1772 – America – Don't cry baby (1977)

 

Escrita por Dan Peek, foi gravada em 1976 em Kauai, Hawaii, e lançada em 15 de fevereiro de 1977, no disco Harbor, o sétimo disco da banda America. Foi produzida por George Martin. Dewey Bunnell cantou e fez backing vocals e tocou guitarra. Gerry Beckley cantou e fez backing vocals, tocou guitarra, piano e sintetizador. Dan Peek cantou e fez backing vocals, tocou guitarra, piano e sintetizador. David Dickey tocou baixo. Willie Leacox tocou bateria e percussão. Jim Calire tocou sax. Tom Walsh tocou percussão. Larry Carlton tocou sítara elétrica.

A letra:

Starlight falling through your hair
Sometimes I wonder if you know I'm there
Awake in the morning, a smile on your face
The same old feeling that I just can't place
And you say, "Don't cry, baby
You know I'll always be the one who cares
Don't cry, baby
Come closer, let me wipe away your tears"
A man came in with a violin
He played for me like I've never been
Courted before and forevermore
As the bow touched the strings
He made the whole world sing
Don't cry, baby
(Baby, don't you cry)
You know there'll always be someone who cares
Don't cry, baby
(Baby, don't you cry)
Closer let me wipe away your tears
I know I've been wrong
You've had to be strong
I guess I belong to you, my baby
(Baby, don't you cry)
You know I'll always be the one who cares
Don't cry baby
(Baby, don't you cry)
Closer let me wipe away your tears
The sound of your voice singing songs in the night
Have taken me far away and mystified
The songs of the lovers brought tears to my eyes
The words that you'd spoken made me realize

A versão do America:

A versão de Larry L:

1771 – Alice Cooper – You and me (1977)

 

Escrita por Alice Cooper e Dick Wagner, foi lançada em 9 de março de 1977, no compacto que tinha It's hot tonight como Lado B. Sairia também no disco Lace and Whiskey, o terceiro disco solo dele, em 29 de abril de 1977. Foi produzida por Bob Ezrin. Chegou ao número 9 do Billboard Hot 100. Chegou ao número 3 no Canadá e número 2 da Austrália.

A letra:

When I get home from work
I want to wrap myself around you
I want to take you and squeeze you
'Til the passion starts to rise

I want to take you to heaven
That would make my day complete

But you and me ain't no movie stars
What we are is what we are
We share a bed
Some lovin'
And TV, yeah
And that's enough for a workin' man
What I am is what I am
And I tell you, babe
Well that's enough for me

Sometimes when you're asleep
And I'm just starin' at the ceiling
I want to reach out and touch you
But you just go on dreamin'

If I could take you to heaven
That would make my day complete

But you and me ain't no movie stars
What we are is what we are
We share a bed
Some lovin'
And TV, yeah
That's enough for a workin' man
What I am is what I am
And I tell you, sweetheart
That's just enough for me

You and me ain't no super stars
What we are is what we are
We share a bed
Some popcorn
And TV, yeah
And that's enough for a workin' man
What I am is what I am
And I tell you, babe
You're just enough for me

When I get home from work
I want to wrap myself around you
I like to hold you squeeze you
'Til the passion starts to rise

I want to take you to heaven
That would make my day complete

You and me ain't no movie stars
What we are is what we are
We share a bed
Of lovin'
And TV, yeah
And that's enough for a workin' man
What I am well that's what I am
I tell you, baby
That's just enough for me

A versão de Alice Cooper:

A versão de Fab Bagnato:

1770 – Van Morrison – Cold wind in August (1977)

 

Escrita por Van Morrison, foi gravada entre o outono de 1976 e o inverno de 1977 e lançada em abril de 1977, no disco A period of transition, o nono da carreira de Van Morrison. Foi produzida por Dr. John e Van Morrison. Van Morrison tocou violão, guitarra, gaita e cantou. Ollie E. Brown tocou bateria e percussão. Marlo Henderson tocou guitarra. Jerry Jummonville tocou sax alto e tenor. Reggie McBride tocou baixo. Joel Peskin tocou sax barítono. Dr. John tocou piano e piano elétrico. Mark Underwood tocou trompete. Robbie Montgomery Roger Kennerly-Saint, Gregory Wright, Carlena Williams, Paulette Parker, Candy Nash, Toni McVey, Gary Garrett e Joe Powell fizeram backing vocals.

A letra:

I waited for you
You waited for me
That it seemed like, seemed like a mighty long time

Baby I had to have you
Oh, I had to have you
Come rain, rain or shine

It was a cold wind in August
Shivers up and down my spine
I was standin' in your garden
In the California pine

I was standing shivering
I've got the fever in the rain
But I can't come on back to see you
Again and again and again

I said I, I had to have you
Baby, I had to have you
Come rain, come rain or shine

It was a cold wind in August
Shivers up and down my spine
And I was standing in your garden
In the California pine
California pine

It was a cold wind in August
Shivers up and down my spine
I was standin' in your garden
In the California pine
In the California pine

It was a cold wind in August
I was pushed on through September
And I was pushin' through September
In the rain
Pushin' through, pushin' through September
In the rain

It was a cold wind in August
Shivers up and down my spine
I was standin', standin' in your garden
In the California pine

A versão de Van Morrison:

1769 – Television – Venus (1977)

 

Escrita por Tom Verlaine, foi gravada em setembro de 1976 e lançada em 8 de fevereiro de 1977, no disco Marquee moon, o disco de estréia da banda Television. Foi produzida por Andy Johns e Tom Verlaine. Billy Ficca tocou bateria. Richard Lloyd tocou guitarra e fez backing vocals. Fred Smith tocou baixo e fez backing vocals. Tom Verlaine tocou guitarra solo, teclado e cantou.

A letra:

Was a tight toy night, streets are bright
The world looked so thin between my bones and skin
There stood another person who was a little surprised
To be face to face with a world so alive
How I fell

Did ya feel low? No, not at all, Huh?
I fell right into the arms of Venus De Milo

You know it's all like some new kind of drug
My senses are sharp and my hands are like gloves
Broadway looked so medieval
It seemed to flap, like little pages
And I fell sideways laughing with a friend from many stages
How we felt

Did ya feel low? No, not at all, Huh?
I fell right into the arms of Venus De Milo

Suddenly my eyes were so soft and shaky
I knew there was pain but pain is not aching
Then Richie, Richie said
"Hey man let's dress up like cops
Think of what we could do!"
But something, something said "you better not"
And I fell

Did ya feel low? No, not at all, Huh?
I stood up, walked out of the Arms of Venus de Milo

A versão do Television:

1768 – Rick Danko – Sweet romance (1977)

 

Escrita por Rick Danko e Emmett Grogan, foi lançada em 1977 no disco Rick Dando, o de estréia do artista. Foi produzida por Rick Danko e Rob Fraboni. Rick Danko tocou baixo, guitarra solo e cantou. Michel de Temple, Doug Sahm e James Atkinson tocaram guitarra. Walt Richmond tocou piano. James Gordon tocou órgão. Dennys Seiwell e Terry Danko tocaram bateria. Gerry Beckley, Blondie Chaplin, Rob Frabonie Wayne Neuendorf fizeram backing vocals. Ken Lauber tocou piano. George Weber tocou órgão.

A letra:

Alone in the shadows, of a willow tree

I watched from the dark

As you crossed through the park

Coming closer to me

Those brief moments return of the day we first met

The time we shared with that special care

Free from all jealousy

There must be a distant place

Far from every wrong face

Tears won't fall by chance

On this sweet romance ...

Where the light of the moon, and the lay of the land

Brightened the way of so many nights

Helping us understand

The line that we crossed, to climb those hills

Gave us the strength to never fear

The hurting talk folks want to hear

There must be a different place

Far from every wrong face

Tears won't fall by chance

On this sweet romance ...

When they hear, of our last goodbye

They'll have to seek another dream to surprise

With desperate lies

As we parade, far from these streets

We'll be side by side, livin life in pride

With love's lullabye

There must be a distant place

Far from every wrong face

Tears won't fall by chance

On this sweet romance ...

A versão de Rick Danko:

1767 – Randy Newman – Short people (1977)

 

Escrita por Randy Newman, foi gravada em 1977 e lançada em 23 de setembro de 1977 no disco Little Criminals, o quinto disco de Newman. Foi produzida por Lenny Waronker e Russ Titelman. Sairia também em compacto em novembro de 1977, com Old man on the farm como Lado B. É um ataque de preconceito contra as pessoas baixas nos versos, mas no refrão dizem que as pessoas baixas são iguais a todas. Newman no entanto disse que escreveu a música somente pra demonstrar como o preconceito, seja ele qual for, é insano. Chegou ao número 2 do Billboard Hot 100, apesar de Newman nunca ter tido um compacto que fosse hit antes desse. C hegou também ao número 1 no Canadá, número 12 na Austrália, número 21 na Nova Zelandia e número 22 na Bélgica. Se transformou em disco de ouro. Ele disse que passou a odiar a canção depois que recebeu várias ameaças, de pessoas que não entenderam sua intenção. Randy Newman cantou, tocou piano e sintetizador. Glenn Frey e J. D. Souther fizeram backing vocals. Jim Keltner tocou bateria. Klaus Voorman tocou baixo. Milt Holland tocou congas. Timothy B. Schmit fez backing vocals. Waddy Wachtel tocou guitarra e Mike Boddicker tocou sintetizador.

A letra:

Short people got no reason
Short people got no reason
Short people got no reason
To live

They got little hands
And little eyes
And they walk around
Tellin' great big lies
They got little noses
And tiny little teeth
They wear platform shoes
On their nasty little feet

Well, I don't want no short people
Don't want no short people
Don't want no short people
'Round here

Short people are just the same
As you and I
(A fool such as I)
All men are brothers
Until the day they die
(It's a wonderful world)

Short people got nobody
Short people got nobody
Short people got nobody
To love

They got little baby legs
And they stand so low
You got to pick 'em up
Just to say hello
They got little cars
That got beep, beep, beep
They got little voices
Goin' peep, peep, peep
They got grubby little fingers
And dirty little minds
They're gonna get you every time

Well, I don't want no short people
Don't want no short people
Don't want no short people
'Round here

A versão de Randy Newman:

A versão de Mark Vitale:

A versão de Wellington International Ukelele Orchestra:

1766 – Queen – My melancholy blues (1977)

Escrita por Freddie Mercury, foi gravada entre julho e setembro de 1977 e lançada 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. Não possui back vocal ou guitarras. John Deacon tocou seu baixo normal na gravação, apesar de tocar seu fretless ao vivo. A canção imita um jazz. Freddie Mercury cantou e tocou piano. Roger Taylor tocou bateria e John Deacon tocou baixo.

A letra:

Another party's over
And I'm left cold sober
My baby left me for somebody new

I don't wanna talk about it
Want to forget about it
Wanna be intoxicated with that special brew

Come and get me
Let me
Get in that sinking feeling
That says my heart is on an all-time low

So, don't expect me
To behave perfectly
And wear that sunny smile
My guess is I'm in for a cloudy and overcast

Don't try and stop me
'Cause I'm heading for that stormy weather soon

I'm causing a mild sensation
With this new occupation
I'm permanently glued
With this extraordinary mood

So, now move over
Let me take over
With my melancholy blues

I'm causing a mild sensation
With this new occupation
I'm in the news
I'm just getting used
To my new exposure

Come into my enclosure
And meet my... ha-ha-ha-ha-ha

A versão do Queen:

A versão de Celine Monnet:

A versão de Owl:

 

1765 – Pink Floyd – Dogs (1977)

Escrita por Roger Waters e David Gilmour, foi gravada entre abril e novembro de 1976 e lançada em 23 de janeiro de 1977, no disco Animals, o décimo disco da banda. Foi produzida pela própria banda. Foi escrita ainda em 1974 pro disco Wish you were here, mas teve a letra modificada e foi lançada no Animals, sendo preterida do Wish you were here. É a única canção do disco que Gilmour canta e recebe crédito de composição. É também a última contribuição vocal de Richard Wright, antes dele deixar a banda em 1979. É baseada no conceito de George Orwell de comportamento humano baseado nos animais, Dogs fala de um homem de negócios sem escrúpulos. Um sujeito que se veste bem, aperta mão firme, mas que no fundo é um caçador implacável. David Gilmour cantou a primeira parte, tocou violão e guitarra. Roger tocou baixo, cantou a segunda parte e fez harmonias vocais na segunda parte e tocou vocoder. Richard Wright tocou piano elétrico Fender Rhodes, órgão Hammond, Minimoog e fez harmonias vocais na primeira parte. Nick Mason tocou bateria e percussão.

A letra:

You gotta be crazy, you gotta have a real need
You gotta sleep on your toes, and when you're on the street
You gotta be able to pick out the easy meat with your eyes closed
And then moving in silently, down wind and out of sight
You gotta strike when the moment is right without thinking

And after a while, you can work on points for style
Like the club tie, and the firm handshake
A certain look in the eye and an easy smile
You have to be trusted by the people that you lie to
So that when they turn their backs on you,
You'll get the chance to put the knife in

You gotta keep one eye looking over your shoulder
You know it's going to get harder, and harder, and harder as you get older
And in the end you'll pack up and fly down south
Hide your head in the sand,
Just another sad old man
All alone and dying of cancer

And when you loose control, you'll reap the harvest you have sown
And as the fear grows, the bad blood slows and turns to stone
And it's too late to lose the weight you used to need to throw around
So have a good drown, as you go down, all alone
Dragged down by the stone (stone, stone, stone, stone, stone)

I gotta admit that I'm a little bit confused
Sometimes it seems to me as if I'm just being used
Gotta stay awake, gotta try and shake off this creeping malaise
If I don't stand my own ground, how can I find my way out of this maze?

Deaf, dumb, and blind, you just keep on pretending
That everyone's expendable and no-one has a real friend
And it seems to you the thing to do would be to isolate the winner
And everything's done under the sun
And you believe at heart, everyone's a killer

Who was born in a house full of pain
Who was trained not to spit in the fan
Who was told what to do by the man
Who was broken by trained personnel

Who was fitted with collar and chain
Who was given a pat on the back
Who was breaking away from the pack
Who was only a stranger at home

Who was ground down in the end
Who was found dead on the phone
Who was dragged down by the stone

A versão do Pink Floyd:

A versão de Yoni Schlesinger:

A versão de School of Rock:

1764 – Peter Frampton – You don't have to worry (1977)

 

Escrita por Peter Frampton, foi gravada entre novembro de 1976 e abril de 1977, em New York City e lançada em 28 de maio de 1977, no disco I'm in you, o quinto disco de Frampton. Foi produzida pelo próprio Peter Frampton.

A letra:

It's been awhile
Though I think I made you smile
I been singin' my song
Thinkin' I was wrong
But now I know
You know it takes so long
Though you're feelin' strong
And you gave me a sign
Made me feel like going on

I, I don't have to worry
You don't have to care
I don't have to worry
Cause' you will always be there

The years went by
As I played for you
Nobody cheered
As I walked on the stage with my dream
Thank you girl
Taking away, all of my fears
And all of the years that it takes

But, I know you don't have to worry
And I don't have to care
You don't have to worry
You know, I will always be there

I, I don't have to worry
You don't have to care
I don't have to worry
You will always be there, yeah
You don't have to worry
And I don't have to care
Cause' you don't have to worry
We will always be there
I don't have to worry
You don't, you don't have to care
I don't have to worry
You will always be there

Oh,
Feeling good
Like I should
Oooh

A versão de Peter Frampton:

1763 – Television – Prove it (1977)

Escrita por Tom Verlaine, foi gravada em setembro de 1976 e lançada em 8 de fevereiro de 1977, no disco Marquee moon, o disco de estréia da banda Television. Sairia também em compacto em 22 de julho de 1977, com Venus como Lado B. Foi produzida por Andy Johns e Tom Verlaine. Fala de uma história sobre detetives. Chegou ao número 25 no Reino Unido.

A letra:

The docks, the clocks
A whisper woke him up
The smell of water would resume

The cave, the waves
Of light, the unreal night
That flat curving of a room, it gets funny

Prove it
Just the facts
The confidential

Ah, this case, this case
This case that I have been working on so long
So long

First, you creep, then, you leap
Up about a hundred feet
You're in so deep that you could write a book
Chirp-chirp, the birds
They're giving you the words
The world is just a feeling you undertook

Prove it
Just the facts
The confidential

Ah, this case, this case
This case that I have been working on so long
So long

Now, the rose, how it slows
You in such colourless clothes
Fantastic, you lose your sense of human
Project, protect
It's warm, and it's calm, and it's perfect
It's too too-too to put a finger on

Prove it
Ah, just the facts
Oh, the confidential

Ah, this case, this case
This case that I have been working on so long
So long

This case is closed

A versão do Television:

1762 – Rick Danko – Once upon a time (1977)

 

Escrita por Rick Danko e Emmett Grogan, foi gravada em 1977 e lançada em 1977 no disco de estréia de Rick, chamado apenas Rick Danko. Foi produzida por Rick Danko e Rob Fraboni. Levon Helm, companheiro de Rick na “Band”, fez harmonias vocais. Danko cantou, tocou baixo e guitarra. Michael De Temple, Doug Sahm e James Atkinson tocaram guitarra. Walt Richmond tocou piano. James Gordon tocou orgão. Denny Seiwell e Terry Danko tocaram bateria. Gerry Beckley, Blondie Chaplin, Rob Fraboni e Wayne Neuendorf fizeram backing vocals. Lewis Bustos, Jim Gordon, Charles McBurney, Rocky Morales e Jim Price fizeram os sopros. Ken Lauber tocou piano e George Weber tocou orgão.

A letra:

Once upon a time, everything I thought
of somehow seemed to rhyme
The wise were always old
And the young were always showed

But very early on,
I was spun a different yarn
Tried to get along
Just by knowing right from wrong

The best offer is a helping hand
Everyone needs the promised land
And whether you're young or old
Never ever let yourself get put on hold

I would sit on grandpas's knee
just to wear his hat
and listen to the tales
from his world of make believe

As the child comes of age
leave him alone to turn the page
Luck is the spine
A broken promise of another's mind

Straight goods really are
what money cannot buy
Choose your side and walk with pride
There's no reward for suicide

A versão de Rick Danko:

1761 – Randy Newman – Baltimore (1977)

 

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

A versão de Randy Newman:

A versão de El Cuero e Evira Nikolaisen:

A versão de Nina Simone:

1760 – Queen – We will rock you (1977)

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

A versão do Queen:

A versão de Guns and Roses com Queen:

A versão de Robbie Williams:

1759 – Pink Floyd – Pigs (Three differente ones) (1977)

 

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

A versão do Pink Floyd:

A versão de Eddie Current Covers:

A versão de School of Rock Lynnwood:

1758 – Peter Frampton – I'm in you (1977)

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

A versão de Peter Frampton:

A versão de Posturex1: