou Harris fez harmonias vocais.

A letra:

Ain't it hard when you wake up in the morning
And you find out that those other days are gone?
All you have is memories of happiness
Lingerin' on

All your dreams and your lovers won't protect you
They're only passing through you in the end
They'll leave you stripped of all that they can get to
And wait for you to come back again

Yet still a light is shining
From that lamp on down the hall
Maybe the star of Bethlehem
Wasn't a star at all

A versão de Neil Young:

A versão de J. D. Delves and The Harvest Moon:

A versão de Jay Wilkins Band: