Escrita
por Randy Newman, foi gravada entre julho e setembro de 1977 e
lançada no disco Little criminals, o quinto disco de sua carreira,
em 23 de setembro de 1977. Foi produzida por Lenny Waronker e Russ
Titelman. Baltimore foi regravada por Nina Simone e Nils Lofgren,
entre outros. Randy Newman cantou, tocou teclado e sintetizador.
Michael Boddicker tocou sintetizador. Glenn Frey e J.D. Souther
fizeram backing vocals. Willie Weeks tocou baixo. Andy Newmark e Rick
Marotta tocaram bateria. Glenn Frey tocou guitarra e Milt Holland
tocou percussão.
A
letra:
Beat-up
little seagull On a marble stair
Trying to find the ocean Lookin'
everywhere
Hard times in the city In a hard
town by the sea
Ain't nowhere to run to There ain't
nothin' here for free
Waiting for a train
Drunk, lying on the sidewalk Sleeping
in the rain
And the people hide their faces And
they hide their eyes
'Cause the city's dyin' And they
don't know why
Oh, Baltimore Ain't it hard just to
live? Oh, Baltimore Ain't it hard just to live? Just to live
Get my sister Sandy And my little
brother Ray
Buy a big old wagon To haul us all
away
Live out in the country Where the
mountain's high
Never gonna come back here 'Til the
day I die
Oh, Baltimore Ain't it hard just to
live?
Oh, Baltimore Ain't it hard just to
live? Just to live
Escrita
por Brian May, foi gravada entre julho e setembro de 1977, em Londres
e lançada em 7 de outubro de 1977, em um compacto que tinha We are
the champions como Lado A. Sairia depois no disco News of the world,
o sexto disco da banda, em 28 de outubro de 1977. Foi produzida pelo
Queen e por Mike Stone. É o número 330 da lista das 500 greatest
songs of all time da revista Rolling Stone. Entrou pro Grammy Hall of
Fame em 2009. É cantada à capella, tendo só um solo de guitarra de
May que durou 30 segundos. Só palmas e pisadas que dão o ritmo da
música. Freddie Mercury cantou e fez backing vocals, bateu palmas e
pisou no chão. Brian May tocou guitarra, fez backing vocals, bateu
palmas e pisou no chão. Roger Taylor fez backing vocals, bateu
palmas e pisou no chão. John Deacon bateu palmas e pisou no chão.
Foi regravada em vivo pelos Guns N' Roses, Nirvana, Alanis
Morissette, Robbie Williams, Celine Dion e Katy Perry, entre outros
artistas.
A
letra:
Buddy,
you're a boy, make a big noise Playing in the street, gonna be a
big man someday You got mud on your face, you big disgrace Kicking
your can all over the place, singin'
We will, we will rock you We will,
we will rock you
Buddy, you're a young man, hard
man Shouting in the street, gonna take on the world someday You
got blood on your face, you big disgrace Waving your banner all
over the place
We will, we will rock you, sing it! We
will, we will rock you
Buddy, you're an old man, poor
man Pleading with your eyes, gonna make you some peace someday You
got mud on your face, big disgrace Somebody better put you back
into your place
We will, we will rock you, sing it We
will, we will rock you, everybody We will, we will rock you,
hmm We will, we will rock you Alright
Escrita
por Roger Waters, foi gravada entre abril e maio de 1976, no
Britannia Row Studios, em Islington, Londres e lançada em 21 de
janeiro de 1977 no disco Animals, o décimo disco da banda. Foi
produzida pela própria banda. Os porcos representam o povo que estão
no topo da escada social, aqueles que tem poder e dinheiro e que
manipulam o resto da sociedade e os encoraja a serem competitios e se
matarem uns aos outros, para que os porcos continuem com o poder nas
mãos deles. Cada verso da canção fala de um porco diferente. O
primeiro verso se refere ao homem de negócios em geral. O segundo se
refere aos políticos conservadores como Margaret Tatcher e o
terceiro porco seria Mary Whitehouse que fazia campanha por
moralidade. David Gilmour usa uma talk box no solo de guitarra pra
imitar o som de um porco. Foi a primeira vez que uma talk box foi
usada pelo Pink Floyd. Gilnour também toca um baixo fretless com
palheta, fazendo dois solos de baixo sincopados. Nesse caso, Roger
Waters que é o baixista, tocou guitarra base. Ou seja, Roger cantou
e fez harmonias vocais, tocou guitarra, vocoder e efeitos de tape.
David tocou guitarra solo, baixo e tak box. Richard tocou orgão
Hammond, string sintetizador ARP, piano e clavinet. Nick tociu
bateria e sino de vaca.
A
letra:
Big
man, pig man Ha, ha, charade you are You well heeled big
wheel Ha, ha, charade you are And when your hand is on your
heart You're nearly a good laugh Almost a joker With your
head down in the pig bin Saying 'Keep on digging' Pig stain on
your fat chin What do you hope to find Down in the pig
mine? You're nearly a laugh You're nearly a laugh But you're
really a cry
Bus stop rat bag Ha, ha, charade you
are You fucked up old hag Ha, ha, charade you are You
radiate cold shafts of broken glass You're nearly a good
laugh Almost worth a quick grin You like the feel of
steel You're hot stuff with a hatpin And good fun with a hand
gun You're nearly a laugh You're nearly a laugh But you're
really a cry
Hey you, Whitehouse Ha, ha, charade
you are You house proud town mouse Ha, ha, charade you
are You're trying to keep our feelings off the street You're
nearly a real treat All tight lips and cold feet And do you
feel abused? You got to stem the evil tide And keep it all on
the inside Mary you're nearly a treat Mary you're nearly a
treat But you're really a cry
Escrita
por Peter Frampton, foi gravada em 1976 e lançada em 28 de maio de
1977, no disco I'm in you, o quinto da carreira de Frampton. Sairia
também em compacto, com St Thomas (Don't you know how I feel) como
Lado B. Foi produzida por Peter Frampton. Chegou ao número 2 no
Billboard Hot 100 e número 1 no Canadá. Chegou também ao número 9
na Austrália, número 13 na Nova Zelandia e número 41 no Reino
Unido. Na verdade foi o compacto dele que fez mais sucesso. Foi
composta em New York City após Frampton ter voltado da turnê que
fez o disco ao vivo em 1976. A canção fala da separação de
Frampton da sua esposa, a modelo Maryl Lovett. Foi gravada no Eletric
Lady Studios, em Manhattan, mais especificamente no Greenwich
Village. Peter Frampton tocou guitarra, violão, piano, sintetizador
ARP String e cantou. Bob Mayo tocou sintetizador Moog e fez backing
vocals. Stanley Sheldon tocou baixo. John Siomos tocou bateria e
percussão. Mick Jagger fez backing vocals.
A
letra:
I
don't care where I go when I'm with you When I cry you don't laugh
cause you know me
I'm in you You're in me You gave
me the love, the love that I never had
You and I don't pretend; we make love I
can't feel anymore than I'm singing
I'm in you You're in me You gave
me the love, the love that I never had
Come so far when you think you think
back You can't buy what we made, you and I
I'm in you You're in me You gave
me the love, the love that I never had
Escrita
por Leonard Cohen (letra) e Phil Spector (Música), foi gravada em
junho e julho de 1977 e lançada em 13 de novembro de 1977, no disco
Death of ladie's man, o quinto disco de Cohen. Foi produzida por Phil
Spector.
A
letra:
I
left a woman waiting I met her sometime later She said, "I
see your eyes are dead"
What happened to you, lover? What
happened to you, my lover? What happened to you, lover? What
happened to you?
And since she spoke the truth to me I
tried to answer truthfully Whatever happened to my eyes
Happened to your beauty Happened to
your beauty What happened to your beauty Happened to me
We took ourselves to someone's bed And
there we fell together Quick as dogs and truly dead were we
And free as running water Free as
running water Free as running water Free as you and me
The way it's got to be The way it's
got to be, lover
Escrita
por Joni Mitchell, foi gravada em 1977 e lançada em 13 de dezembro
de 1977 no disco Don Juan's reckless daughter, o nono disco da
carreira dela. Foi produzida por Joni Mitchell, Henry Lewy e Steve
Katz. Joni Mitchell cantou e tocou violão. Jaco Pastorius tocou
baixo. John Guerin tocou bateria. Alex Acuna tocou congas.
A
letra:
I
am a poor wayfaring stranger Traveling through all these highs and
lows I heard there was no sickness And no toil or danger Just
mercy and plenty Where peaceful waters flow Where peaceful
waters flow
Come all you fair and tender school
girls Be careful now when you court young men They are like the
stars On a summer morning They sparkle up the night And
they're gone again Daybreak, gone again
If I'd only seen through the silky
veils of ardor What a killing crime this love can be I would
have locked up my heart In a golden sheath of armor And kept
its crazy beating Under strictest secrecy High security
I wish I had the wings Of Noah's
pretty little white dove So I could fly this raging river To
reach the one I love But I have no wings And the water is so
wide We'll have to row a little harder It's just in dreams we
fly In my dreams, we fly
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 pelo próprio Bob Marley and The Wailers. Fala sobre
religião e abre o disco. Bob Marley cantou, fez backing vocal e
tocou guitarra. Junior Marvin tocou guitarra. Aston Barrett tocou
baixo. Carlton Barrett tocou bateria. Tyrone Downie tocou
sintetizador, piano elétrico, orgao e fez backing vocals. Alvin
Patternon tocou percussão. Rita Marley, Marcia Griffiths e Judy
Mowatt fizeram backing vocals. David Madden tocou trumpete. Vin
Gordon tocou trombone. Glen da Costa tocou sax.
A
letra:
There's
a natural mystic blowing through the air If you listen carefully
now you will hear
This could be the first trumpet, might as
well be the last Many more will have to suffer Many more will
have to die Don't ask me why Things are not the way they used
to be I won't tell no lie
One and all got to face reality
now Though I've tried to find the answer to all the questions they
ask Though I know it's impossible to go living through the
past Don't tell no lie
There's a natural mystic blowing
through the air Can't keep them down If you listen carefully
now you will hear
Such
a natural mystic, blowing through the air
This could be the
first trumpet, might as well be the last Many more will have to
suffer Many more will have to die - don't ask me why
There's
a natural mystic blowing through the air I won't tell no lie If
you listen carefully now you will hear There's a natural mystic
blowing through the air
Such a natural mystic blowing through
the air There's a natural mystic blowing through the air Such a
natural mystic blowing through the air Such a natural mystic
blowing through the air Such a natural mystic blowing through the
air
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
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
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!
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.
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
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!
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
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
