1745 – Neil Young – Will to love (1977)

 

Escrita por Neil Young, foi gravada em maio de 1976 e lançada em 27 de maio de 1977, no disco American Stars n' bars, o oitavo disco de Neil Young, Foi produzida por Neil Young, David Briggs e Tim Mulligan. Ele gravou-a sozinho, em frente à uma lareira, tocando violão. Ele usou equipmentos pra imitar um som de um peixe. Depois ele adicionou percussão, baixo e vibrafone, todos tocados por ele mesmo. Ele nunca cantou-a depois de gravar. Ele disse que não lembra da melodia, pois os versos vieram diferentes. O narrador se imagina sendo um salmão nadando contra a correnteza para reproduzir e tentar sobreviver. Neil disse que essa era uma das melhores gravações que ele fez.

A letra:

It has often been my dream
To live with one who wasn't there
Like an ocean fish who swam upstream
Through nets, by hooks, and hungry bears

When the water grew less deep
My fins were aching from the strain
I'm swimming in my sleep
I know I can't go back again

Got the will to love, the will to love
I'll never lose it, never lose the will to love
Never lose the will
It's like something from up above

I can be like a fire in the night
Always warm and giving off light
But there comes a time when I shine too bright
Oh, I'm just a fire in the night

And now my fins are in the air
And my belly's scraping on the rocks
I still think someone really cares
And I'll keep swimming 'til I stop

Got the will to love, the will to love
I'll never lose it, never lose the will to love
Never lose the will
It's like something from up above

I'm like a singer on the stage
With the golden lights and liquid rage
Down from the mountains to the sea
Cool running love keeps cleansing me

It keeps my gills from getting dry
But it distorts things in my eyes
Sometimes I see what really isn't there
Like my true lover, and I care

Got the will to love, the will to love
I'll never lose it, never lose the will to love
Never lose the will
It's like something from up above

Sometimes I ramble on and on
And I repeat myself till all my friends are gone
And get lost in snow and drown in rain
And never feel the same again

I remember the ocean from where I came
Just one of millions all the same
But somewhere someone calls my name
I'm a harpoon dodger, and I can't, won't be tamed

Got the will to love, the will to love
I'll never lose it, never lose the will to love
Never lose the will
It's like something from up above

Baby, if I see boredom in your eyes
I'll know my river has run dry
But I won't turn back with that lonely tide
I bought that ticket and I'll take that ride

If we meet along the way
Please sway beside me, let us sway together
Our tails together and our fins and mind
We'll leave this water and let our scales shine
In the sun above and the sky below
So all the water and earth will know

It has often been my dream
To live with one who wasn't there

A versão de Neil Young;

A versão dos Harvesters:

A versão de JJB Hendricks:

1744 – James Taylor – Another grey morning (1977)

 

Escrita por James Taylor, foi gravada entre março e abril de 1977 e lançada no disco JT, o oitavo da carreira de James Taylor, em 22 de junho de 1977. Foi produzida por Peter Asher. James Taylor cantou e fez backing vocals e tocou violão. Danny Kortchamar tocou guitarra. Dr. Clarence McDonald tocou teclados. Leland Sklar tocou baixo e Russ Kunkel tocou bateria.

A letra:

When I feel as though my love is sinking down, the sun doesn't want to shine.
When it feels like she won't face another day, life is unkind, she's frozen in time.
And here comes another grey morning. A not so good morning after all.
She says "well, what am I to do today with too much time and so much sorrow."

She hears the baby waking up downstairs.
She hears the foghorn calling out across the sound.
Repetition in the morning air is just too much to bear, and no one seems to care.
If another day goes creeping by empty and ashamed,
like an old unwanted memory that no one will claim.
The clouds with their heads on the ground, she's gonna have to come down.

She said "move me, move me, I'm locked up inside."
Well, I didn't understand her though God knows I tried.
She said "make me angry but just make me cry.
But no more grey morning, I think I'd rather die."

A versão de James Taylor: 

 

 

A versão de Scott Jackson:

A versão de Jenna Mammina:

1743 – Bob Marley and The Wailers – Guiltiness (1977)

 

Escrita por Bob Marley, foi gravada entre janeiro e abril de 1977 e lançada no disco Exodus, o nono disco da banda, em 3 de junho de 1977. Foi produzida por Bob Marley and The Wailers. Bob cantou, fez backing vocals e tocou guitarra. Junior Marvin tocou guitarra. Aston Barrett tocou baixo. Calrton Barrett tocou bateria. Tyrone Downie tocou sintetizador, piano elétrico, órgão e fez backing vocals. Alvin patterson tocou percussão. Rita Marley, Marcia Griffiths e Judy Mowatt fizeram backing vocals. David Madden tocou trompete. Vin Gordon tocou trombone e Glen da Costa tocou sax.

A letra:

Guiltiness (talking about guiltiness)
Pressed on their conscience, oh yeah
Oh yeah
And they live their lives (they live live)
On false pretense everyday
Each and everyday yeah

These are the big fish (these are the big fish)
Who always try to eat down the small fish
And just the small fish
I tell you what, they would do anything
To materialize their every wish
Oh yeah yeah yeah yeah

But they woe to the down pressers
They'll eat the bread of sorrow
Woe to the down pressers
They'll eat the bread of sad tomorrow
Woe to the down pressers
They'll eat the bread of sorrow
Oh, yeah yeah! Oh, yeah yeah yeah yeah

Guiltiness (talking about guiltiness)
Pressed on their conscience, oh yeah, oh yeah
These are the big fish (these are the big fish)
Who always try to eat down the small fish
A just the small fish

And I tell you what (they would do anything)
To materialize their every wish
Oh yeah yeah yeah yeah

But woe, woe to the down pressers
They'll eat the bread of sorrow
Woe to the down pressers
They'll eat the bread of sad tomorrow
Woe to the down pressers
They'll eat the bread of sad tomorrow
Oh, yeah! Oh, yeah yeah yeah yeah

Guiltiness, oh yes
They'll eat the bread of sorrow (everyday) everyday (oh yeah)
And they'll eat the bread of sad tomorrow (everyday) everyday

A versão de Bob Marley and The Wailers:

A versão de Chronixx:

A versão de Rootsriders:

1742 – Rod Stewart – You got a nerve (1977)

 

Escrita por Rod Stewart e Gary Grainger, foi gravada em 1977 e lançada no disco Foot loose and Fancy Free, o oitavo disco de Rod Stewart. Foi produzida por Tom Dowd. Rod Stewart cantou e fez backing vocals. Gary Grainger tocou guitarra e fez backing vocals. Jim Cregan tocou guitarra e fez backing vocals. Phil Chen tocou baixo e fez backing vocals. Carmine Appice tocou bateria e fez backing vocals. Billy Peek tocou guitarra e fez backing vocals. John Barlow Jarvic tocou teclado e fez backing vocals. Steve Cropper tocou guitarra. David Foster tocou teclado. Nicky Hopkins tocou sintetizador. Paulinho da Costa e Tommy Vig tocaram percussão. Phil Kenzie tocou sax e Richard Greene tocou violino.

A letra:

Here you stand with tears in your eyes
Crying into my arms
Pleading with me to take you back
Teasing me with your charms

But you got a nerve to come 'round here
After all you've said and done
I thought I had seen everything
Obviously, I was wrong

'Cause where were you when the sun went down
Skies turned dark and gray?
Where were you when the north winds blew
Honey, tell me where were you?

I heard you were living down in Brazil
With them high class friends of mine
I can't believe I was so naive
Did I never once cross your mind?

You told them all, I was down and out
My existence you even denied
Oh, what pleasure it gives me now
To know that you're bleeding inside

You were my life, you were my breath
You were every move I ever made
But recently my opinion's changed
The joke's on you, I'm afraid

'Cause I have a woman so beautiful
For you I could no longer wait
Please go away, you may spoil everything
Your love has turned up too late

Go away, go away
Please, please, go away
I loved you once, I don't love you now
Please, please, go away

A versão de Rod Stewart:

1741 – Supertramp – Babaji (1977)

 

Escrita por Roger Hodgson mas creditada à Rick Davies também, 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 em 11 de novembro de 1977, com From now on como Lado B. Foi produzida pela própria banda. Foi escrita em homenagem à Mahavatar Babaji, que Roger o tinha como Cristo ou Krishna ou como a manifestação da força de Deus. Os outros membros da banda não gostaram nada dessa canção mas aceitaram. É uma canção no estilo George Harrison. Roger Hodgson cantou, tocou piano e guitarra, Rick Davies tocou teclado e cantou. John Helliwell tocou sax, clarinete e cantou. Dougie Thomson tocou baixo. Bob Siebenberg tocou bateria e percussão.

A letra:

All of my life I felt that you were listening
Watching for ways to help me stay in tune
Oh Lord of my dreams
Although confusion keeps trying to deceive
Oh what is it that makes me believe in you?

Oh I know, I know, I know, I know

Ooh yeah

Babaji, oh won't you come to me
Won't you help me to face the music
Bring it out, so we can sing it out
Help us to find it before we lose it

At night when the stars are near
And there's no one to keep you from coming here
And there's no one to shield me before your eyes
Is it mine, is it mine, is it mine to know

I said though I can see it's not too good for me
To be afloat in the sea of glory
Oh Babaji, oh how you comfort me
By showing me it's a different story

Your light in the dark is real
And I know that you know it is how I feel
When I see the reflection that's in your eyes
Is it mine, is it mine, is it mine to know

Oh oh
Can't you hear me
Oh singing low
Oh yeah
Oh yeah, alright

Oh Babaji, have you a song for me
To tell the world of its guardian angel
Bring it out, so we can sing it out
Oh must you always remain a stranger

At night when the stars are near
And I long for delusion to disappear
Then I see the reflection that's in your eyes
Is it time, is it time, is it time
Is is time, is it time, is it time
Is it time to know
Oh oh

I said I'm calling you, Babaji (Babaji)
I said I'm calling you, Babaji (Babaji)
Oh oh sing it Babaji (Babaji)
Oh can you hear me, Babaji (Babaji)
I told I'm calling you, Babaji, (Babaji)
Babaji (Babaji)
Oh Babaji (Babaji)
Oh I sing it (Babaji)
Oh sing it (Babaji)
Oh sing it (Babaji)
Oh sing it (Babaji)
Sing it (Babaji)
Sing it (Babaji)
Sing it (Babaji)
Sing it (Babaji)
Sing it (Babaji)

A versão do Supertramp:

1740 – Elvis Presley – She thinks I still care (1977)

Escrita por Dickey Lee e Steve Duffy, foi lançada inicialmente em 14 de abril de 1962, por George Jones, em um compacto que tinha Sometimes you just can't win como Lado B. Foi regravada também por Connie Francis, Anne Murray, Del Shannon, Bill Haley and His Comets, Cher, Jerry Lee Lewis, Merle Haggard, Glen Campbell, Leon Russell, John Fogerty, James Taylor, entre outros artistas. A versão de George Jones, em 1962, chegou ao número 1 do Billboard Hot Country Songs. Aconteceu o mesmo com a de Anne Murray em 1974. Mas a nossa versão foi escolhida foi a de Elvis Presley, que foi gravada em 2 de fevereiro de 1976, na sua casa, Graceland e foi lançada no seu últimod disco de estúdio, Moody blues, de 19 de julho de 1977. O produtor foi Felton Jarvis.

A letra:

Oh just because I asked a friend about her
Just because I spoke her name somewhere
Just because I rang her number by mistake today
You know she thinks I, I still care

And just because I haunt the same old places (same old places)
Where the memories of her linger everywhere
Just because I'm not the happy guy I used to be
Lord, you know, she thinks I still care

Well, if she's happy thinking I still need her
Yea, let that silly notion bring her cheer
Oh how could she ever be so foolish
Tell me where did she get, Lord such an idea

Yeah, oh Lord
Just because I asked a friend about her
And you know, just because I spoke her name somewhere
Just because, Lord I saw her and went to pieces
Lord, you know, she thinks I, Lord, still care

You know, she thinks I, I still care
Lord, she thinks I still care
Oh no, she thinks I still care

A versão de Elvis Presley:

A versão de George Jones:

A versão de John Fogerty:

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: