1863 – Bob Dylan – Changing of the guards (1978)

 

Escrita por Bob Dylan, foi gravada em abril de 1978 e lançada em 15 de junho de 1978 no disco Street legal, o décimo oitavo de Bob Dylan. Saiu também em compacto no dia 24 de outubro de 1978, com Senor (Tales of yankee power) como Lado B. Foi produzida por Don Devito. Foi a música que abriu o disco. Não entrou nos charts. Foi regravada por Patti Smith, em 2007, entre outros artistas em diferentes datas. Dylan disse que toda vida que a canta, ela tem um significado pra ele. Ele diz que ela tem 1000 anos de idade.

A letra:

Sixteen years
Sixteen banners united over the field
Where the good shepherd grieves
Desperate men, desperate women divided
Spreading their wings 'neath the falling leaves

Fortune calls
I stepped forth from the shadows to the marketplace
Merchants and thieves, hungry for power, my last deal gone down
She's smelling sweet like the meadows where she was born
On midsummer's eve, near the tower

The cold-blooded moon
The captain waits above the celebration
Sending his thoughts to a beloved maid
Whose ebony face is beyond communication
The captain is down but still believing that his love will be repaid

They shaved her head
She was torn between Jupiter and Apollo
A messenger arrived with a black nightingale
I seen her on the stairs and I couldn't help but follow
Follow her down past the fountain where they lifted her veil

I stumbled to my feet
I rode past destruction in the ditches
With the stitches still mending 'neath a heart-shaped tattoo
Renegade priests and treacherous young witches
Were handing out the flowers that I'd given to you

The palace of mirrors
Where dog soldiers are reflected
The endless road and the wailing of chimes
The empty rooms where her memory is protected
Where the angels' voices whisper to the souls of previous times

She wakes him up
Forty-eight hours later, the sun is breaking
Near broken chains, mountain laurel and rolling rocks
She's begging to know what measures he now will be taking
He's pulling her down and she's clutching on to his long golden locks

Gentlemen, he said
I don't need your organization, I've shined your shoes
I've moved your mountains and marked your cards
But Eden is burning, either getting ready for elimination
Or else your hearts must have the courage for the changing of the guards

Peace will come
With tranquility and splendor on the wheels of fire
But will bring us no reward when her false idols fall
And cruel death surrenders with its pale ghost retreating
Between the King and the Queen of Swords

A versão de Bob Dylan:

A versão de Patti Smith:

A versão de Gonzalo Penalosa e The Kitchen:

1862 – John Travolta and Olivia Newton-John – Summer nights (1978)

 

Escrita por Jim Jacobs e Warren Casey, foi gravada entre 1977 e 1978 e lançada em 14 de abril de 1978, na trilha sonora do filme Grease. Saiu também em compacto, no dia 25 de agosto de 1978, no compacto com Rock and roll party queen. Foi produzida por Louis St. Louis. No filme, John Travolta era Danny Zuko e Olivia Newton John era Sandy Olsson. A canção nasceu do romance de verão dos dois, que acabou quando Sandy disse que iria voltar pra Austrália com a família. Então ela descobre que não irão mais se mudar e ela se matricular na Rydell High School, onde Danny era estudante. Enquanto isso, Danny havia mentido pra ela dizendo que estudava em uma escola privada de ricos. Cada um conta sua versão do romance na canção. Chegou ao número 5 do Billboard Hot100, número 1 no Reino Unido, número 1 na Irlanda, número 3 no Canadá e Nova Zelandia. Número 4 na Alemanha Ocidental e Itália, número 6 na Austrália, número 9 na África do Sul e número 14 na Finlandia. Billboard a elegeu a nona melhor canção de verão de todos os tempos.

A letra:

Summer loving had me a blast
Summer loving happened so fast
I met a girl crazy for me
Met a boy cute as can be

Summer days drifting away
To-ah! Oh, the summer nights
Well-a, well-a, well-a, huh

Tell me more, tell me more
Did you get very far?
Tell me more, tell me more
Like does he have a car?

Uh huh (doo doo)
Uh huh (doo doo)
Uh huh (doo doo doo doo doo)

She swam by me, she got a cramp
He ran by me, got my suit damp
I saved her life, she nearly drowned
He showed off, splashing around
Summer sun, something's begun
But ah! Oh, the summer nights
Well-a, well-a, well-a, huh

Tell me more, tell me more
Was it love at first sight?
Tell me more, tell me more
Did she put a fight?

Dow, doobie do, doobie do
Doobie, doobie, doobie
Dow, doobie do, doobie do
Doobie, doobie, doobie, dow

Took her bowling in the Arcade
We went strolling, drank lemonade
We made out under the dock
We stayed up 'til ten o'clock
Summer fling, don't mean a thing
But ah! Oh, the summer nights
Whoa, whoa, whoa

Tell me more, tell me more
But you don't gotta brag
Tell me more, tell me more
'Cause he sounds like a drag

Shoo bop bop, shoo bop bop
Shoo bop bop, shoo bop bop
Shoo bop bop, shoo bop bop
Shoo bop bop, yeah!

He got friendly, holding my hand
Well, she got friendly down in the sand
He was sweet, just turned eighteen
Well, she was good, you know what I mean

Summer heat, boy and girl meet
But ah! Oh, the summer nights
Whoa, whoa, whoa

Tell me more, tell me more
How much dough did he spend?
Tell me more, tell me more
Could she get me a friend?

It turned colder, that's where it ends
So I told her we'd still be friends
Then we made our true love vow
Wonder what she's doing now

Summer dreams ripped at the seams
But, oh
Those summer
Nights!
(Tell me more, tell me more, more, more)

A versão de John Travolta e Olivia-Newton John:

A versão de Banda Opium:

A versão do Glee:

1861 – Billy Joel – Until the night (1978)

 

Escrita por Billy Joel, foi gravada entre julho e agosto de 1978 e lançada em 11 de outubro de 1978, no disco 52^nd Street, o sexto da carreira de Billy Joel. Saiu também em compacto, com Root beer rag como Lado B. Foi produzida por Phil Ramone. Chegou ao número 50 no Reino Unido. É um tributo aos Righteous Brothers e ao produtor deles Phil Spector. O som foi feito pra parecer uma gravação deles. Richie Cannata toca o solo de sax. Billy canta de duas formas, uma mais alta e uma mais profunda e às vezes as vozes são duplicadas, o que dá um som parecido com os dos Righteous Brothers. A letra fala de um romance em que o casal se separa de manhã pois trabalham em lugares diferentes. Eles passam o dia inseguros mas quando chega de noite, tudo fica bem. O próprio Bill Medley, um dos Righteous Brothers, regravou-a em 1980. Billy Joel cantou e tocou piano acústico. Richie Cannata além do sax, tocou orgão e clarinete. Steve Khan tocou guitarra, violão e fez backing vocals. Hugh McCracken tocou violão de nylon. Doug Stegmeyer tocou baixo e fez backing vocals. Liberty De Vitto tocou bateria. David Freidman tocou percussão.

A letra:

I never ask you where you go
After I leave you in the morning
We go our different ways to separate situations
It's not that easy anymore

Today I do what must be done
I give my time to total strangers
But now it feels as though the day goes on forever
More than it ever did before

Until the night, until the night
I just might make it
Until the night, until the night
When I see you again

Now you're afraid that we have changed
And I'm afraid we're getting older
So many broken hearts, so many lonely faces
So many lovers come and gone

I'll have my fears like every man
You'll have your tears like every woman
Today we'll be unsure, is this what we believe in
And wonder how can we go on

Until the night, until the night
I just might make it
Until the night, until the night
When I see you again

When the sun goes down
And the day is over
When the last of the light has gone
As they pour into the street
I will be getting closer
As the cars turn their headlights on
While they're closing it down
We're gonna open it up
And while they're going to sleep
We'll just be starting to touch
I'm just beginning to feel
I'm just beginning to give
I'm just beginning to feel
I'm just beginning to live
Before I leave you again
Before the light of the dawn
Before this evening can end
I have been waiting so long

A versão de Billy Joel:

A versão de Bill Medley:

1860 – Neil Young – Look out for my love (1978)

Escrita por Neil Young, foi gravada em 20 de janeiro de 1976 no rancho Broken Arrow e colocada overdubs nos estúdios da CBS em Londres em 1 de abril de 1976. Foi lançada em 21 de outubro de 1978 no disco Comes a time, o nono da carreira de Neil. Foi priduzida por Neil Young, David Briggs, Tim Mulligan e Ben Keith. Ralph Molina tocou bateria e cantou. Billy Talbot tocou baixo e cantou. Frank Sampedro tocou guitarra. Neil Young cantou e tocou guitarra. Nicolette Larson cantou harmonias vocais. O sujeito está num avião louco pra chegar em casa pra sua parceira, enquanto imagina se o seu amor é um peso pra sua parceira.

A letra:

There's a lot to learn
For wastin' time
There's a heart that burns
There's an open mind

Look out for my love, look out for my love
Look out for my love, look out for my love
You own it
You own it now
You own it

There's a weight on you
But you can't feel it
Livin' like I do
It's hard for you to see it

Was I hurt too bad
Can I show you daylight
How could I be sad
When I know that you might

Look out for my love, look out for my love
Look out for my love, look out for my love

Look out for my love
It's in your neighborhood
I know things are gonna change
But I can't say bad or good

Silver wings of mornin'
Shinin' in the gray day
While the ice is formin'
On a lonely runway

Hydraulic wipers pumpin'
'Til the window glistens
Somethin' sayin' somethin'
No one seems to listen

Men with walkie-talkies
Men with flashlights waving
Up upon the tower
Time reads daylight savings

I'm home again to you, babe
You know it makes me wonder
Sitting in the quiet slipstream
In the thunder

Look out for my love, look out for my love
Look out for my love, look out for my love
Look out for my love, look out for my love
Look out for my love, look out for my love

A versão de Neil Young:

A versão de Emily Barker and The Red Clay Halo:

A versão de Linda Ronstadt:

1859 – Genesis – Follow you, follow me (1978)

 

Escrita por Phill Collins, Tony Banks e Mike Rutherford, foi gravada entre setembro e outubro de 1977 e lançada em 24 de fevereiro de 1978 no compacto que tinha Ballad of big como Lado B. Saiu também no nono disco da banda, And then there were three, em 31 de março de 1978. Foi produzida por David Hentschel e Genesis. Foi o primeiro Top 10 da banda no Reino Unido e primeiro Top 40 nos Estados Unidos, chegando ao número 7 no Reino Unido e número 23 no Billboard Hot 100. Chegou também ao número 16 na Austrália e número 22 na Nova Zelândia. Foi uma mudança da banda, saindo de um rock mais progressivo pra uma balada mais sentimental, devagar. Follow you follow me foi o primeiro sucesso pop do grupo no mundo inteiro. Faz parte do livro Rock song index: the 7500 most important songs for the rock and roll Era. Phil Collins cantou, tocou bateria e percussão. Tony Banks tocou teclado e Mike Rutherford tocou guitarra e baixo.

A letra:

Stay with me
My love I hope you'll always be
Right here by my side if ever I needed you
Oh my love

In your arms
I feel so safe and so secure
Everyday is such a perfect day to spend
Alone with you

I will follow you will you follow me
All the days and nights that we know will be
I will stay with you will you stay with me
Just one single tear in each passing year

With the dark
Oh I see so very clearly now
All my fears are drifting by me so slowly now
Fading away

I can say
The night is long but you are here
Close at hand I'm better for the smile you give
And while I live

I will follow you will you follow me
All the days and nights that we know will be
I will stay with you will you stay with me
Just one single tear in each passing year there will be

I will follow you will you follow me
All the days and nights that we know will be
I will stay with you will you stay with me
Just one single tear in each passing year

I will follow you will you follow me
All the days and nights that we know will be
I will stay with you will you stay with me
Just one single tear in each passing year

A versão do Gênesis:

A versão dos Chandra Brothers:

A versão de Alain Leblanc:

1858 – Bob Seger – Still the same (1978)

 

Escrita por Bob Seger, foi gravada em 1978 e lançada em abril de 1978 no compacto que tinha Feel like a number como Lado B. Saiu também no disco Stranger in town, o décimo disco de Seger e o segundo com a Silver Bullet Band, em 5 de maio de 1978. Foi produzida por Punch Andrews e Bob Seger. Chegou ao número 4 no Billboard Hot 100, número 4 no Canadá, número 13 na Holanda, número 18 na Áustria, número 20 na Nova Zelandia, número 22 na Bélgica, número 23 na Austrália e número 30 na Alemanha. Fala de um viciado em jogo que é admirado pelo cantor, mas que no final o abandona porque vê que ele não vai mudar nunca. Bob Seger cantou, tocou piano e violão. Robyn Robbins tocou orgão. Chris Campbell tocou baixo. David Teergarden tocou bateria e percussão. Venetta Fields, Clydie King e Sherlie Matthews fizeram backing vocals.

A letra:

You always won every time you placed a bet
You're still damn good
No one's gotten to you yet
Every time they were sure they had you caught
You were quicker than they thought
You'd just turn your back and walk

You always said the cards would never do you wrong
The trick, you said, was never play the game too long
A gambler's share, the only risk that you would take
The only loss you could forsake
The only bluff you couldn't fake

And you're still the same
I caught up with you yesterday (still the same, still the same)
Moving game to game
No one standing in your way
Turning on the charm
Long enough to get you by (still the same, still the same)
You're still the same
You still aim high

Still the same, still the same

Still the same, still the same

There you stood, everybody watched you play
I just turned and walked away
I had nothing left to say

'Cause you're still the same
Still the same, baby, baby, you're still the same
You're still the same
Still the same, baby, baby, you're still the same
Moving game to game
Still the same, baby, baby, you're still the same

Some things never change
Still the same, baby, baby, you're still the same
You're still the same
Still the same, baby, baby, you're still the same
Still the same
Still the same, baby, baby, you're still the same

A versão de Bob Seger:

A versão de French Leftovers:

A versão dos Twin Tigers:

1857 – Bob Dylan – Baby stop crying (1978)

 

Escrita por Bob Dylan, foi gravada em abril de 1978 e lançada no disco Street legal, o décimo oitavo disco de Bob, em 15 de junho de 1978. Sairia também em compacto, com New pony como Lado B. Foi produzida por Don DeVito. C hegou ao número 13 no Reino Unido. O narrador é um homem desesperado tentando fazer o papel de um consolador de uma mulher desesperada. Ele pede a pistola dela e diz que não consegue diferenciar o certo do errado. Dylan disse que o homem na canção colocou a mão pra fora e não está com medo de ser mordido.

A letra:

You been down to the bottom with a bad man, babe
But you're back where you belong
Go get me my pistol, babe
Honey, I ain't tell right from wrong

Baby, please stop crying (stop crying)
Stop crying (stop crying), stop crying (stop crying)
Baby, please stop crying (stop crying)
(Stop crying) stop crying, (stop crying) stop crying (stop crying)
Baby, please stop crying
You know, I know, the sun will always shine
So baby, please, stop crying 'cause it's tearing up my mind

Go down to the river, babe
Honey, I will meet you there
Crawl down to the river, babe
Honey, I will pay your fare

Baby, please stop crying (stop crying)
Stop crying (stop crying), stop crying (stop crying)
Baby, please stop crying (stop crying)
(Stop crying) stop crying, (stop crying) stop crying (stop crying)
Baby, please stop crying
You know, I know, the sun will always shine
So baby, please stop crying 'cause it's tearing up my mind
(Ooh-ooh)

If you're looking for assistance, babe
Or if you just want some company
Or if you just want a friend you can talk to
Honey, come and see about me

Baby, please stop crying (stop crying)
Stop crying (stop crying), stop crying (stop crying)
Baby, please stop crying (stop crying)
(Stop crying) stop crying, (stop crying) stop crying (stop crying)
Baby, please stop crying
You know, I know, the sun will always shine
So baby, please stop crying 'cause it's tearing up my mind
(Ooh-ooh)
(Ooh-ooh)
(Ooh-ooh)

You been hurt so many times
And I know what you're thinking of
Well, I don't have to be no doctor, babe
To see that you're madly in love

But baby, please stop crying (stop crying)
Stop crying (stop crying), stop crying (stop crying)
Baby, please stop crying (stop crying)
(Stop crying) stop crying, (stop crying) stop crying (stop crying)
Baby, please stop crying
You know, I know, the sun will always shine
So baby, please stop crying it's tearing up my mind
(Ooh-ooh)
(Ooh-ooh)
(Ooh-ooh)

A versão de Bob Dylan:

A versão de Trifle com Jessica Luxx:

1856 – Bruce Springsteen – Factory (1978)

 

Escrita por Bruce Springsteen, foi gravada entre junho de 1977 e março de 1978, no Atlantic e no Record Plant Studios, em NYC e lançada em 2 de junho de 1978 no disco Darkness on the edge of town, o quarto disco de Bruce. Foi produzida por Bruce Springsteen e Jon Landau. Fala também do relacionamento entre pai e filho. Faz comentários à respeito dos aspectos repetitivos da vida de um trabalhador. Fala de um pai que trabalha em um fabrica, cuja vida é consumida por seu trabalho, mas que ele precisa desse trabalho pra poder sustentar sua família. Bruce cantou, tocou guitarra solo e gaita. Roy Bittan tocou piano e fez backing vocals. Clarence Clemons tocou sax e fez backing vocals. Danny Federici tocou orgão Hammond e Glockenspiel. Garry Tallent tocou baixo. Steven Van Zandt tocou guitarra base e fez backing vocals. Max Weinberg tocou bateria.

A letra:

Early in the morning, factory whistle blows
Man rises from bed and puts on his clothes
Man takes his lunch, walks out in the morning light
It's the work (the work), the working (the working), just the working life (just the working life)

Through the mansions of fear, through the mansions of pain
I see my daddy walking through them factory gates in the rain
Factory takes his hearing, factory gives him life
The work (the work), the working (the working), just the working life (just the working life)

End of the day, factory whistle cries
Men walk through these gates with death in their eyes
And you just better believe, boy
Somebody's gonna get hurt tonight
The working (the working), the working (the working), just the working life (just the working life)
Go hitch, the working (the working), the working (the working), just the working life (just the working life)
Hmmmmm-hmmmmm-hmmmmm-hmmmmm-hmmmmm-hmmmmm-hmmmmm

A versão de Bruce Springsteen:

 

A versão de Deep Dark Woods:

 

A versão de 13 Crowes:

1855 – Billy Joel – My life (1978)

 

Escrita por Billy Joel, foi gravada entre julho e agosto de 1978 e lançada em 11 de outubro de 1978, no disco 52^nd Street, o sexto disco da carreira de Billy Joel. Saiu também na mesma época em compacto, com 52^nd Street como Lado B. Foi produzida por Phil Ramone. Chegou ao número 3 no Billboard Hot 100, número 12 no Reino Unido, número 1 na Rodésia, número 2 no Canadá e na África do Sul, número 3 na Irlanda, número 4 na Suíça, número 6 na Australia, França e Nova Zelândia, número 11 na Áustria, número 13 na Espanha, número 22 na Holanda, número 27 na Bélgica e número 37 no Japão. O backing vocal foi feito por Peter Cetera e Donnie Dacus, do Chicago, além de cantarem junto na bridge e no outro. Foi usada como tema de abertura da série de TV da ABC chamada Bosom Buddies, mas com outro artista cantando. Billy Joel cantou, fez backing vocals e toou sintetizador e piano elétrico Yamaha. David Brown tocou guitarra. Russell Javours. Doug Stegmeyer tocou baixo. Liberty de Vitto tocou bateria. Richie Cannata tocou clarinete. E como dito Peter Cetera e Donnie Dacus fizeram backing vocals.

A letra:

Got a call from an old friend we used to be real close
Said he couldn't go on the American way
Closed the shop, sold a house, bought a ticket to the west coast
Now he gives them a stand-up routine in L.A.

I don't need you to worry for me 'cause I'm alright
I don't want you to tell me it's time to come home
I don't care what you say anymore this is my life
Go ahead with your own life leave me alone

I never said you had to offer me a second chance
(I never said you had to)
I never said I was a victim of circumstance
(I never said)

I still belong (still belong)
Don't get me wrong (don't get me wrong)
You can speak your mind but not on my time

They will tell you you can't sleep alone in a strange place
Then they'll tell you you can't sleep with somebody else
Oh, but sooner or later you sleep in your own space
Either way it's okay, you wake up with yourself

I don't need you to worry for me 'cause I'm alright
I don't want you to tell me it's time to come home
I don't care what you say anymore this is my life
Go ahead with your own life leave me alone

I never said you had to offer me a second chance
(I never said you had to)
I never said I was a victim of circumstance
(Gf circumstance)

I still belong (still belong)
Don't get me wrong (don't get me wrong)
You can speak your mind but not on my time

I don't care what you say anymore this is my life
Go ahead with your own life leave me alone

A versão de Billy Joel:

A versão de Piano Man Band:

A versão de Nicholas Wells:

1854 – Neil Young – Already one (1978)

 

Escrita por Neil Young, foi gravada em Nashville, Tennessee, no Woodland Studio, em 2 de novembro de 1977. Foi lançada em 21 de outubro de 1979, no disco Comes a time, o nono disco da carreira de Neil Young. Foi produzida por Neil Young, David Briggs, Tim Mulligan e Ben Keith. Neil tocou guitarra, gaita e cantou. Tim Mulligan tocou sax. Nicolette Larson fez harmonias vocais e cantou. Ben Keith tocou steel guitar. Karl Himmel tocou bateria. Tim Drummond tocou baixo. Spooner Oldham tocou piano. Rufus Thibodeaux tocou rabeca. Joe Osborn tocou baixo. Larrie Londin tocou bateria. Farrell Morris tocou percussão e Rita Fey tocou harpa.

A letra:

What can I do, what can I say
Running down this suspicious highway
I can't forget how love let me down
And when we meet it still gets in my way.

But we're already one
Already one
Now only time can come between us
'Cause we're already one
Our little son won't let us forget.

Your laughing eyes, your crazy smile
Every time I look in his face
I can't believe how love lasts a while
And looks like "forever" in the first place.

But we're already one
Already one
Now only time can come between us
'Cause we're already one
Our little son won't let us forget.

In my new life I'm travelin' light
Eyes wide open for the next move
I can't go wrong 'til I get right
But I'm not fallin' back in the same groove.

But we're already one
Already one
Now only time can come between us
'Cause we're already one
Our little son won't let us forget.

A versão de Nel Young:

1853 – The Rolling Stones – Far away eyes (1978)

 

Escrita por Mick Jagger e Keith Richards, foi gravada entre outubro e dezembro de 1978, no Pathé Marconi Studios, em Paris e lançada em 9 de junho de 1978, no disco Some girls, o décimo quarto disco da banda. Saiu também em compacto, com Miss you como Lado A. Foi produzida por Mick Jagger e Keith Richards. É uma canção no estilo conhecido como Country Bakersfield. Ronnie Wood tocou um pedal steel guitar. O tema é a solidão e as possibilidades de se encontrar amor. É como se um ouvinte estivesse dirigindo sozinho e escutando uma estação de rádio. Mick Jagger cantou, tocou piano e fez backing vocals. Keith Richards tocou guitarra, violão, piano e fez backing vocals. Ronnie Wood tocou pedal steel guitar e fez backing vocals. Bill Wyman tocou baixo e Charlie Watts tocou bateria.

A letra:

I was driving home early Sunday morning through Bakersfield
Listening to gospel music on the colored radio station
And the preacher said, you know you always have the Lord by your side
And I was so pleased to be informed of this that I ran
Twenty red lights in his honor
Thank you Jesus, thank you Lord

I had an arrangement to meet a girl, and I was kind of late
And I thought by the time I got there she'd be off
She'd be off with the nearest truck driver she could find
Much to my surprise, there she was sittin' in the corner
A little bleary, worse for wear and tear
Was a girl with far away eyes

So if you're down on your luck
And you can't harmonize
Find a girl with far away eyes
And if you're downright disgusted
And life ain't worth a dime
Get a girl with far away eyes

Well the preacher kept right on saying that all I had to do was send
Ten dollars to the church of the Sacred Bleeding Heart Of Jesus
Located somewhere in Los Angeles, California
And next week they'd say my prayer on the radio
And all my dreams would come true
So I did, the next week, I got a prayer with a girl
Well, you know what kind of eyes she got, well I'll tell ya

So if you're down on your luck
I know you all sympathize
Find a girl with far away eyes
And if you're downright disgusted
And life ain't worth a dime
Get a girl with far away eyes

So if you're down on your luck
I know you all sympathize
Get a girl with far away eyes

A versão dos Rolling Stones:

A versão de GV Live:

A versão dos Brothers Reed:

1852 – Dire Straits – Setting me up (1978)

 

Escrita por Mark Knopfler, foi gravada entre fevereiro e março de 1978 e lançada no disco de estréia da banda, chamado apenas de Dire Straits, em 7 de outubro de 1978. Foi produzida por Muff Winwood. Uma canção sobre romance, com humor e acidez. É uma música com um solo country. Foi regravada por Eric Clapton ao vivo em seu disco duplo ao vivo de 1980 chamado Just one night, com Albert Lee cantando. E o próprio Albert Lee gravou-a no disco Hiding, com harmonias vocais feitas por Don Everly. A versão do grupo Highway 101, de 1988, chegou ao número 7 no Billboard Hot Country Singles.

A letra:

You say I'm the greatest, bound for glory
Well, the word is out and I learned
I got the latest side of the story
You're pulling out before you get burned

Well, your hands are squeezing me down to the bone
I never saw you breaking no law
Stands to reason, I've got to leave you alone
What do you take me for?

You're just setting me up to put me down
You're just making me out to be your clown
Setting me up now, to put me down
You better give it up (give it up), yeah, give it up
Quit your messing around

You think I care about your reaction
You think I don't understand
All you wanted was a piece of the action
Now you talk about another man

You're setting me up to put me down
You're just making me out to be your clown
Setting me up, yeah, to put me down
You better give it up (give it up), give it up
Quit your messing 'round

A versão de Dire Straits:

A versão de Eric Clapton com Albert Lee nos vocais:

A versão do Highway 101:

1851 – Paul McCartney – With a little luck (1978)

 

 

Escrita por Paul McCartney, foi gravada entre maio e novembro de 1977 e lançada em 20 de março de 1978, no compacto que tinha Backwards traveller/Cuff link como Lado B. Saiu também no disco London town, em 31 de março de 1978, o sexto disco de Paul com os Wings. Foi produzida pelo próprio Paul. Foi escrita na Escócia. Foi o disco seguinte ao Mull of Kintyre, o maior best-selling do Reino Unido de todos os tempos. Foi gravada nas Ilhas Virgens, à bordo do Fair Carol, um barco com um estúdio. Chegou ao número 1 no Billboard Hot 100, número 1 no Canadá, número 5 no Reino Unido, número 3 na Irlanda e Nova Zelândia, número 6 na Noruega, número 11 na Áustria e Austrália, e número 17 na Alemanha. Paul cantou, tocou baixo, teclado e sintetizadores. Linda tocou teclado e fez backing vocals. Denny Laine tocou teclado e fez backing vocals. Joe English tocou bateria.

A letra:

With a little luck, we can help it out
We can make this whole damn thing work out
With a little love, we can lay it down
Can't you feel the town exploding?

There is no end to what we can do together (together, ooh)
There is no end, there is no end (there is no end)
The wiliow turns his back on inclement weather
And if he can do it, we can do it
Just me and you

And a little luck, we can clear it up
We can bring it in for a landing
With a little luck, we can turn it on
There can be no misunderstanding

There is no end to what we can do together (together, ooh)
There is no end, there is no end (there is no end)
The willow turns his back on inclement weather
We can do it, just me and you

With a little push, we could set it off
We can send it rocketing skywards
With a little love, we could shake it up
Don't you feel the comet exploding?

With a little luck, with a little luck
With a little luck, a little luck, a little luck

With a little fuck, we can help it out
We can make this whole damn thing work out
With a little love, we can lay it down
Can't you feel the town exploding?

With a little luck, baby
We could set it off, send it rocketing skywards
With a little love, we could shake it up
Oh-oh, yeah-yeah

With a little luck, we can help it out
We can make this whole damn thing work out
With a little love, we can lay it down
Can't you feel the town exploding?

With a little push, we could set it off
We can send it rocketing skywards
With a little love, we could shake it up
Don't you feel the comet exploding?
Woah-woah-woah, ooh

A versão de Paul McCartney com os Wings:

A versão de John Pizzarelli:

A versão de Kotaro:

1850 – Bruce Springsteen – Candy's room (1978)

 

Escrita por Bruce Springsteen, foi gravada entre junho de 1977 e março de 1978, no Atlantic Studios e no Robert Plant, ambos em New York City. Foi lançada em 2 de junho de 1978, no disco Darkness on the edge of town, o quarto disco de Bruce. Foi produzida por Bruce Springsteen e Jon Landau. Fala sobre a busca por esperança. É o momento musical mais violento do disco. Um trabalho influenciado pelo punk liderado pela bateria. Um tema fantasia onde são trocados presentes por afeições. Bruce cantou, tocou guitarra solo e gaita. Roy Bittan tocou piano e fez backing vocals. Clarence Clemons tocou sax e fez backing vocals. Danny Federici tocou orgão Hammond e Glockenspiel. Garry Tallent tocou baixo. Steven Van Zandt tocou guitarra base e fez backing vocals. Max Weinberg tocou bateria.

A letra:

In Candy's room, there are pictures of her heroes on the wall
But to get to Candy's room, you gotta walk the darkness of Candy's hall
Strangers from the city call my baby's number and they bring her toys
When I come knocking, she smiles pretty, she knows I wanna be Candy's boy
There's a sadness hidden in that pretty face
A sadness all her own from which no man can keep Candy safe

We kiss, my heart rushes through my brain
And the blood rushes in my veins
The fire rushes towards the sky
And we go driving, driving deep into the night
I go driving deep into the light in Candy's eyes

She says, "Baby if you wanna be wild
You got a lot to learn, close your eyes
Let them melt, let them fire, let them burn"
'Cause in the darkness, there'll be hidden worlds that shine
When I hold Candy close, she makes those hidden worlds mine

She has fancy clothes and diamond rings
She has men who give her anything she wants
But they don't see
That what she wants is me

Oh, and I want her so
I'll never let her go, no-no-no
She knows that I'd give
All that I've got to give
All that I want, all that I live
To make Candy mine
Tonight

A versão de Bruce Springsteen:

A versão de Cover me:

A versão de Maria McKee: