1805 – Eric Clapton – Golden ring (1978)

 

Escrita por Eric Clapton, foi gravada em 1978 e lançada em novembro de 1978, no disco Backless, o sexto disco da carreira de Eric Clapton. Foi produzida por Glyn Johns. Eric Clapton tocou guitarra e cantou. Dick Sims tocou piano e órgão. George Terry tocou guitarra. Carl Radle tocou baixo e fez backing vocals. Jamie Oldaker tocou bateria, percussão e fez backing vocals. Benny Gallagher e Graham Lyle fizeram backing vocals.

A letra:

He gave to you a golden ring
It made you happy, it made you sing
And I played for you on my guitar
It didn't last long, we didn't go far

And though the times have changed
We're rearranged
Will the ties that bind remain the same?

You came around after a while
Everyone said that I made you smile
It all went well, and suddenly then
You heard that he would marry again

He gave to you a golden ring
It made you happy, it made you sing
And I played for you on my guitar
It didn't last long, we didn't go far

Well I know that I have been here before
I've trod on your wings, I've opened the door
If I gave to you a golden ring
Would I make you happy, would I make you sing?

He gave to you a golden ring
It made you happy, it made you sing
And I played for you on my guitar
It didn't last long, we didn't go far

He gave to you a golden ring
It made you happy, it made you sing
And I played for you on my guitar
It didn't last long, we didn't go far

A versão de Eric Clapton:

1804 – Dire Straits – Sultans of swing (1978)

 

Escrita por Mark Knopfler, foi gravada em fevereiro de 1978 e lançada em 19 de maio de 1978, no compacto que tinha Eastbound train como Lado B. Saiu também no disco de estréia da banda, chamado Dire Straits, em 9 de junho de 1978. Foi produzida por Muff Winwood. A letra foi inspirada depois dele assitir a um show de uma banda de Dixieland jazz, que tocava nos pubs de Deptford, sul de Londres. No final do show eles diziam que o nome deles era Sultans of Swing. Mark Knopfler achou a aparencia deles de fudidos com o nome sultão engraçado. É uma das 500 canções que deram forma ao rock and roll, do Rock and Roll Hall of Fame. A revista Mojo disse que essa era uma das 50 melhores músicas britânicas de todos os tempos. Guitar World disse que esse solo é o vigésimo segundo melhor da história e a Rolling Stone disse que era a trigésima segunda melhor canção de guitarra da história. Chegou ao número 4 nos charts Billboard Hot 100. Número 8 no Reino Unido. Numero 3 na África do Sul. Número 4 no Canadá. Número 6 na Irlanda e Austrália. Número 11 na Holanda. Número 12 na Nova Zelandia. Número 14 na Bélgica e número 20 na Alemanha.

A letra:

You get a shiver in the dark
It's a raining in the park but meantime
South of the river you stop and you hold everything
A band is blowing Dixie, double four time
You feel alright when you hear the music ring

Well now you step inside but you don't see too many faces
Coming in out of the rain they hear the jazz go down
Competition in other places
Uh but the horns they blowin' that sound
Way on down south
Way on down south
London town

You check out guitar George, he knows-all the chords
Mind, it's strictly rhythm he doesn't want to make it cry or sing
They said an old guitar is all, he can afford
When he gets up under the lights to play his thing

And Harry doesn't mind, if he doesn't, make the scene
He's got a daytime job, he's doing alright
He can play the Honky Tonk like anything
Savin' it up, for Friday night
With the Sultans
We're the Sultans of Swing

Then a crowd a young boys they're a foolin' around in the corner
Drunk and dressed in their best brown baggies and their platform soles
They don't give a damn about any trumpet playin' band
It ain't what they call Rock and Roll
And the Sultans
Yeah, the Sultans, they play Creole
Creole

And then the man he steps right up to the microphone
And says at last just as the time bell rings
"Goodnight, now it's time to go home"
Then he makes it fast with one more thing

"We are the Sultans
We are the Sultans of Swing"

A versão do Dire Straits:

A versão de HSCC:

A versão de Josh Turner com Mary Spender:

1803 – David Gilmour – So far away (1978)

 

Escrita por David Gilmour, foi gravada entre fevereiro e março de 1978, no Super Bear Studios, na França e lançada no disco de estréia de Gilmour chamado David Gilmour, em 26 de maio de 1978. Foi produzida por David Gilmour. David Gilmour cantou, tocou guitarra e violão, lap steel guitar, teclado e piano. Rick Wills tocou baixo e fez backing vocals. Willie Wilson tocou bateria e percussão. Mick Weaver tocou piano. Carlena Williams, Debbie Doss e Shirley Roden fizeram backing vocals.

A letra:

What am I suspended here?
Should I kid myself that I have no fear?
I get no choice, I just have to wait
It may already be too late

I don't know what's going on
She is here, but I am gone, I am gone

My love is lying here
She's far away though she looks so near
'Time will tell, " she says to me
When a warm ?...? is all I need

Her peace of mind, her strength of will
It will come, she's sure it will
But how can I put my mind at rest?
I feel I'm coming off second best

And I'm cut with my own life
Is this a dream or is it real life?
Oh, sleep, come on me soon
I can't bear this lonely room

Look at that hair lying there
The room is dark, she shows no fear
I'm lying still, my eyes are wide
My heart is pumping, I'm still alive

I'm still awake against my will
What will it ever take to still this burning in me?

A versão de David Gilmour:

1802 – Bruce Springsteen – Darkness on the edge of town (1978)

 

Escrita por Bruce Springsteen, foi gravada em 10 de março de 1978 e lançada em 2 de junho de 1978 no disco de mesmo nome, o quarto disco de Bruce. Foi produzida por Bruce e John Landau. Fala da vida de um fudido, um perdedor, que mantem seu espírito vivo através de carrida de carros. No mundo dele, ninguém faz perguntas e ninguém olha muito pra você. Ele fala de seu desespero, que algumas pessoas nascem em berço de ouro, e outros sobrevivem de alguma forma. Ele perdeu o dinheiro e a esposa e as coisas não fazem muito sentido. Ele diz que vai pra colina porque ele não pode parar. Que vai pra colina com tudo que ele tem, onde as vidas estão em risco e que os sonhos lá são perdidos e achados. Ele vai estar la na hora certa e ele vai pagar o preço, por querer coisas que apenas podem ser encontradas na escuridão do limite da cidade. A revista Rolling Stone disse que essa era a música número 8 das 100 maiores canções de Bruce Springsteen. Bruce cantou e tocou guitarra. Roy Bittan tocou piano. Clarence Clemons tocou pandeiro. Danny Federici tocou orgão e glockenspiel. Garry Tallent tocou baixo. Steve Van Zandt tocou guitarra. Max Weinberg tocou bateria.

A letra:

They're still racing out at the Trestles
But that blood it never burned in her veins
Now I hear she's got a house up in Fairview
And a style she's trying to maintain

Well if she wants to see me
You can tell her that I'm easily found
Tell her there's a spot out 'neath Abram's Bridge
And tell her there's a darkness on the edge of town
There's a darkness on the edge of town

Well, everybody's got a secret, Sonny
Something that they just can't face
Some folks spend their whole lives trying to keep it
They carry it with them every step that they take

'Til someday they just cut it loose
Cut it loose or let it drag 'em down
Where no one asks any questions
Or looks too long in your face
In the darkness on the edge of town
In the darkness on the edge of town

Now some folks are born into a good life
And other folks get it anyway, anyhow
Well now I lost my money and I lost my wife
Them things don't seem to matter much to me now

Tonight I'll be on that hill 'cause I can't stop
I'll be on that hill with everything I got
Lives on the line where dreams are found and lost
I'll be there on time and I'll pay the cost
For wanting things that can only be found
In the darkness on the edge of town
In the darkness on the edge of town

A versão de Bruce Springsteen:

A versão de Father John Misty:

A versão de Pat Byrne:

1801 – Bob Marley and The Wailers – Satisfy my soul (1978)

 

Escrita por Bob Marley, foi gravada em 1977 e lançada em 23 de março de 1978, no disco Kaya, o décimo do grupo e também saiu em compacto, com Smile Jamaica como Lado B. Fpo produzida por Bob Marley and The Wailers. Chegou ao número 21 nos charts do Reino Unido. É uma das canções mais conhecidas de Bob Marley.

A letra:

Oh, please don't you rock my boat (don't rock my boat)
Because I don't want my boat to be rocking (don't rock my boat)
Oh, please don't you rock my boat (don't rock my boat)
Because I don't want my boat to be rocking (don't rock my boat)

I'm telling you that, oh, oh-ooh, wo-o-wo!
I like it - like it this (I like it like this, I like it like this)
So keep it steady, like this. (I like it like this)
And you should know - you should know by now
I like it (I like it like this), I like it like this
(I like it like this, I like it like this)
I like it like this, ooh yeah! (I like it like this)

Satisfy my soul You satisfy my soul (satisfy my soul)
You satisfy my soul (satisfy my soul)
Every little action (satisfy my soul)
There's a reaction (satisfy my soul)
Oh, can't you see what you've done for me, oh, yeah
I am happy inside all - all of the time. Wo-oo-o-oo

When we (bend) bend a new corner
I feel like a (sweep) sweepstake winner
When I meet you around the corner ('round the corner)
You make me feel like a sweepstake winner (a sweep - a sweepstake winner)

Whoa, child! Can't you see? You must believe me
Oh darling, darling, I'm calling, calling
Can't you see? Why won't you believe me
Oh, darling, darling, I'm calling, calling
(Calling, calling, calling, calling)

When I meet you around the corner
Oh, I said, "Baby, never let me be a loner
And then you hold me tight, you make me feel all right
Yes, when you hold me tight, you made me feel all right

Whoa, child! Can't you see? You must believe me
Oh darling, darling, I'm calling, calling
Can't you see? Why won't you believe me
Oh, darling, darling, I'm calling, calling
(Calling, calling, calling, calling)

Satisfy my soul, that's all I want you to do
That's all I'll take from you, satisfy my soul

A versão de Bob Marley and The Wailers:

A versão de Rydell:

A versão de Solo Fértil:

1800 – 10 cc – People in love (1977)

 

Escrita por Eric Stewart e Graham Gouldman, foi gravada entre outubro de 1976 e março de 1977 e lançada em maio de 1977 no disco Deceptive Bends, o quinto disco da banda. Saiu também em compacto no final de 1977, com I'm so laid back I'm laid out como Lado B. Foi produzida pela banda. Chegou ao número 40 no Billboard Hot 100. O último top 40 deles. Chegou também no número 74 na Austrália e número 90 no Canadá.

A letra:

People in love do funny things
Walk under buses and burn their wings
People like us do nothing right
Talk to the ceiling into the night

Look at the smile in her eyes
I knew I was right in my bones
I feel the turnin' of wheels as it grows
Look at my face in her eyes
Am I right am I wrong
She's given me butterflies all along

Ooh sitting alone in the dark (hey, hey)
Ooh feeling you close to me
We're in a dream but the hands on the clock seem to know
Tell me it's time to go

People in love play silly games
Running in circles and everywhere
People like us can make believe
Love is forever and I'll never be

Ooh sitting alone in the dark (hey, hey)
Ooh feeling you close to me
We're in a dream but the hands on the clock seem to know
Tell us it's time to go

A versão do 10 cc:

1799 – Cat Stevens – Bonfire (1977)

Escrita por Cat Stevens, foi gravada entre setembro de 1976 e março de 1977 e lançada no disco Izitso, o décimo disco da carreira de Stevens. Foi produzida por David Kershenbaum e Cat Stevens. Andy Newmark tocou bateria e percussão. Chick Corea tocou piano elétrico. Jean Roussel tocou órgão Hammond, piano, orgão, sintetizador, glockenspiel e vibraphone. Cat Stevens cantou, tocou guitarra, violão elétrico e violão.

A letra:

I can't budge baby I can't move without your love to guide me
I don't know honey that's the truth what laid you down beside me,
Heat me with your love oh, your lips were meant for mine
Nobody else can bake me like a, no no no, like a
Bonfire, your love is like a bonfire burning deep within me
Now some folks said it's no good to smoke in bed
Um, but I just turn off my ears and I jump into the fire again

I feel so weak, yea, I can't sleep without you there to hold me
Promise me you won't ever leave or I would die so coldly,
Kiss me with your eyes, please don't let it rain
Don't kick no dust on my
Bonfire, your love is like a bonfire burning deep within me
Now it just grows, no matter where the wind blows
Yeah but since you touched me I can't hide it
I've been so delighted with you

Yeah, heat me with your love, ah ah
You opened up my heart, I just can't live without you,
Oh, I just couldn't live another day, your my
Bonfire, your love is like a bonfire burning deep within me
Now some folks said it's no good to smoke in bed uh, huh
But I just take off my clothes and I jump into the fire again

A versão de Cat Stevens:

1798 – Talking Heads – Psycho Killer (1977)

 

Escrita por David Byrne, Chris Frantz e Tina Weymouth, foi gravada em 1977 e lançada em 16 de setembro de 1977 no disco de estréia da banda, chamado Talking Heads: 77. Sairia também em compacto, em dezembro de 1977, com I wish you wouldn't say that como Lado B. Foi produzida por Tony Bongiovi e Lance Quinn. A letra fala dos pensamentos de um assassino em série. Possui uma linha de baixo das mais memoráveis do rock. Chegou ao número 92 do Billboard Hot 100, número 11 na Holanda e número 19 na Bélgica. É uma das 500 canções que deram forma ao rock and rooll, do Rock and Roll Hall of Fame.

A letra:

I can't seem to face up to the facts
I'm tense and nervous and I can't relax
I can't sleep 'cause my bed's on fire
Don't touch me, I'm a real live wire

Psycho Killer
Qu'est-ce que c'est?
Fa-fa-fa-fa, fa-fa-fa-fa-fa-fa, better
Run, run, run, run, run, run, run away, oh-oh-oh
Psycho Killer
Qu'est-ce que c'est?
Fa-fa-fa-fa, fa-fa-fa-fa-fa-fa, better
Run, run, run, run, run, run, run away, oh, oh, oh, oh
Ay-ya-ya-ya-ya-ya, ooh

You start a conversation, you can't even finish it
You're talking a lot, but you're not saying anything
When I have nothing to say, my lips are sealed
Say something once, why say it again?

Psycho Killer
Qu'est-ce que c'est?
Fa-fa-fa-fa, fa-fa-fa-fa-fa-fa, better
Run, run, run, run, run, run, run away, oh-oh-oh
Psycho Killer
Qu'est-ce que c'est?
Fa-fa-fa-fa, fa-fa-fa-fa-fa-fa, better
Run, run, run, run, run, run, run away, oh, oh, oh, oh
Ay-ya-ya-ya-ya-ya

Ce que j'ai fait, ce soir-là
Ce qu'elle a dit, ce soir-là
Réalisant mon espoir
Je me lance vers la gloire, okay
Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah
We are vain and we are blind
I hate people when they're not polite

Psycho Killer
Qu'est-ce que c'est?
Fa-fa-fa-fa, fa-fa-fa-fa-fa-fa, better
Run, run, run, run, run, run, run away, oh-oh-oh
Psycho Killer
Qu'est-ce que c'est?
Fa-fa-fa-fa, fa-fa-fa-fa-fa-fa, better
Run, run, run, run, run, run, run away, oh, oh, oh, oh
Ai-ya-ya-ya-ya-ya, ooh

A versão do Talking Heads:

A versão de Pacifica:

A versão de Alessia D'Andrea:

1797 – The Stranglers – Peaches (1977)

 

Escrita por Jean Jacques Bernel, Hugh Cornwell, Dave Greenfield e Jet Black, foi gravada entre janeiro e fevereiro de 1977 e lançada em 15 abril de 1977, no disco Rattus Norvegicus, o disco de estréia da banda. Sairia também em compacto em 21 de maio de 1977, com Go buddy go como Lado B. Foi produzida por Martin Rushent. Tem uma linha de baixo muito diferenciada e chegou ao número 8 no Reino Unido. Tem uma linguagem sexual pesada pra época. O narrador está olhando meninas em uma praia em um dia de verão. Pra tocar na rádio, a palavra clitoris foi substituída por Bikini, Oh shit foi substituído por Oh no e What a bummer foi substituida por whar a summer. Em 2022, a revista Guitar world disse que a linha de baixo é a quarta melhor linha de baixo de todo os tempos. Hugh Cornwell cantou e tocou guitarra. Jet Black tocou bateria. Jean Jacqes Burnel tocou baixo e fez backing vocals. Davie Greenfield tocou teclado e fez backing vocals.

A letra:

Strolling along, minding my own business
Well, there goes a girl and a half
She's got me going up and down
She's got me going up and down

Walking on the beaches lookin' at the peaches

Well, I got the notion, girl
That you got some sun-tan lotion in that bottle of yours
Spread it all over my peelin' skin, baby
That feels real good
All this skirt, lappin' up the sun, lap me up
Why don't you come on and lap me up?

Walking on the beaches looking at the peaches

Well, there goes another one just lying down on the sand dunes
I'd better go take a swim and see if I can cool down a little bit
'Cause you and me, woman
We got a lotta things on our minds, you know what I mean

Walking on the beaches looking at the peaches

Will you just take a look over there
(Where?) There
Is she tryin' to get outta that clitoris?
Liberation for women, that's what I'm preaching
Preacher man

Walking on the beaches looking at the peaches

Oh shit, there goes the charabanc!
Looks like I'm gonna be stuck here the whole summer
Well, what a bummer
I can think of a lot worse places to be
Like down in the streets or down in the sewer
Or even on the end of a skewer

Down on the beaches, just look at all the peaches
Down on the beaches, just look at all the brown bodies
Down on the beaches, just look at all the sunglasses
Down on the beaches, just look at all the peaches
Down on the beaches, just look at all the peaches
Down on the beaches, just look at all the peaches
Down on the beaches

A versão dos Stranglers:

1796 – Steve Winwood – Hold on (1977)

 

Escrita por Steve Winwood e Jim Capaldi, foi gravada entre 1976 e 1977 e lançada em junho de 1977, no disco de estréia de Steve, chamado Steve Winwood. Foi produzida por Steve Winwood, Chris Blackwell e Mark Miller Mundy. Steve Winwood cantou e fez backing vocals e tocou piano elétrico, sintetizador, guitarra e sax. Willie Weeks tocou baixo. Andy Newmark tocou bateria. Brother James tocou percussão.

A letra:

Hold on to me when you're falling
When you're falling down to the ground
Hold on to me when you feel like
When you feel like you can't go on

Don't be afraid I'll never refuse you
Playing with a broken heart that's lame again
Don't be ashamed to reach out and take my helping hand
It's so easy to be, to be free,
All you got to do is
Hold on to me when you're falling
Hold on to me when you're falling down
Hold on to me when you're falling down to the ground.

(Hold on to me when you're falling, Hold on to me when you're falling)

Reach out to me when you're crying
When you're crying out in the rain
Reach out to me when you feel like when you
Feel like you can't stand the pain.

Don't be ashamed to hold your head up
Walking to this state of mind aint' no big deal
Don't be afraid to reach out and there's a friendly sky
Take your clue. all you've got to do is...

Hold on to me when you're falling
When you're falling down to the ground
Hold on to me when you feel like
When you feel like you can't go on

A versão de Steve Winwood:

1795 – Sex Pistols – God save the queen (1977)

 

Escrita por Glen Matlock, John Lydon, Paul Cook e Steve Jones, foi gravada em outubro de 1976 e lançada em 27 de maio de 1977 no compacto com No feeling como Lado B. Saiu também no disco Never mind the bollocks, here's the Sex Pistols, o único disco de estúdio da banda. Foi produzida Chris Thomas e Bill Price. A letra e capa causaram muita polêmica na época. Foi proibida de ser tocada nas rádios de lá. Mesmo assim chegou ao número 2 no Reino Unido, mesmo com suspeitas de que houve fraude, pois ela era pra ser número 1. Foi retirada do hino nacional britânico e dizia que a rainha Elizabeth tinha um regime fascista. Repare que a palavra é usada desde sempre. Foi regravada pelo Motorhead e Bily Idol, entre outros artistas. É o número 175 da lista da revista Rolling Stone das 500 greatest songs of all time. É uma das 500 songs that shaped rock and roll, do Rock and Roll Hall of Fame. Foi o compacto do ano da Sounds magazine de 1977. Em 1989, NME disse que ela era o número 18 das 150 all time top songles. Q magazine disse em 2002 que ela era o número 1 da lista das 50 most exciting tunes ever e terceira na lista das 100 songs that changed the world, em 2003.

A letra:

God save the queen
The fascist regime
They made you a moron
A potential H bomb

God save the queen
She's not a human being
and There's no future
And England's dreaming

Don't be told what you want
Don't be told what you need
There's no future
No future
No future for you

God save the queen
We mean it man
We love our queen
God saves

God save the queen
'Cause tourists are money
And our figurehead
Is not what she seems

Oh God save history
God save your mad parade
Oh Lord God have mercy
All crimes are paid

Oh when there's no future
How can there be sin
We're the flowers
In the dustbin
We're the poison
In your human machine
We're the future
Your future

God save the queen
We mean it man
We love our queen
God saves

God save the queen
We mean it man
There's no future
In England's dreaming God save the queen

No future
No future
No future for you

No future
No future
No future for me

No future
No future
No future for you

A versão do Sex Pistols:

A versão do Motorhead:

A versão de Billy Idol com Generation Sex:

1794 – Rush – Closer to the heart (1977)

Escrita por Neil Peart, Peter Talbot, Alex Lifeson and Geddy Lee, foi gravada em 23 de junho de 1977 e lançada em 7 de setembro de 1977, no disco A farewell to kings, o quinto disco da banda. Saiu também em compacto, em novembro de 1977, com Madrigal como Lado B. Foi produzida pela banda, em conjunto com Terry Brown. Foi a primeira vez que um cara de fora da banda participou da composição. Peter Talbot era um amigo de Neil. Chegou ao número 36 no Reino Unido, sendo a primeira vez que o Rush teve um hit por lá. Chegou ao número 45 no Canadá e número 76 no Billboard Hot 100. Entrou no Canadian Songwriters Hall of Fame em 28 de março de 2010.

A letra:

And the men who hold high places
Must be the ones who start
To mold a new reality
Closer to the heart
Closer to the heart

The blacksmith and the artist
Reflect it in their art
They forge their creativity
Closer to the heart
Yes closer to the heart

Philosophers and ploughmen
Each must know his part
To sow a new mentality
Closer to the heart
Yes closer to the heart, yeah

You can be the captain
And I will draw the chart
Sailing into destiny
Closer to the heart
Closer to the heart

Well closer to the heart, yeah
Closer to the heart
Closer to the heart
I said closer to the heart

Well closer to the heart yeah
Closer to your heart
Closer to your heart

A versão do Rush:

A versão do YYNOT:

A versão de Slider:

1793 – Ringo Starr – Wings (1977)

Escrita por Ringo Starr e Vince Poncia, foi gravada entre fevereiro e junho de 1977, e lançada em 25 de agosto de 1977 no compacto que tem Just a dream como Lado B. Saiu também no disco Ringo The 4^th, o sexto disco da carreira de Ringo. Foi produzida por Arif Mardin. Ringo cantou e tocou bateria. David Spinozza tocou guitarra solo. John Tropea tocou guitarra. Don Grolnick tocou teclado. Tony Levin tocou baixo e Steve Gadd tocou bateria.

A letra:

If I had the wings of an eagle
Over these broken dreams, I will fly
If I could be shot like an arrow
Straight to you, in your arms I would lie

Don't you know I love you?
Don't you know I love you so?

If I had the strength of a lion
There's be no one to keep us apart
And if I was to crack just like thunder
I would shout what I feel in my heart

Don't you know I love you?
Don't you know I love you so?

Need you so much
The melody's coming in clear (so clear)
And with your touch
The music keeps going around and around in my ears, alright

Don't you know I love you?
Don't you know I need you so?

If I had to live life without you
I'd be lost like a ship in the night
Your love never gave me no warning
Like a bird, I was shot down in flight

Don't you know I love you?
Don't you know I love you so?

Don't you know I love you?
Don't you know I need you so? (need you so)

Don't you know I love you?
Don't you know I love you so?

Don't you know I love you?
Don't you know I need you so? (need you so)

Don't you know I love you?
Don't you know I love you so?

Don't you know I love you?
Don't you know I need you so?

A versão de Ringo Starr:

1792 – Ramones – Rockaway Beach (1977)

 

Escrita por Dee Dee Ramone, foi gravada entre agosto e setembro de 1977, em New York City e lançada em 4 de novembro de 1977 no disco Rocket to Russia, o terceiro da banda. Saiu também em compacto, na mesma data, com Locket love como Lado B. Foi produzida por Tommy Ramone e Tony Bongiovigi. Possui estilo Beach Boys, e surf rock. Fala sobre Rockway Beach, no Queens, onde Dee Dee gostava de ir. Foi o compacto que chegou mais alto na carreira do Ramones, atingindo número 66 no Billboard Hot 100.

A letra:

One, two, three, four

Chewin' out a rhythm on my bubble gum
The sun is out and I want some
It's not hard, not far to reach
We can hitch a ride to Rockaway Beach

Up on the roof, out on the street
Down in the playground, the hot concrete
Bus ride is too slow
They blast out the disco on the radio

Rock-rock, Rockaway Beach
Rock-rock, Rockaway Beach
Rock-rock, Rockaway Beach
We can hitch a ride to Rockaway Beach

Rock-rock, Rockaway Beach
Rock-rock, Rockaway Beach
Rock-rock, Rockaway Beach
We can hitch a ride to Rockaway Beach

It's not hard, not far to reach
We can hitch a ride to Rockaway Beach
It's not hard, not far to reach
We can hitch a ride to Rockaway Beach

Chewin' out a rhythm on my bubble gum
The sun is out and I want some
It's not hard, not far to reach
We can hitch a ride to Rockaway Beach

Up on the roof, out on the street
Down in the playground, the hot concrete
Bus ride is too slow
They blast out the disco on the radio

Rock-rock, Rockaway Beach
Rock-rock, Rockaway Beach
Rock-rock, Rockaway Beach
We can hitch a ride to Rockaway Beach

Rock-rock, Rockaway Beach
Rock-rock, Rockaway Beach
Rock-rock, Rockaway Beach
We can hitch a ride to Rockaway Beach

Rock-rock, Rockaway Beach
Rock-rock, Rockaway Beach
Rock-rock, Rockaway Beach
We can hitch a ride to Rockaway Beach

A versão dos Ramones:

A versão do Motorhead:

A versão de Sahara Hotnights:

1791 – Peter Gabriel – Solsbury Hill (1977)

 

Escrita por Peter Gabriel, foi gravada em 1976 e lançada em 25 de fevereiro de 1977 no disco Peter Gabriel, o primeiro da carreira solo dele. Saiu também em compacto, em 21 de março de 1977, com Moribund The Burgermeister como Lado B. Foi produzida por Bob Ezrin. Fala de uma experiencia espiritual no topo da Solsbury Hill, em Somerset, Inglaterra. Foi logo após a saída dele da banda Genesis. Chegou ao número 13 no Reino Unido e número 68 no Billboard Hot 100. Também foi número 13 na Holanda, número 16 a Holanda, número 17 na Bélgica e número 92 no Canadá. Peter Gabriel disse que a canção é sobre estar preparado pra perder o que você tem e estar aberto a ver o que você pode conseguir... é sobre deixar as coisas irem. Bob Ezrin, o produtor, pediu ao guitarrista Steve Hunter pra tocar o riff de guitarra em um violão com um capo no segundo fret. Hunter então gravou as três versões iguais, pra fazer de conta que tinha três violões lá. Allan Schwartzberg não usou um kit de bateria completo e sim um pandeiro em uma mão e uma baqueta na outra, batendo em um catálogo de telefone. E pra adicionar, Larry Fast colocou um kit de bateria fake no seu teclado. Peter Gabriel tocou flauta e cantou. Steve Hunder tocou violões. Tony Levin tocou baixo. Larry Fast tocou sintetizadores. Allan Scwartzberg tocou bateria, pandeiro e catálogo de telefone. Jimmy Maelen tocou sintetizador. E também participou da gravação a Orquestra sinfônica de Londres. É o número 472 da lista das 500 best songs of all time, da revista Rolling Stone. Foi regravada peo Erasure, Sarah McLachlan e Lou Reed, entre outros artistas.

A letra:

Climbing up on Solsbury Hill
I could see the city light
Wind was blowing, time stood still
Eagle flew out of the night

He was something to observe
Came in close, I heard a voice
Standing, stretching every nerve
I had to listen, had no choice

I did not believe the information
Just had to trust imagination
My heart going "Boom-boom-boom"
"Son, " he said
"Grab your things, I've come to take you home"
Hey, back home

To keep in silence I resigned
My friends would think I was a nut
Turning water into wine
Open doors would soon be shut

So I went from day to day
Though my life was in a rut
'Til I thought of what I'd say
Which connection I should cut

I was feeling part of the scenery
I walked right out of the machinery
My heart going "Boom-boom-boom"
"Hey, " he said
"Grab your things, I've come to take you home"
Hey, back home

When illusion spin her net
I'm never where I wanna be
And liberty, she pirouette
When I think that I am free

Watched by empty silhouettes
Who close their eyes but still can see
No one taught them etiquette
I will show another me

Today I don't need a replacement
I'll tell them what the smile on my face meant
My heart going "Boom-boom-boom"
"Hey, " I said
"You can keep my things, they've come to take me home"

A versão de Peter Gabriel:

A versão do Erasure:

A versão de Lou Reed: