1876 – The Police – Roxanne (1978)

Escrita por Sting, foi gravada entre janeiro e abril de 1978 e lançada em 7 de abril de 1978, no compacto que tinha Peanuts como Lado B. Saiu também no disco de estréia da banda, o Outlandos d'amour, em 3 de novembro de 1978. Foi produzida pela própria banda. Foi escrita do ponto de vista de um homem que se apaixona por uma puta. É o número 388 da lista da revista Rolling Stone das 500 greatest songs of all time. É também a número 85 da VH1 da lista das 100 greatest rock songs. É uma das 500 canções que deram forma ao rock and roll, do Rock and Roll Hall of Fame. Entrou pro Grammy Hall of Fame em 2008. Sting disse que se inspirou em uma puta que ele viu perto do hotel onde estavam em Paris. Roxanne era uma personagem da peça Cyrano de Bergerac, que Sting avistou também nesse hotel. Começou como uma bossa nova mas terminou em forma de tango. A risada que ficou na gravação se refere à Sting sentando sem querer em um teclado. Sting cantou e tocou baixo. Andy Summers tocou guitarra e Stewart Copeland tocou bateria. Chegou ao número 32 no Billboard Hot 100, número 12 no Reino Unido, número 8 na Nova Zelandia, número 19 na Holanda, número 22 na Irlanda, número 31 no Canadá e número 34 na Austrália.

A letra:

Roxanne
You don't have to put on the red light
Those days are over
You don't have to sell your body to the night

Roxanne
You don't have to wear that dress tonight
Walk the streets for money
You don't care if it's wrong or if it's right

Roxanne
You don't have to put on the red light
Roxanne
You don't have to put on the red light

Roxanne (Put on the red light)
Roxanne (Put on the red light)
Roxanne (Put on the red light)
Roxanne (Put on the red light)
Roxanne (Put on the red light)
Ro

I loved you since I knew you
I wouldn't talk down to you
I have to tell you just how I feel
I won't share you with another boy

I know my mind is made up
So put away your make up
Told you once I won't tell you again
It's a bad way

Roxanne
You don't have to put on the red light
Roxanne
You don't have to put on the red light

Roxanne (You don't have to put on the red light)
Roxanne (Put on the red light)
Roxanne (Put on the red light)
Roxanne (Put on the red light)
Roxanne (Put on the red light)
Roxanne (Put on the red light)
Roxanne (Put on the red light)
Roxanne (Put on the red light)
Roxanne (Put on the red light)
Roxanne (Put on the red light)
Roxanne (You don't have to put on the red light)
Roxanne (Put on the red light)
Roxanne (Put on the red light)
Roxanne (Put on the red light)
Roxanne (Put on the red light)

A versão do Police:

A versão de Juliusz Kamil:

A versão de George Michael:

1875 – Blondie – Heart of glass (1978)

 

Escrita por Debbie Harrie e Chris Stein, foi gravada em junho de 1978, no Record Plant Studios, em New York City e lançada em 23 de setembro de 1978, no disco Parallel lines, o terceiro disco da banda. Saiu também em compacto em janeiro de 1979, com Rifle range como Lado B. Foi produzida por Mike Chapman. É o número 138 da lista da Rolling Stone magazine das 500 greatest songs of all time. Slan Magazine disse que é a 42 da lista das greates dance songs of all time. Pitchfork disse que é a número 18 da lista das best songs of the 1970s. Billboard Magazine disse que ela era onúmero 47 das 500 best pop songs of all time. É o número 66 da lista oficial do Reino Unido de quem mais vendeu discos. Entrou pro Grammy Hall of Fame em 2015. Foi usado um Roland CR-78 drum machine. Pra sincronizar, a drum machine foi gravada em um canal, a bateria normal em outro e o baixo em outro. Foram usados também dois sintetizadores, um Roland SH-5 e um Minimoog. Chegou ao numero 1 no Billboard Hot 100, no Reino Unido, na Austrália, na Áustria, no Canadá, na Nova Zelandia e na Suíça. Chegou ao número 2 na Irlanda e na Africa do Sul, número 3 na Suécia, número 5 na Bélgica, Holanda e Noruega, número 8 na Itália e número 11 na Finlandia. Foi regravada por Gisele Bundchen e Miley Cyrus, entre outros artistas.

A letra:

Once I had a love and it was a gas
Soon turned out had a heart of glass
Seemed like the real thing, only to find
Mucho mistrust, love's gone behind

Once I had a love and it was divine
Soon found out I was losing my mind
It seemed like the real thing, but I was so blind
Mucho mistrust, love's gone behind

In between
What I find is pleasing and I'm feeling fine
Love is so confusing there's no peace of mind
If I fear I'm losing you. it's just no good
You teasing like you do

Once I had a love and it was a gas
Soon turned out had a heart of glass
Seemed like the real thing, only to find
Mucho mistrust, love's gone behind

Lost inside
Adorable illusion and I cannot hide
I'm the one you're using, please don't push me aside
We coulda made it cruising, yeah

La, da, da, la, la, la, la, la, la, la, la
La, da, da, la, la, la, la, la, la, la, la
La, da, da, la, la, la, la, la, la, la
Yeah, riding high on love's true bluish light

Ooh, oh, ooh, oh
Ooh, oh, ooh, oh

Once I had a love and it was a gas
Soon turned out had a heart of glass
Seemed like the real thing only to find
Mucho mistrust, love's gone behind

In between
What I find is pleasing and I'm feeling fine
Love is so confusing there's no peace of mind
If I fear I'm losing you it's just no good
You teasing like you do

La, da, da, la, la, la, la, la, la, la, la
La, da, da, la, la, la, la, la, la, la, la
La, da, da, la, la, la, la, la, la, la

La, da, da, la, la, la, la, la, la, la, la
La, da, da, la, la, la, la, la, la, la, la
La, da, da, la, la, la, la, la, la, la

A versão do Blondie:

A versão de Gisele Bundchen e DJ Sinclair:

A versão de Miley Cyrus:

1874 – Black Sabbath – Never say die (1978)

Escrita por Geezer Butler, Tony Iommi, Ozzy Osbourne e Bill Ward, foi gravada entre janeiro e maio de 1978, no Sounds Interchange, em Toronto e lançada no disco de mesmo nome, o oitavo disco da banda, em 29 de setembro de 1978. Foi produzida pelo Black Sabbath. Foi esse o último disco a ter a formação original e a ter Ozzy como voaclista até 2013. Tony Iommi tocou guitarra. Ozzy Osbourne cantou e fez backing vocals. Geezer Butler tocou baixo. Bill Ward tocou bateria. Don Airey tocou teclados.

A letra:

People going nowhere, taken for a ride
Looking for the answers that they know inside
Searching for a reason, looking for a rhyme
Snow White's mirror said "partners in crime"

Don't they ever have to worry?
Don't you ever wonder why?
It's a part of me that tells you
Oh, don't you ever, don't ever say die
Never, never, never say die again

Sunday's satisfaction, Monday's home and dry
Truth is on the doorstep, welcome in the lie
All dressed up in sorrow, got no place to go
Hold back, 'till it's ready, taking it slow

Don't they ever have to worry?
Don't you ever wonder why?
It's a part of me that tells you
Oh, don't you ever, don't ever say die
Never, never, never say die again

Don't you ever say die
Don't you ever say die
Never say die

Panic, silver lining, writing's on the wall
Children get together, you can save us all
Future's on the corner, throwing us a die
Slow down, turn around, everything's fine

There's no need to have a reason
There's no need to wonder why
It's a part of me that tells you
Oh, don't you ever, don't ever say die
Never, never, never say die again

A versão do Black Sabbath:

A versão do Megadeath:

A versão do Bender:

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: