1754 – Rod Stewart – You're in my heart (The final acclaim) (1977)

 

Escrita por Rod Stewart, foi gravada em 1977 e lançada em 7 de outubro de 1977 no compacto que tinha You got a nerve como Lado B. Sairia também no disco Foot loose & Fancy free, em 4 de novembro de 1977. Foi produzida por Tom Dowd. Rod Stewart cantou. Jim Cregan tocou guitarra e fez backing vocals. Phil Chen tocou baixo. Carmine Appice tocou bateria e fez backing vocals. David Foster tocou piano elétrico Fender Rhodes. Fred Tackett tocou violão. Nicky Hopkins tocou sintetizador de cordas. Richard Greene tocou violino. Chegou ao número 1 na Austrália e Canadá. Número 2 na Irlanda e Nova Zelandia. Número 3 no Reino Unido. Número 4 no Billboard Hot 100. Número 8 na Irlanda e número 13 na Bélgica. E número 35 na Noruega.

A letra:

I didn't know what day it was
When you walked into the room
I said hello unnoticed
You said goodbye too soon

Breezing through the clientele
Spinning yarns that were so lyrical
I really must confess right here
The attraction was purely physical

I took all those habits of yours
That in the beginning were hard to accept
Your fashion sense, Beardsley prints
I put down to experience

The big bossed lady with the Dutch accent
Who tried to change my point of view
Her ad lib lines were well rehearsed
But my heart cried out for you

You're in my heart, you're in my soul
You'll be my breath should I grow old
You are my lover, you're my best friend
You're in my soul

My love for you is immeasurable
My respect for you immense
You're ageless, timeless, lace and fineness
You're beauty and elegance

You're a rhapsody, a comedy
You're a symphony and a play
You're every love song ever written
But honey what do you see in me

You're in my heart, you're in my soul
You'll be my breath should I grow old
You are my lover, you're my best friend
You're in my soul

You're an essay in glamor
Please pardon the grammar
But you're every schoolboy's dream
You're Celtic, United, but baby I've decided
You're the best team I've ever seen

And there have been many affairs
Many times I've thought to leave
But I bite my lip and turn around
'Cause you're the warmest thing I've ever found

You're in my heart, you're in my soul
You'll be my breath should I grow old
You are my lover, you're my best friend
You're in my soul

A versão de Rod Stewart:

A versão de Holly Taymar:

A versão de Richard Lee:

1753 – John Denver – It amazes me (1977)

 

Escrita por John Denver, foi gravada em 1977 e lançada em novembro de 1977, no disco I want to live, o décimo segundo da carreira de Denver. Foi produzida por Milton Okun e John Snyder. John Denver cantou e tocou violão. James Burton tocou guitarra. Hal Blaine tocou bateria. Chuck Domanico tocou baixo. Michael Lang tocou teclado. Herb Pedersen tocou banjo e guitarra. Lee Ritenour tocou guitarra.

A letra:

You came looking for the answers
To some questions on his mind
Seeking truth and understanding
In the hope that he would find
A way to better serve his brothers
And his sisters in the sun
Sharing all that he has given
Giving all to everyone

Come and listen to the story
Of a journey once begun
Of a people and their plenty
And their season in the sun
And how they gave themselves to symbols
And things that they could hold
Living lives in desperation
In the fear of letting go

It amazes me
And I know the wind will surely one day
Blow it all away
It amazes me
And I'm so very grateful that you made the world this way

For our plans have come together now
Where do we go from here
Will our differences divide us
Must we always live in fear
For there are things that we must move through
Some things to cast aside
But our father watches over us
Our mother will provide

It amazes me
And I know the wind will someday surely
Blow it all away
It amazes me
And I'm so very grateful that you made the world this way

It amazes me
It amazes me
It amazes me

A versão de John Denver:

1752 – Elvis Presley – America the beautiful (1977)

A música foi escrita por Samuel L. Ward, em Newark, New Jersey, em 1883 e a letra foi escrita por Katharine Lee Baites em 1895. Os dois nunca se encontraram. Trata-se de uma canção patriota americana. Ela foi chamada de America The Beautiful pela primeira vez em 1910. É uma das canção patriotas mais populares dos Estados Unidos. Ela com 33 anos viajou pra Colorado Springs pra ensinar no Colorado College e o que ela viu na viagem foi o que a inspirou pra escrever a letra. Quando Ward morreu em 1903, não soube do sucesso que se tornaria sua composição. Ela no entanto foi mais feliz, pois morreu em 1929, quando a música já era sucesso nacional. Existe inclusive uma forte corrente tentando tornar America The Beautiful o hino nacional ameriano. A nossa versão é a de Elvis Presley, que começou a cantá-la ao vivo nos seus shows em 1976 e quando da sua morte, foi lançada no compacto que tinha My way como Lado A. Foi regravada também por Bing Crosby, Frank Sinatra, Ray Charles, Aretha Franklin, Barbra Streisend, Mariah Carey, Whitney Houston e Jennifer Lopez, entre outros artistas.

A letra:

O beautiful for spacious skies
For amber waves of grain
For purple mountain majesties
Above thy fruited plain

America, America
God shed His grace on thee
And crown thy good with brotherhood
From sea to shining sea

For beautiful for spacious skies
For amber waves of grain
For purple mountain majesties
Above the fruited plain
America, America!
God shed His grace on thee
And crowned thy good, with brotherhood
From sea to shining sea

America, America!

God shed his grace on thee
And crown thy good with brotherhood
From sea to shining sea!

A versão de Elvis Presley:

A versão de Ray Charles:

A versão de Frank Sinatra:

1751 – Leonard Cohen – Death of a ladies' man (1977)

 

Escrita por Leonard Cohen (Letra) e Phil Spector (Música), foi gravada entre junho e julho de 1977 e lançada em 13 de novembro de 1977, no disco de mesmo nome, o quinto disco de Cohen. Foi produzida por Phil Spector.

A letra:

Ah the man she wanted all her life was hanging by a thread
"I never even knew how much I wanted you, " she said.
His muscles they were numbered and his style was obsolete.
"O baby, I have come too late." She knelt beside his feet.
"I'll never see a face like yours in years of men to come
I'll never see such arms again in wrestling or in love."
And all his virtues burning in the smoky Holocaust
She took unto herself most everything her lover lost
Now the master of this landscape he was standing at the view
With a sparrow of St. Francis that he was preaching to
She beckoned to the sentry of his high religious mood
She said, "I'll make a place between my legs,
I'll show you solitude."

He offered her an orgy in a many mirrored room
He promised her protection for the issue of her womb
She moved her body hard against a sharpened metal spoon
She stopped the bloody rituals of passage to the moon

She took his much admired oriental frame of mind
And the heart-of-darkness alibi his money hides behind
She took his blonde Madonna and his monastery wine
"This mental space is occupied and everything is mine."

He tried to make a final stand beside the railway track
She said, "The art of longing's over and it's never coming back."
She took his tavern parliament, his cap, his cocky dance,
She mocked his female fashions and his working-class mustache.

The last time that I saw him he was trying hard to get
A woman's education but he's not a woman yet
And the last time that I saw her she was living with some boy
Who gives her soul an empty room and gives her body joy.

So the great affair is over but whoever would have guessed
It would leave us all so vacant and so deeply unimpressed
It's like our visit to the moon or to that other star
I guess you go for nothing if you really want to go that far.

It's like our visit to the moon or to that other star
I guess you go for nothing if you really want to go that far.

It's like our visit to the moon or to that other star
I guess you go for nothing if you really want to go that far.

A versão de Leonard Cohen:

1750 – Joni Mitchell – Jericho (1977)

Escrita por Joni Mitchell, foi gravada ao vivo inicialmente e lançada em 1974 no disco Miles of Aisles. No entanto, a versão que escolhemos é a de estúdio, gravada em 1977 e lançada no disco Don Juan's reckless daughter, o nono de Joni, em 13 de dezembro de 1977. Sairia também em compacto, com Off night backstreet como Lado A, em 1978. Foi produzida por Joni Mitchell, Henry Lewy e Steve Katz. Joni Mitchell cantou e tocou violão. Jaco Pastorius tocou baixo. John Guerin tocou bateria. Wayne Shorter tocou sax soprano. Alex Acuña tocou congas. Don Alias tocou bongô.

A letra:

I'll try to keep myself open up to you
That's a promise that I made to love
When it was new
Just like Jericho I said
"Let these walls come tumbling down"
I said it like I finally found the way
To keep the good feelings alive
I said it like it was something to strive for

I'll try to keep myself open up to you
And approve your self expression
I need that too
I need your confidence baby
And the gift of your extra time
In turn I'll give you mine
Sweet darling it's a rich exchange
It seems to me
It's a warm arrangement

Anyone will tell you
Just how hard it is to make and keep a friend
Maybe they'll short sell you
Or maybe it's you
Judas in the end
When you just can no longer pretend
That you're getting what you need
Or you're giving out anything for them to grow and feed on

I'll try to keep myself open up to you
It gets easier and easier to do
Just like Jericho
Let these walls come tumbling down now
Let them fall right on the ground
Let all these dogs go running free
The wild and the gentle dogs
Kenneled in me

A versão de Joni Mitchell:

A versão de Kathy Simpson:

A versão de Gnukev:

1749 – Bob Marley and The Wailers – The Heathen (1977)

Escrita por Bob Marley, foi gravada entre janeiro e abril de 1977 e lançada no disco Exodus, o nono disco do grupo, em 3 de junho de 1977. Foi produzida por Bob Marley and The Wailers. Bob cantou, tocou guitarra e fez backing vocals. Junior Marvin tocou guitarra. Aston barrett tocou baixo. Carlton 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 toxou sax.

A letra:

Rise up fallen fighters
Rise and take your stance again
'Tis he who fight and run away
Live to fight another day
Wit de heathen back dey 'pon de wall!
Wit de heathen back, yeah, 'pon de wall!
Wit de heathen back dey 'pon de wall!
Wit de heathen back, yeah, 'pon de wall!

As a man sow, shall he reap
And I know that talk is cheap
But the hotter the battle
Ah the sweeter Jah victory
Wit de heathen back dey 'pon de wall!
Wit de heathen back, yeah, 'pon de wall!
Wit de heathen back dey 'pon de wall!
Wit de heathen back, yeah, 'pon de wall!

Rise up, fallen fighters
Rise and take your stance again
'Tis he who fight and run away
Live to fight another day
De heathen back dey 'pon de wall!
De heathen back, yeah, 'pon de wall!
De heathen back dey 'pon de wall!
De heathen back, yeah, 'pon de wall!

De heathen back dey 'pon de wall!
De heathen back, yeah, 'pon de wall!
De heathen back dey 'pon de wall!
De heathen back, yeah, 'pon de wall!
De heathen back dey 'pon de wall!
De heathen back, yeah, 'pon de wall!
De heathen back dey 'pon de wall!
De heathen back, yeah, 'pon de wall!

A versão de Bob Marley and The Wailers:

A versão de Protoje and The Indiggnation Band:

A versão de Kristine Alicia:

1748 – Rod Stewart – I was only joking (1977)

 

Escrita por Rod Stewart e Gary Grainger, foi gravada em 1977 e lançada em 4 de novembro de 1977 no disco Foot loose & Fancy Free, o oitavo disco da carreira de Rod Stewart. Sairia também em compacto, com Born loose como Lado B. Foi produzida por Tom Dowd. É uma das melhores letras de Stewart. Trata-se de um conto sobre juventude contada de uma perspectiva mais madura. O solo é tocado por Jim Cregan e é considerado um dos melhore solos do rock. Chegou ao número 4 na Irlanda, número 5 no Reino Unido, número 11 no Canadá, número 22 no Billboard Hot 100 e número 35 na Nova Zelandia.

A letra:

Ever since I was a kid at school
I messed around with all the rules
Apologised then realised
I'm not different after all

Me and the boys thought we had it sussed
Valentinos all of us
My dad said we looked ridiculous
But boy, we broke some hearts

In and out of jobs, running free
Waging war with society
Dumb blank faces stare back at me
But nothing ever changed

Promises made in the heat of the night
Creeping home before it got too light
I wasted all that precious time
And blamed it on the wine

I was only joking my dear (my dear)
Looking for a way to hide my fear (my fear)
What kind of fool was I? (Was I)
I could never win (never win)

Never found a compromise
Collected lovers like butterflies
Illusions of that grand first prize
Are slowly wearing thin

Susie, baby, you were good to me
Giving love unselfishly
But you took it all too seriously
I guess it had to end

I was only joking my dear (my dear)
Looking for a way to hide my fear (my fear)
What kind of fool was I? (Was I)
I could never win (never win)

Yeah baby, whoa

Now you ask me if I'm sincere
That's the question that I always fear
Vers e seven is never clear
But I'll tell you what you wanna hear

I try to give you all you want
But giving love is not my strongest point
If that's the case it's pointless going on
I'd rather be alone

'Cause what I'm doing must be wrong
Pouring my heart out in a song
Owning up for prosperity
For the whole damn world to see

Quietly now while I turn a page
Act one is over without costume change
The principal would like to leave the stage
The crowd don't understand

A versão de Rod Stewart:

A versão da Leni Band:

A versão da Sparks Band:

1747 – John Denver – I want to live (1977)

Escrita por John Denver, foi gravada em 1977 e lançada em compacto com Tradewinds como Lado B, e saiu também no disco de mesmo nome, o décimo segundo da Denver, ambos em novembro de 1977. Foi produzida por Milton Okun e John Snyder. John Denver escreveu a canção depois do cantor folk Harry Chapin promover para o presidente Jimmy Carter a ideía de uma comissão pra cuidar da fome mundial. Denver escreveu essa canção pra ser o tema dessa comissão. Como toda idéia esquerdista é uma merda, a comissão não produziu nada.

A letra:

There are children raised in sorrow
On a scorched and barren plain
There are children raised beneath a golden sun
There are children of the water
Children of the sand
And they cry out through the universe
Their voices raised as one

I want to live I want to grow
I want to see I want to know
I want to share what I can give
I want to be I want to live

Have you gazed out on the ocean
Seen the breaching of a whale?
Have you watched the dolphins frolic in the foam?
Have you heard the song the humpback hears five hundred miles away
Telling tales of ancient history of passages and home?

I want to live I want to grow
I want to see I want to know
I want to share what I can give
I want to be I want to live

For the worker and the warrior the lover and the liar
For the native and the wanderer in kind
For the maker and the user and the mother and her son
I am looking for my family and all of you are mine

We are standing all together
Face to face and arm in arm
We are standing on the threshold of s dream
No more hunger no more killing
No more wasting life away
It is simply an idea
And I know its time has come

I want to live I want to grow
I want to see I want to know
I want to share what I can give
I want to be I want to live

A versão de John Denver:

1746 – Elvis Presley – My way (1977)

Escrita por Jacques Revaux, Gilles Thibault e Claude François, em francês, teve letra em inglês feita por Paul Anka especialmente pra Frank Sinatra cantar. A versão de Sinatra sairia em 1969, mas a versão escolhida pelo site foi a de Elvis, ao vivo, de 1977. Gravada em 21 de junho de 1977, em um show em Rapid City, South Dakota. Foi lançada no disco Elvis in concert, em 3 de outubro de 1977, quando Elvis já havia morrido. O nome da música em francês é Comme d'habitude. A versão de Sinatra ficou 75 semanas no TOP 40 no Reino Unido, sendo a terceira música que mais ficou até hoje. Paul Anka enquanto de férias na França, comprou os direitos da música. Algum tempo depois, jantou com Sinatra na Flórida, que disse que queria parar de cantar, que estava de saco cheio da música. Foi então que Anka teve a idéia de escrever uma letra em inglês, como se Sinatra tivesse no fim da carreira, no fim da vida. Por isso o começo diz: And now, the end is near. I ate it up and spit it out era o jeito que Sinatra falava. Quando acabou de compor, Anka ligou pra Sinatra no Caesar's Palace, em Las Vegas e disse que tinha algo especial pra ele. Sinattra gravou-a em um take. Mesmo sendo sua canção mais famosa, Sinatra passou a odiá-la. Enquanto isso, Elvis passou a cantá-la no meio dos anos 70s, mesmo Anka dizendo que a canção não era adequada pra ele. Em 1973, Elvis cantou-a no Aloha from Hawaii. Quando foi lançada em compacto e no concerto em 1977, chegou ao número 22 no Billboard Hot100, melhor posição do que a de Sinatra. Elvis gravou no entanto uma versão de estúdio em 1971. Seria gravada também por Sid Vicious, entre outros artistas. A canção é sempre associada à nostalgia. É a canção mais tocada em funerais no Reino Unido.

A letra:

And now the end is near
So I face the final curtain
My friend, I'll say it clear
I'll state my case of which I'm certain

I've lived a life that's full
I've traveled each and every highway
Oh, and more much more than this
I did it my way

Regrets, I've had a few
But then again too few to mention
I did what I had to do
And saw it through without exception

I planned each charted course
Each careful step along the byway
Oh, and more much more than this
I did it my way

Yes, there were times I'm sure you knew
When I bit off more than I could chew
But through it all when there was doubt
I ate it up and spit it out
I faced it all and I stood tall
And did it my way

I've loved I've laughed and cried
I've had my fill, my share of losing
And now as tears subside
I find it all so amusing
To think I did all that
And may I say, not in a shy way
Oh, no, no not me
I did it my way

For what is a man? What has he got?
If not himself then he has not
To say the words he truly feels
And not the words of one who kneels
The record shows I took the blows
And did it my way
The record shows I took the blows
And did it my way

A versão de Elvis Presley:

A versão de Frank Sinatra:

A versão de Sid Vicious:

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: