1873 – Al Stewart – Time passages (1978)

 

Escrita por Al Stewart e Peter White, foi gravada em junho de 1978 e lançada em setembro de 1978 no disco de mesmo nome, o oitavo disco de Al Stewart. Saiu também em compacto, com Almost Lucy como Lado B, no mesmo mês. Foi produzida por Alan Parsons. Chegou ao número 7 no Billboard Hot 100. Chegou também ao número 1 no Canadá e número 36 na Austrália.

A letra:

It was late in December, the sky turned to snow
All round the day was going down slow
Night like a river beginning to flow
I felt the beat of my mind go
Drifting into time passages
Years go falling in the fading light
Time passages
Buy me a ticket on the last train home tonight

Well I'm not the kind to live in the past
The years run too short and the days too fast
The things you lean on are the things that don't last
Well it's just now and then my line gets cast into these
Time passages
There's something back here that you left behind
Oh time passages
Buy me a ticket on the last train home tonight

Hear the echoes and feel yourself starting to turn
Don't know why you should feel
That there's something to learn
It's just a game that you play

Well the picture is changing
Now you're part of a crowd
They're laughing at something
And the music's loud
A girl comes towards you
You once used to know
You reach out your hand
But you're all alone, in these
Time passages
I know you're in there, you're just out of sight
Time passages
Buy me a ticket on the last train home tonight

A versão de Al Stewart:

A versão de Keith Shamel:

A versão de Gary Brown:

1872 – Bob Dylan – Señor (Tales of yankee power) (1978)

 

Escrita por Bob Dylan, foi gravada em 28 de abril de 1978 e lançada em 15 de junho de 1978, no disco Street Legal, o décimo oitavo da carreira de Bob. Foi produzida por Don DeVito. É canção mais conhecida do disco, a que Dylan cantou mais vezes ao vivo e a que teve mais regravações do disco por outros artistas. Foi regravada por Jerry Garcia Band e Willie Nelson, entre outros artistas.

A letra:

Señor, señor
Can you tell me where we're headin'?
Lincoln County Road or Armageddon?
Seems like I been down this way before
Is there any truth in that, señor?

Señor, señor
Do you know where she is hidin'?
How long are we gonna be ridin'?
How long must I keep my eyes glued to the door?
Will there be any comfort there, señor?

There's a wicked wind still blowin' on that upper deck
There's an iron cross still hanging down from around her neck
There's a marchin' band still playin' in that vacant lot
Where she held me in her arms one time and said, "Forget me not"

Señor, señor
I can see that painted wagon
Smell the tail of the dragon
Can't stand the suspense anymore
Can you tell me who to contact here, señor?

Well, the last thing I remember before I stripped and kneeled
Was that trainload of fools bogged down in a magnetic field
A gypsy with a broken flag and a flashing ring
He said, "Son, this ain't a dream no more, it's the real thing"

Señor, señor
You know their hearts is as hard as leather
Well, give me a minute, let me get it together
Just gotta pick myself up off the floor
I'm ready when you are, señor

Señor, señor
Let's overturn these tables
Disconnect these cables
This place don't make sense to me no more
Can you tell me what we're waiting for, señor?

A versão de Bob Dylan:

A versão de Jerry Garcia Band:

A versão de Willie Nelson:

1871 – Van Morrison – Wavelenght (1978)

Escrita por Van Morrison, foi gravada na primavera de 1978, no Shangri-La Studios, em Malibu, California e lançada em setembro de 1978, no disco de mesmo nome, o décimo da carreira de Van. Saiu também em compacto, com Checkin' it out como Lado B, em outubro de 1978. Foi produzida por Van Morrison. Chegou ao número 42 no Billboard Hot 100. Trata-se de uma canção de amor sobre a comunicação misteriosa e sem palavras entre um casal. Faa dos anos de adolescente do cantor, quando ele ouvia Ray Charles cantando come back bay, come back. Também fala de Brown eyed girl. É rankeada número 253 no livro de 1989 chamado The heart of rock and soul, the 1001 greatest singles ever, escrito por Dave Marsh. Van Morrison cantou, tocou violão e sax alto. Peter Bardens tocou piano, orgão e sintetizador. Bobby Tench tocou guitarra e fez backing vocals. Mickey Feat tocou baixo. Peter Van Hooke tocou bateria e Ginger Blake, Laura Creamer e Linda Dillard fizeram backing vocals.

A letra:

This is a song about your wavelength
And my wavelength, baby
You turn me on
When you get me on your wavelength
Yeah, yeah, yeah, yeah, yeah
With your wavelength
Oh, with your wavelength
With your wavelength
With your wavelength
Oh mama, oh mama, oh mama, oh mama oh mama, oh mama

Wavelength
Wavelength
You never let me down no
You never let me down no

When I'm down you always comfort me
When I'm lonely you see about me
You are ev'ry where you're 'sposed to be
And I can get your station
When I need rejuvenation

Wavelength
Wavelength
You never let me down no
You never let me down no

I heard the voice of America
Callin' on my wavelength
Tellin' me to tune in on my radio
I heard the voice of America
Callin' on my wavelength
Singin' "Come back, baby
Come back
Come back, baby
Come back"

Do do do dou dit do do dou dit do do do do do
Do do do dou dit do do dou dit do do do do do

Won't you play that song again for me
About my lover, my lover in the grass, yeah, alright
You have told me 'bout my destiny
Singin' "Come back, baby
Come back
Come back, baby
Come back"

On my wavelength
Wavelength
You never let me down no
You never let me down no
When you get me on
When you get me on your wavelength
When you get me
Oh, yeah, Lord
You get me on your wavelength

You got yourself a boy
When you get me on
Get me on your wavelength
Ya radio, ya radio, ya radio
Ya radio, ya radio, ya radio
Wave wave wave

A versão de Van Morrison:

A versão de Wookalily:

A versão de Great Moments in Vinyl:

 

 

1870 – Tom Petty and The Heartbreakers – I need to know (1978)

 

Escrita por Tom Petty, foi gravada no final de 1977, no Shelter Studios, em Hollywood, California. Foi lançada em 2 de maio de 1978, no disco You're gonna get it, o segundo da banda. Saiu também em compacto em junho de 1978, com No second thoughts como Lado B. Foi produzida por Denny Cordell, Noah Shark e Tom Petty. Chegou ao número 41 do Billboard Hot 100 e número 46 no Canadá. Foi regravada por Stevie Nicks, entre outros artistas.

A letra:

Well, the talk on the street
Says you might go solo
Good friend of mine
Saw you leavin' by your back door

I need to know (I need to know)
I need to know (I need to know)
If you think you're gonna leave
Then you better say so
I need to know (I need to know)
I need to know (I need to know)
Because I don't know how long I can hold on
If you're makin' me wait, if you're leadin' me on
I need to know (I need to know)
I need to know (I need to know)

Who would've thought that
You'd fall for his line?
All of a sudden
It's me on the outside

I need to know (I need to know)
I need to know (I need to know)
If you think you're gonna leave
Then you better say so
I need to know (I need to know)
I need to know (I need to know)
Because I don't know how long I can hold on
If you're makin' me wait, if you're leadin' me on
I need to know (I need to know)
I need to know (I need to know)
Wow!

Baby, I need to know (I need to know)
I need to know (I need to know)
If you think you're gonna leave
Then you better say so
I need to know (I need to know)
I need to know (I need to know)
Because I don't know how long I can hold on
If you're makin' me wait, if you're leadin' me on
I need to know (I need to know)
I need to know (I need to know)
Baby, I need to know

A versão de Tom Petty and The Heartbreakers:

A versão de Starcrawler:

A versão de Tom Petty e os Heartbreakers com Stevie Nicks:

1869 – The Police – Can't stand losing you (1978)

 

Escrita por Sting, foi gravada entre janeiro e setembro de 1978, no Surrey Sound Studios, em Leatherhead, Inglaterra. Foi lançada em 14 de agosto de 1978, no compacto que tinha Dead end job como Lado B. Saiu também no disco de estréia da banda, Outlandos d'Amour, em 3 de novembro de 1978. Foi produzida pela própria banda. Chegou ao número 2 no Reino Unido, número 7 na Irlanda, número 9 na Holanda, número 15 na Bélgica, número 48 na Nova Zelandia e número 98 na Austrália. Fala sobre suicídio de adolescente. Sting tocou baixo, cantou e fez backing vocals. Andy Summers tocou guitarra. Stewart Copeland tocou bateria e percussão.

A letra:

I've called you so many times today
And I guess it's all true what your girlfriends say
That you don't ever want to see me again
And your brother's gonna kill me, and he's six feet ten
I guess you'd call it cowardice
But I'm not prepared to go on like this

I can't, I can't, I can't stand losing
I can't, I can't, I can't stand losing
I can't, I can't, I can't, I can't stand losing you
I can't stand losing you
I can't stand losing you
I can't stand losing you

I see you sent my letters back
And my L.P. records, and they're all scratched
I can't see the point in another day
When nobody listens to a word I say
You can call it lack of confidence
But to carry on living doesn't make no sense

I can't, I can't, I can't stand losing
I can't, I can't, I can't stand losing
I can't, I can't, I can't stand losing
I can't, I can't, I can't stand losing
I can't, I can't, I can't stand losing
I can't, I can't, I can't stand losing

I guess this is our last goodbye
And you don't care, so I won't cry
But you'll be sorry when I'm dead
And all this guilt will be on your head
I guess you'd call it suicide
But I'm too full to swallow my pride

I can't, I can't, I can't stand losing
I can't, I can't, I can't stand losing
I can't, I can't, I can't stand losing
I can't, I can't, I can't stand losing
I can't, I can't, I can't stand losing
I can't, I can't, I can't stand losing
I can't, I can't, I can't stand losing
I can't, I can't, I can't stand losing
I can't, I can't, I can't stand losing
I can't, I can't, I can't stand losing
I can't, I can't, I can't stand losing
I can't, I can't, I can't stand losing
I can't, I can't, I can't stand losing you

A versão do Police:

A versão de Big Rock Room:

A versão do Telephones:

1868 – John Travolta and Olivia Newton-John – You're the one that I want (1978)

Escrita por John Farrar, foi gravada entre 1977 e 1978 e lançada na trilha sonora do filme Grease, em 14 de abril de 1978. Saiu também compacto, com Alone at a drive-in movie como Lado B, uma música instrumental, ainda em 1978. Foi produzida pelo próprio John Farrar. A canção é uma das maiores vendedoras de comapctos da história, vendendo mais de 15 milhões de cópias. Não estava na peça original, foi escrita especificamente pro personagem de Olivia Newton-John no filme. O personagem de John Travolta se inscreve em uma corrida pra ganhar Sandy de volta. Ela se transforma numa espécie de cheer-leader pra torcer por ele, pra ver se ele volta pra ela. Ela diz na música: you gotta shape up, pra provar que seria bom pra ela. Chegou ao número 1 do Billboard Hot 100, número 1 no Reino Unido, também foi número 1 na Alemanha Ocidental, Suécia, Suíça, Noruega, Nova Zelandia, Holanda, Irlanda, Israel, Finlandia, Bélgica e Austrália. Número 2 na África do Sul, Canadá e Áustria e número 3 em Portugal e na Itália.

A letra:

I got chills, they're multiplying
And I'm losing control
'Cause the power you're supplying
It's electrifying!

You better shape up (do-do-do)
'Cause I need a man (do-do-do)
And my heart is set on you (and my heart is set on you)
You better shape up (do-do-do)
You better understand (do-do-do)
To my heart I must be true
Nothin' left, nothin' left for me to do (ooh)

You're the one that I want (you are the one I want)
Ooh, ooh, ooh, honey
The one that I want (you are the one I want)
Ooh, ooh, ooh, honey
The one that I want (you are the one I want)
Ooh, ooh, ooh
The one I need (the one I need)
Oh, yes, indeed (yes, indeed)

If you're filled with affection
You're too shy to convey
Meditate in my direction
Feel your way

I better shape up
'Cause you need a man, I need a man
Who can keep me satisfied
I better shape up (do-do-do)
If I'm gonna prove, you better prove
That my faith is justified, are you sure?
Yes, I'm sure down deep inside

You're the one that I want (you are the one I want)
Ooh, ooh, ooh, honey
The one that I want (you are the one I want)
Ooh, ooh, ooh, honey
The one that I want (you are the one I want)
Ooh, ooh, ooh
The one I need (the one I need)
Oh, yes, indeed (oh, yes, indeed)

You're the one that I want (you are the one I want)
Ooh, ooh, ooh, honey
The one that I want (you are the one I want)
Ooh, ooh, ooh, honey
The one that I want (you are the one I want)
Ooh, ooh, ooh
The one I need (the one I need)
Oh, yes, indeed (yes, indeed), ooh-ooh!

You're the one that I want (you are the one I want)
Ooh, ooh, ooh, honey
The one that I want (you are the one I want)
Ooh, ooh, ooh, honey
The one that I want (you are the one I want)
Ooh, ooh, ooh
The one I need (the one I need)
Oh, yes, indeed (oh, yes, indeed)

You're the one that I want (you are the one I want)
Ooh, ooh, ooh...

A versão de John Travolta e Olivia Newton-John:

A versão de Alex e Sierra:

A versão de Arkivet:

1867 – Neil Diamond – Forever in blue jeans (1978)

Escrita por Neil Diamond e Richard Bennett, foi gravada em 1978 e lançada em 3 de novembro de 1978 no disco You don't bring me flowers, o décimo segundo disco de Neil. Saiu também em compacto, em 1979, com Remember me como Lado B. Foi produzida por Bob Gaudio. Neil disse que a música queria dizer que as coisas simples são as coisas importantes. Chegou ao número 20 do Billboard Hot 100, número 16 no Reino Unido, número 4 na Irlanda, número 7 na África do Sul, número 10 no Canadá, número 22 na Nova Zelandia e número 31 na Alemanha Ocidental.

A letra:

Money talks
But it don't sing and dance and it don't walk
And long as I can have you here with me
I'd much rather be forever in blue jeans

Honey's sweet
But it ain't nothin' next to baby's treat
And if you'd pardon me, I'd like to say
We'd do okay forever in blue jeans

Maybe tonight
Maybe tonight, by the fire
All alone, you and I
Nothing around but the sound
Of my heart and your sighs

Money talks
But it can't sing and dance and it can't walk
And long as I can have you here with me
I'd much rather be forever in blue jeans, babe

And honey's sweet
But it ain't nothin' next to baby's treat
And if you'll pardon me, I'd like to say
We'd do okay, forever in blue jeans

Maybe tonight
Maybe tonight, by the fire
All alone, you and I
Nothing around but the sound
Of my heart and your sighs

Money talks
But it don't sing and dance and it don't walk
And long as I can have you here with me
I'd much rather be forever in blue jeans

And if you'd pardon me, I'd like to say
We'd do okay forever in blue jeans, babe

And long as I can have you here with me
I'd much rather be forever in blue jeans, babe

A versão de Neil Diamond:

A versão de Larry L:

A versão de Allie Dunn:

1866 – Kenny Rogers – The gambler (1978)

 

Escrita por Don Schlitz, foi gravada em 1978, no Jack Clement Recording Studio, em Nashville, Tennessee e lançada em 15 de novembro de 1978 no disco de mesmo nome, o sexto da carreira de Kenny. Saiu no mesmo mês também em compacto, com Momma's waiting como Lado B. Foi produzida por Larry Butler. Schlitz escreveu a canção em 1976, com 23 anos de idade. Foi regravada também por Johnny Cash, no mesmo ano. A versão de Kenny Rogers no entanto foi número 1 no Billboard Hot Country Songs e número 16 no Billboard Hot 100. Número 22 no Reino Unido, número 2 na Argentina e Canadá, núemro 12 na Espanha e número 25 na Austrália e 25 na Nova Zelandia. Kenny ganhou um Grammy Award for best male country vocal performance. Os Jordanaires, que acompanhavam Elvis, foi quem fez os backing vocals. A letra fala de um narrador encontrando um jogador de baralho em uma tarde em um trem. O jogador lê na cara do narrador que ele está passando por uma situação difícil e oferece conselho em troca de uma dose de whisly. E dá seus conselhos usando metáforas de um jogo de poker. Em 2018, entrou pra preservação na National Recording Registry, na Library of Congress.

A letra:

On a warm summer's evening
On a train bound for nowhere
I met up with the gambler
We were both too tired to sleep
So we took turns a-starin'
Out the window at the darkness
The boredom overtook us
And he began to speak

He said, "Son, I've made a life
Out of readin' people's faces
Knowin' what the cards were
By the way they held their eyes
So if you don't mind my sayin'
I can see you're out of aces
For a taste of your whiskey
I'll give you some advice"

So I handed him my bottle
And he drank down my last swallow
Then he bummed a cigarette
And asked me for a light
And the night got deathly quiet
And his face lost all expression
Said, "If you're gonna play the game, boy
You gotta learn to play it right

You've got to know when to hold 'em
Know when to fold 'em
Know when to walk away
And know when to run
You never count your money
When you're sittin' at the table
There'll be time enough for countin'
When the dealin's done

Every gambler knows
That the secret to survivin'
Is knowin' what to throw away
And knowin' what to keep
'Cause every hand's a winner
And every hand's a loser
And the best that you can hope for
Is to die in your sleep"

And when he'd finished speakin'
He turned back toward the window
Crushed out his cigarette
Faded off to sleep
And somewhere in the darkness
The gambler he broke even
But in his final words
I found an ace that I could keep

You've got to know when to hold 'em
Know when to fold 'em
Know when to walk away
And know when to run
You never count your money
When you're sittin' at the table
There'll be time enough for countin'
When the dealin's done

You've got to know when to hold 'em (when to hold 'em)
Know when to fold 'em (when to fold 'em)
Know when to walk away
And know when to run
You never count your money
When you're sittin' at the table
There'll be time enough for countin'
When the dealin's done

You've got to know when to hold 'em
Know when to fold 'em
Know when to walk away
And know when to run
You never count your money
When you're sittin' at the table
There'll be time enough for countin'
When the dealin's done

A versão de Kenny Rogers:

A versão de Johnny Cash:

A versão de Mark Wills:

1865 – Bob Dylan – New pony (1978)

 

Escrita por Bob Dylan, foi gravada entre 1 e 3 de maio de 1978, no estúdio Rundown, em Santa Monica, California e lançada no disco Street Legal, o décimo oitvavo de Bob Dylan, em 15 de junho de 1978. Foi produzida por Don DeVito. Fala de um poney chamado Lucifer que quebrou a perna e teve que ser sacrificado. Mas na verdade fala do romance de Dylan com Helena Springs, uma de suas cantoras de backing vocal. Foi composta em sua fazenda em Minnesota. Bob Dylan tocou guitarra e cantou. Billy Cross tocou guitarra. Steve Douglas tocou sax tenor. Jerry Scheff tocou baixo. Ian Wallace tocou bateria. Bobbye Hall tocou pandeiro. Carolyn Dennis, Joan Harris e Helena Springs fizeram backing vocals.

A letra:

I had a pony, her name was Lucifer
How much longer? How much longer?
I had a pony, her name was Lucifer
How much, how much, how much longer?
She broke her leg and needed shooting
I swear it hurt me more than it hurt her

Sometimes I wonder what's going on with Miss X
How much, how much? How much longer?
Sometimes I wonder what's going on with Miss X
How much, how much? How much longer?
She got such a sweet disposition
I never know what the poor girl's gonna do to me next

How much, how much? How much, how much,
How much, how much?, how much, how much longer?
Everybody says you're usin' voodoo
I see your feet walk by themselves
How much, how much? How much longer?
How umch, how much? How much longer?
Well everybody says you're usin' voodoo
I've seen your feet walk by themselves
How much, how much? How much longer?

Oh, baby, that God you been prayin' to
Gonna give ya back what you're wishin' on someone else

Come over here, pony, I wanna climb up one time on you
Come over here, pony, I wanna climb up one time on you
Come over here, pony, I wanna climb up one time on you

You're so nasty and you're so bad
But I said I love you, yes I do
How much, how much? How much, how much
How much, how much? How much, how much
How much, how much? How much, how much
How much, how much? How much, how much

A versão de Bob Dylan:

A versão do Dead Weather:

A versão de Maria McKnee:

1864 – Bob Seger – We've got tonight (1978)

 

Escrita por Bob Seger, foi gravada em 1976 e lançada em 5 de maio de 1978 no disco Stranger in town, o décimo disco de Bob Seger. Saiu também em compacto, em outubro de 1978, com Ain't got no money como Lado B. Foi produzida por Bob Seger e pelo Muscle Shoals Rhythm Sections. A inspiração pra canção veio do filme The string, de 1973. Uma conversa entre Robert Redford e Dimitra Arliss. Chegou ao número 13 do Billboard Hot 100 e número 41 no Reino Unido. Número 6 no Canadá, número 11 na África do sul, número 12 na Nova Zelandia e número 31 na Austrália. É a canção favorita da mãe de Bob Seger. Bob Seger cantou, Barry Beckett tocou teclado, Pete Carr tocou guitarra solo, Jimmy Johnson tocou guitarra base, David Hood tocou baixo e Roger Hawkins tocou bateria e percussão. Além disso, Venetta Fields, Clydie King e Sherliw Matthews fizeram backing vocals. Foi regravada em dueto por Kenny Rogers e Sheena Easton em 1983. Foi regravada também por Richie Havens, Tom Jones e Barry Manilow, entre outros artistas.

A letra:

I know it's late, I know you're weary
I know your plans don't include me
Still here we are, both of us lonely
Longing for shelter from all that we see
Why should we worry?
No one will care, girl
Look at the stars so far away

We've got tonight
Who needs tomorrow?
We've got tonight, babe
Why don't you stay?

Deep in my soul, I've been so lonely
All of my hopes fading away
I've longed for love like everyone else does
I know I'll keep searchin' even after today
So there it is girl, I've said it all now
And here we are babe, what do you say?

We've got tonight
Who needs tomorrow?
We've got tonight, babe
Why don't you stay?

I know it's late I know you're weary (weary)
Ooh, I know your plans don't include me
Still here we are both of us lonely (lonely)
Both of us lonely (lonely)

We've got tonight (we've got tonight)
Who needs tomorrow?
Let's make it last
Let's find a way
Turn out the light (turn out the light)
Come take my hand now
We've got tonight, babe
Why don't you stay?

We've got tonight
Who needs tomorrow?
Let's make it last
Let's find a way
Turn out the light
Come take my hand now
We've got tonight, babe
Why don't you stay?

Oh, we've got tonight (we've got tonight)
Who needs tomorrow?
Let's make it last
Let's find a way
Turn out the light (turn out the light)
Come take my hand now
We've got tonight, babe
Why don't you stay?

Oh-oh, oh, why don't you stay?

A versão de Bob Seger:

A versão de Kenny Rogers e Sheena Easton:

A versão de Tom Jones:

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: