Escrita
por Bob Dylan, foi gravada em 27 de abril de 1978 e lançada em 15 de
junho de 1978, no disco Street Legal, o décimo oitavo de Bob. Foi
produzida por Don De Vito. Bob Dylan cantou e tocou guitarra. Steve
Douglas tocou sax tenor e sax soprano. David Mansfield tocou bandolim
e violino. Alan Pasqua tocou teclado. Billy Cross tocou guitarra.
Steven Soles tocou guitarra e fez backing vocals. Jerry Scheff tocou
baixo. Ian Wallace tocou bateria. Bobbye Hall tocou percussão. Steve
Madaio tocou trompete. Carolyn Dennis, Joan Harris e Helena Springs
fizeram backing vocals.
A
letra:
I'm
getting weary looking in my baby's eyes When she's near me she's
so hard to recognize. I finally realize there's no room for
regret, True love, true love, true love tends to forget.
Hold me, baby be near, You told me
that you'd be sincere. Every day of the year's like playin'
Russian roulette, True love, true love, true love tends to forget.
I was lyin' down in the reeds without
any oxygen I saw you in the wilderness among the men. Saw you
drift into infinity and come back again All you got to do is wait
and I'll tell you when.
You're a tearjerker, baby, but I'm
under your spell, You're a hard worker, baby, and I know you
well. But this weekend in hell is making me sweat, True love,
true love, true love tends to forget, True love, true love, true
love tends to forget.
I was lyin' down in the reeds without
any oxygen I saw you in the wilderness among the men. Saw you
drift into infinity and come back again All you got to do is wait
and I'll tell you when.
You belong to me, baby, without any
doubt, Don't forsake me, baby, don't sell me out. Don't keep me
knockin' about from Mexico to Tibet, True love, true love, true
love tends to forget.
Escrita
por Jacques Moralis e Victor Wiljis, foi gravada em 1978 e lançada
em 25 de setembro de 1978, no disco Cruisin', o terceiro disco do
Village People. Saiu também em compacto, em 17 de outubro de 1978,
com The women como Lado B. Foi produzida por Jacques Morali. Chegou
ao número 2 do Billboard Hot100. Chegou ao número 1 no Reino Unido.
Foi número 1 na Austrália, Áustria, Bélgica, Canadá, Finlandia,
França, Irlanda, Itália, Holanda, Nova Zelândia, Suécia, Suíça
e Alemanha Ocidental. Número 2 na Noruega, número 3 na África do
Sul e número 4 na Espanha. Vendeu mais de 12 milhões de cópias no
planeta. É o número 7 no ranking do VH1 das 100 greatest dancing
songs of the 20th century. Paste Magazine colocou-a como
número 1 da lista das 60 best dancefloor classics. A revista Rolling
Stone colocou-a como número 139 da lista das 200 greatest dance
songs of all time. Em 2020 entrou pro Grammy Hall of Fame. E também
entrou pro National Recording Industry, da
Library of Congress. Willis, que fez a letra em Vancouver, Canadá,
disse que não escreveu pra ser um hino gay, mas que estava sim
falando das coisas agradáveis que dava pra fazer no YMCA, como jogar
basquete ou fazer natação.
A
letra:
Young
man, there's no need to feel down. I said, young man, pick
yourself off the ground. I said, young man, 'cause you're in a new
town There's no need to be unhappy.
Young man, there's a
place you can go. I said, young man, when you're short on your
dough. You can stay there, and I'm sure you will find Many ways
to have a good time.
It's fun to stay at the Y.M.C.A. It's
fun to stay at the Y.M.C.A.
They have everything for young men
to enjoy, You can hang out with all the boys...
It's fun to
stay at the Y.M.C.A. It's fun to stay at the Y.M.C.A.
You
can get yourself clean, you can have a good meal, You can do
whatever you feel...
Young man, are you listening to me? I
said, young man, what do you wanna be? I said, young man, you can
make real your dreams. But you got to know this one thing!
No
man does it all by himself. I said, young man, put your pride on
the shelf, And just go there, to the Y.M.C.A. I'm sure they can
help you today.
It's fun to stay at the Y.M.C.A. It's fun
to stay at the Y.M.C.A.
They have everything for young men to
enjoy, You can hang out with all the boys...
It's fun to
stay at the Y.M.C.A. It's fun to stay at the Y.M.C.A.
You
can get yourself clean, you can have a good meal, You can do
whatever you feel...
Young man, I was once in your shoes. I
said, I was down and out with the blues. I felt no man cared if I
were alive. I felt the whole world was so jive...
That's
when someone came up to me, And said, "Young man, take a walk
up the street. There's a place there called the 'Y.M.C.A.' They
can start you back on your way."
It's fun to stay at the
Y.M.C.A. It's fun to stay at the Y.M.C.A.
They have
everything for young men to enjoy, You can hang out with all the
boys...
Y.M.C.A. It's fun to stay at the Y.M.C.A.
Young
man, young man, there's no need to feel down. Young man, young
man, get yourself off the ground.
Y.M.C.A. It's fun to stay
at the Y.M.C.A.
Young man, are you listening to me? Young
man, young man, what do you wanna be?
Y.M.C.A. You'll find
it at the Y.M.C.A.
No man, young man, does it all by
himself. Young man, young man, put your pride on the
shelf,
Y.M.C.A. And just go to the Y.M.C.A.
Young
man, young man, I was once in your shoes. Young man, young man, I
was down with the blues.
Escrita
por J. J. O'Neil, foi gravada em 15 de junho de 1978, no Wizard
Studios, em Belfast e lançada em 21 de setembro de 1978, no compacto
que tinha True Confessions como Lado B. Sairia também no disco de
estréia da banda, em outubro de 1979, intitulado apenas de The
Undertones. Foi produzida por Davy Shannon.
A
letra:
Are
teenage dreams so hard to beat? Everytime she walks down the
street Another girl in the neighbourhood Wish she was mine, she
looks so good
I wanna hold her wanna hold her
tight Get teenage kicks right through the night
I'm gonna call her on the
telephone Have her over 'cause I'm all alone I need excitement
oh I need it bad And it's the best, I've ever had
I wanna hold her wanna hold her
tight Get teenage kicks right through the night, all right
Are teenage dreams so hard to
beat? Everytime she walks down the street Another girl in the
neighbourhood Wish she was mine, she looks so good
I wanna hold her wanna hold her
tight Get teenage kicks right through the night
I'm gonna call her on the
telephone Have her over 'cause I'm all alone I need excitement
oh I need it bad And it's the best, I've ever had
I wanna hold her wanna hold her
tight Get teenage kicks right through the night, all right
I wanna hold her wanna hold her
tight Get teenage kicks right through the night, all right
Escrita
por Neil Peart, Geddy Lee e Alex Lifeson, foi gravada entre junho e
julho de 1978, na Inglaterra e lançada em 24 de outubro de 1978 no
disco Hemispheres, o sexto disco da banda. Saiu também em compacto,
com Circumstances, em janeiro de 1979. Foi produzida por Terry Brown
e Rush. Os leitores da revista Rolling Stone disseram que era o
número 8 das 10 melhores músicas do Rush. A letra fala de um
conflito entre as árvores de maple e de carvalho na floresta. Os
maples querem mais sol, mas as carvalheiras são muito altas. No
final, as árvores são tratadas iguais pelos machados e ferramentas
de corte.
A
letra:
There
is unrest in the forest Trouble with the trees For the maples
want more sunlight And the oaks ignore their pleas
The trouble with the maples (And
they're quite convinced they're right) They say the oaks are just
too lofty And they grab up all the light
But the oaks can't help their
feelings If they like the way they're made And they wonder why
the maples Can't be happy in their shade
There is trouble in the forest And
the creatures all have fled As the maples scream, "Oppression" And
the oaks just shake their heads
So the maples formed a union And
demanded equal rights They say, "The oaks are just too
greedy We will make them give us light"
Now there's no more oak oppression For
they passed a noble law And the trees are all kept equal By
hatchet, axe, and saw
Escrita
por Freddie Mercury, foi gravada em agosto de 1978, no Super Bear
Studios, na França e lançada em 10 de novembro de 1978, no disco
Jazz, o sétimo disco da banda. Saiu também em compacto em 26 de
janeiro de 1979, com In only seven days como Lado B. Foi produzida
por Roy Thomas Baker e a banda Queen. A banda achava que estavam
ficando melhor em se divertir e a canção fala sobre isso. Chegou ao
número 9 no Reino unido e número 86 no Billboard Hot100. Número 10
na Irlanda, número 14 na Holanda, número 23 na Bélgica e número
35 na Alemanha. Os leitores da revista Rolling Stone votaram que essa
era a terceira melhor canção do Queen de todos os tempos. Brian May
não gostava da música pq a letra sugere putaria, sexo e
promiscuidade. Mas quando ele começou a ouvi-la em casamentos,
festas e enterros, ele largou de mão e passou a gostar da musica,
entendendo que ela representa alegria. Freddie Mercury cantou, fez
backing vocals e tocou piano. Brian May tocou guitarra e fez backing
vocals. Roger Taylor tocou bateria, percussão, pandeiro, triangulo e
fez backing vocals. John Deacon tocou baixo.
A
letra:
Tonight I'm
gonna have myself a real good time I feel alive And the world,
I'll turn it inside out Yeah! I'm floating around In
ecstasy
So don't stop me now, don't stop me 'Cause I'm
having a good time, having a good time
I'm a shooting star
leaping through the sky Like a tiger defying the laws of
gravity I'm a racing car passing by Like Lady Godiva I'm
gonna go, go, go There's no stopping me
I'm burning through
the sky Yeah! Two hundred degrees That's why they call me
Mister Fahrenheit I'm traveling at the speed of light I wanna
make a supersonic man out of you
Don't stop me now I'm
having such a good time I'm having a ball Don't stop me now If
you wanna have a good time Just give me a call
Don't stop
me now 'Cause I'm having a good time Don't stop me now Yes,
I'm having a good time I don't wanna stop at all, yeah!
I'm
a rocket ship on my way to Mars On a collision course I am a
satellite I'm out of control I'm a sex machine ready to
reload Like an atom bomb about to-oh-oh-oh-oh-oh explode
I'm
burning through the sky Yeah! Two hundred degrees That's why
they call me Mister Fahrenheit I'm traveling at the speed of
light I wanna make a supersonic woman of you
Don't stop
me Don't stop me Don't stop me Hey, hey, hey!
Don't
stop me Don't stop me Ooh, ooh, ooh I like it
Don't
stop me Don't stop me Have a good time, good time
Don't
stop me Don't stop me
Ooh, let loose, honey, alright
Oh,
I'm burning through the sky Yeah! Two hundred degrees That's
why they call me Mister Fahrenheit (Hey) Traveling at the speed of
light I wanna make a supersonic man out of you (Hey, hey)
Don't
stop me now I'm having such a good time I'm having a ball Don't
stop me now If you wanna have a good time Alright Just give
me a call
Don't stop me now 'Cause I'm having a good time
(Hey, hey) Don't stop me now Yes, I'm having a good time I
don't wanna stop at all
Ah, da, da, da, da Da, da, ah,
ah Ah, da, da, ah, ah, ah Ah, da, da Ah, da, da, ah, ah Ooh,
ooh-ooh, ooh-ooh
Escrita
por Dee Dee Ramone, Joey Ramone e Johnny Ramone, foi gravada entre
maio e julho 1978 e lançada em 22 de setembro de 1978, no disco Road
to Ruin, o quarto disco da banda. Saiu também em compacto no mesmo
dia, com She's the one como Lado A. Foi produzida por Tommy Ramone e
Ed Stasium. É uma canção que fala sobre o cansaço de estar na
estrada. E foram pra Londres no Natal e tudo estava fechado. Não
tinham nada pra fazer e nem pra onde ir. Ficaram no hotel assistindo
ao filme os Canhões de Navarone. É o número 145 da lista da
revista Rolling Stone das 500 greatest songs of all time. Marky
Ramone toca bateria. A National Public Radio criou o NPR 100 e a
incluiu como as 100 mais importantes músicas americancas do século
20.
A
letra:
20,
20, 24 hours to go I wanna be sedated Nothin' to do, nowhere to
go-oh I wanna be sedated
Just get me to the airport, put me on a
plane Hurry, hurry, hurry before I go insane I can't control my
fingers, I can't control my brain Oh, no, oh-oh, oh-oh
20, 20, 24 hours to go I wanna be
sedated Nothin' to do, nowhere to go-oh I wanna be sedated
Just put me in a wheelchair, get me on
a plane Hurry, hurry, hurry before I go insane I can't control
my fingers, I can't control my brain Oh, no, oh-oh, oh-oh
20, 20, 24 hours to go I wanna be
sedated Nothin' to do, nowhere to go-oh I wanna be sedated
Just put me in a wheelchair, get me to
the show Hurry, hurry, hurry, before I go loco I can't control
my fingers, I can't control my toes Oh, no, oh-oh, oh-oh
20, 20, 24 hours to go I wanna be
sedated Nothin' to do, nowhere to go-oh I wanna be sedated
Just put me in a wheelchair, get me to
the show Hurry, hurry, hurry, before I go loco I can't control
my fingers, I can't control my toes Oh, no, oh-oh, oh-oh
Bam, bam, ba-bam, ba-bam, bam, ba-bam I
wanna be sedated Bam, bam, ba-bam, ba-bam, bam, ba-bam I wanna
be sedated Bam, bam, ba-bam, ba-bam, bam, ba-bam I wanna be
sedated Bam, bam, ba-bam, ba-bam, bam, ba-bam I wanna be
sedated
Escrita
por Rod Stewart e Gary Grainger, foi gravada em 1978 e lançada em 24
de novembro de 1978, no disco Blondes have more fun, o nono disco de
Rod. Saiu também em compacto em 1979, com Last summer como Lado B.
Foi produzida por Tom Dowd. Chegou ao número 11 no Reino Unido e
número 22 no Billboard Hot100. Foi também número 5 na Irlanda.
A
letra:
Been
in pain and I've been in shame But ain't love a bitch I been in
fights, locked away for nights But ain't love a bitch I been
tailed, impaled, strung up And nailed and left without a stitch I
been scratched and taxed and finally axed But ain't love a
bitch
Oh, I didn't understand 'til I was 17 She took me way
upstairs and she wiped me clean Oh, I didn't realise she made a
first class fool out of me Oh Maggie, if you're still out there
the rest is history
You're all alone in the freezing cold By
the underground Your hands are numb and you're feeling dumb 'Cause
you been let down You thought you were rough and kinda tough And
maybe out of reach You're acting chic, playing hide and seek But
ain't love a bitch
Oh, I must state right here I been there
before My eyes were closed and so my friends I still don't know
the score Oh, don't underestimate the strength of it It may be
unwise to analyse even the cause of it
You're driving home
late one night and on the radio Comes an old familiar song you
used to know so well (You know a lot about that) Oh, I can't
comprehend this thing called love Maybe it's a matter of fact I
just can't grow up Deep down ain't we all a little juvenile All
I really wanna know is there one sweet angel That can make me
smile Ain't love a bitch
Torrential rains, wars and
hurricanes I wouldn't budge an inch Your rent's unpaid and your
team lose again But ain't love a bitch You can lose your job,
your home and your health But ain't love a bitch Take it or
leave it some day you'll feel it 'Cause love is the bitch
Ain't
love the bitch, ain't love a bitch Ain't love a bitch, ain't love
a bitch Ain't love a bitch
Escrita
por Bruce Springsteen e Patti Smith, foi gravada em agosto de 1977,
no Record Plant Studios, em NYC e lançada em 3 de março de 1978, no
disco Easter e no compacto que tinha God speed como Lado B. Foi
produzida por Jimmy Iovine. Chegou ao número 13 do Billboard Hot 100
e número 5 no Reino Unido. Número 9 na Suécia, número 13 no
Canadá, número 15 na Austrália, número 16 na Irlanda e número 31
na Áustria. É o número 116 da revista NME dos 150 Top Singles of
all time. É a canção mais conhecida de Smith. É o número 358 da
ista da revista Rolling Stone das Top 500 greatest songs of all time.
Bruce Springsteen gravou a parte instrumental e algumas palavras
soltas em junho de 1977. Passou quatro meses e não conseguiu
terminá-la. Seu engenheiro Jimmy Iovine por coincidencia era o
produtor de Patti Smith. Iovine disse pra Bruce que precisava de um
hit pra alavancar a carreira dele como produtor e a de Patti Smith
como cantora. Bruce disse que se ela conseguisse terminar a canção
e gravar, ela poderia fazê-lo sem problemas.
A
letra:
Take
me now baby here as I am Pull me close, try and understand Desire
is hunger is the fire I breathe Love is a banquet on which we
feed
Come on now try and understand The way I feel when I'm
in your hands Take my hand come undercover They can't hurt you
now, Can't hurt you now, can't hurt you now Because the night
belongs to lovers Because the night belongs to lust Because the
night belongs to lovers Because the night belongs to us
Have
I doubt when I'm alone Love is a ring, the telephone Love is an
angel disguised as lust Here in our bed until the morning
comes Come on now try and understand The way I feel under your
command Take my hand as the sun descends They can't touch you
now, Can't touch you now, can't touch you now Because the night
belongs to lovers ...
With love we sleep With doubt the
vicious circle Turn and burns Without you I cannot
live Forgive, the yearning burning I believe it's time, too
real to feel So touch me now, touch me now, touch me now Because
the night belongs to lovers ...
Because tonight there are two
lovers If we believe in the night we trust Because tonight
there are two lovers ...
Escrita
por Bob Dylan, foi gravada em 27 de abril de 1978, No Rundown
Studios, em Santa Monica, California e lançada em 15 de junho de
1978 no disco Street-Legal, o décimo oitavo disco de Dylan. Foi
produzida por
Don DeVito. Bob Dylan cantou e tocou guitarra. Steve Douglas tocou
sax tenor e sax soprano. David Mansfield tocou bandolim e violino.
Alan Pasqua tocou teclado. Billy Cross tocou guitarra. Steven Soles
tocou guitarra e fez backing vocals. Jerry Scheff tocou baixo. Ian
Wallace tocou bateria. Bobbye Hall tocou percussão. Steve Madaio
tocou trompete. Carolyn Dennis, Joan Harris e Helena Springs fizeram
backing vocals.
A
letra:
In
death, you face life with a child and a wife Who sleep-walks
through your dreams into walls. You're a soldier of mercy, you're
cold and you curse, "He who cannot be trusted must fall."
Loneliness, tenderness, high society,
notoriety. You fight for the throne and you travel alone Unknown
as you slowly sink And there's no time to think.
In the Federal City you been blown and
shown pity, In secret, for pieces of change. The empress
attracts you but oppression distracts you And it makes you feel
violent and strange.
Memory, ecstasy, tyranny,
hypocrisy Betrayed by a kiss on a cool night of bliss In the
valley of the missing link And you have no time to think.
Judges will haunt you, the country
priestess will want you Her worst is better than best. I've
seen all these decoys through a set of deep turquoise eyes And I
feel so depressed.
China doll, alcohol, duality,
mortality. Mercury rules you and destiny fools you Like the
plague, with a dangerous wink And there's no time to think.
Your conscience betrayed you when some
tyrant waylaid you Where the lion lies down with the lamb. I'd
have paid off the traitor and killed him much later But that's
just the way that I am.
Paradise, sacrifice, mortality,
reality. But the magician is quicker and his game Is much
thicker than blood and blacker than ink And there's no time to
think.
Anger and jealousy's all that he sells
us, He's content when you're under his thumb. Madmen oppose
him, but your kindness throws him To survive it you play deaf and
dumb.
Equality, liberty, humility,
simplicity. You glance through the mirror and there's eyes staring
clear At the back of your head as you drink And there's no time
to think.
Warlords of sorrow and queens of
tomorrow Will offer their heads for a prayer. You can't find no
salvation, you have no expectations Anytime, anyplace, anywhere.
Mercury, gravity, nobility,
humility. You know you can't keep her and the water gets
deeper That is leading you onto the brink But there's no time
to think.
You've murdered your vanity, buried
your sanity For pleasure you must now resist. Lovers obey you
but they cannot sway you They're not even sure you exist.
Socialism, hypnotism, patriotism,
materialism. Fools making laws for the breaking of jaws And the
sound of the keys as they clink But there's no time to think.
The bridge that you travel on goes to
the Babylon girl With the rose in her hair. Starlight in the
East and you're finally released You're stranded but with nothing
to share.
Loyalty, unity, epitome, rigidity. You
turn around for one real last glimpse of Camille 'Neath the moon
shinin' bloody and pink And there's no time to think.
Bullets can harm you and death can
disarm you But no, you will not be deceived. Stripped of all
virtue as you crawl through the dirt, You can give but you cannot
receive.
No time to choose when the truth must
die, No time to lose or say goodbye, No time to prepare for the
victim that's there, No time to suffer or blink And no time to
think.
Escrita
por Rod Stewart, Carmine Appice e Duane Hitchings, foi gravada em
1978 e lançada em 10 de novembro de 1978, no compacto que tinha
Dirty weekend como Lado B. Saiu também no disco Blondes have more
fun, o nono disco de Rod, em 24 de novembro de 1978. Foi produzida
por Tom Dowd. Incorpora a melodia de Taj Mahal, de Jorge Ben Jor.
Chegou ao número 1 no Billboard Hot 100 e também número 1 no Reino
Unido, Canadá, Portugal, Espanha e Austrália. Número 2 na
Argentina, França, Irlanda, Noruega e Nova Zelandia. Número 3 na
Bélgica e 4 na Holanda. Número 8 na Áustria e Suíça e número 9
na Finlandia e Alemanha Ocidental. Número 11 na Suécia e número 12
no Japão. Fala de um cara em uma boite pra pegar uma mulher e levar
pra cama e depois ela some. Rod foi acusado de trair suas raízes,
por fazer essa música disco. É a número 301 da lista da revista
Rolling Stone das 500 greatest songs of all time.
A
letra:
Oh,
nah, yeah, yeah, yeah
She sits alone, waiting for
suggestions He's so nervous, avoiding all the questions His
lips are dry, his heart is gently pounding Don't you just know
exactly what they're thinking?
His heart's beating like a drum (like a
drum) Is he gonna get this girl home? Relax, soon, baby, we'll
be all alone Don't you just know exactly what they're thinking?
If you want my body and you think I'm
sexy Come on, sugar, tell me so If you really need me, just
reach out and touch me Come on, honey, tell me so
Alright
He's acting shy, looking for an
answer Come on, honey, let's spend the night together Now hold
on a minute before we go much further Give me a dime so I can
phone my mother
They catch a cab to his high-rise
apartment At last he can tell exactly what his heart meant
If you want my body and you think I'm
sexy Come on, sugar, tell me so (tell me so) If you really need
me, just reach out and touch me Come on, honey, tell me so
Oh yeah, yeah-yeah-yeah Ooh-ooh I
like this, I like this, I like this
Come on, baby, spend the night (hey) I
promised to behave myself Oh yeah, oh yeah Yeah-yeah-yeah-yeah
His heart's beating like a drum (like a
drum) Is he gonna get this girl home? (Is he) We'll soon, baby,
we'll be alone Don't you just know exactly what they're thinking?
If you want my body and you think I'm
sexy Come on, sugar, tell me so If you really need me, just
reach out and touch me Come on, honey, tell me so (tell me so)
If you really, really, really need
me Just let me know, just let me know (if you really need me) If
you really, really, really need me Just let me know, just let me
know Ah, yeah-yeah
Escrita
por Freddie Perren e Dino Fekaris, foi gravada em 1978 e lançada em
23 de outubro de 1978, no compacto que tinha Substitute como Lado A.
Sairia também no disco Love Tracks, o sexto disco de Gloria Gaynor,
em 27 de novembro de 1978. Foi produzida por Freddie Perren e Dino
Fekaris. A letra fala da descoberta de uma força pessoal depois de
um fim de relacionamento devastador. É conhecida como uma canção
de empoderamento feminino e um clássico da disco. Chegou ao número
1 do Billboard Hot 100, número 1 no Reino Unido, Canadá e Irlanda.
Número 2 na África do Sul, número 3 na Finlandia e Suécia, número
4 na Holanda e Noruega e no Billboard R&B, número 5 na
Austrália, número 7 na Belgica, Suíça e Alemanha Ocidental,
número 9 na Itália, número 10 na Nova Zelandia e número 17 na
Áustria. A gravação de Gaynor entrou pro National Recording
Registry, da Library of Congress, em 2016. Foi regravada pelo Cake,
Diana Ross e Madonna, entre outros artistas. Gloria Gaynor cantou,
James Gadson tocou bateria. Paulinho da Costa tocou percussão. Scott
Edwards tocou baixo. Freddie Perren tocou teclados. Bob Bowles e
Melvin Ragin tocaram guitarra. A canção começou a nascer quando
Fekaris foi demitido da Motown Records, mas prometeu a ele mesmo que
iria sobreviver. Chamou outro ex-membro da Motown, Perren, e fizeram
a canção. Ninguém quis gravar. Até que foram chamados pra
produzir o Lado A do compacto dela, Substitute e mostraram I will
survive pra ela, que de imediato disse que seria um hit. Em 1980
recebeu um grammy pela melhor gravação Disco. O único ano que esse
prêmio foi dado. Em 2012, entrou pro Grammy Hall of Fame. VH1 disse
I will survive era o número 1 da lista das 100 greatest dance songs.
A Rolling Stone disse que era o número 251 da lista das 500 greatest
songs of all time. Billboard disse que era número 97 da lista das
Billboard Hot 100 all time top songs. Rolling Stone colocou-a como
número 2 da lista das Best Disco Songs of all time. O Dayly
Telegraph disse que era o número 48 das 100 greatest songs of all
time. Paste Magazine colocou-a como número 7 das 60 best dancefloor
classics. Billboard disse que era o número 35 das 500 best pop songs
of all time.
A
letra:
At
first I was afraid, I was petrified Kept thinking I could never
live without you by my side But then I spent so many nights
thinking how you did me wrong And I grew strong And I learned
how to get along And so you're back From outer space I just
walked in to find you here with that sad look upon your face I
should have changed that stupid lock, I should have made you leave
your key If I'd known for just one second you'd be back to bother
me
Go on now, go, walk out the door Just
turn around now 'Cause you're not welcome anymore Weren't you
the one who tried to hurt me with goodbye? You think I'd
crumble? You think I'd lay down and die?
Oh no, not I, I will survive Oh, as
long as I know how to love, I know I'll stay alive I've got all my
life to live And I've got all my love to give and I'll survive I
will survive, hey, hey
It took all the strength I had not to
fall apart Kept trying hard to mend the pieces of my broken
heart And I spent oh-so many nights just feeling sorry for
myself I used to cry But now I hold my head up high and you see
me Somebody new I'm not that chained-up little person still in
love with you And so you felt like dropping in and just expect me
to be free Well, now I'm saving all my lovin' for someone who's
loving me
Go on now, go, walk out the door Just
turn around now 'Cause you're not welcome anymore Weren't you
the one who tried to break me with goodbye? You think I'd
crumble? You think I'd lay down and die?
Oh no, not I, I will survive Oh, as
long as I know how to love, I know I'll stay alive I've got all my
life to live And I've got all my love to give and I'll survive I
will survive
Oh Go on now, go, walk out the
door Just turn around now 'Cause you're not welcome
anymore Weren't you the one who tried to break me with
goodbye? You think I'd crumble? You think I'd lay down and die?
Oh no, not I, I will survive Oh, as
long as I know how to love, I know I'll stay alive I've got all my
life to live And I've got all my love to give and I'll survive I
will survive I will survive
Escrita
por Barry Gibb, foi gravada em abril de 1978 e lançada por Frankie
Valli em 14 de abril de 1978, na trilha sonora do filme de mesmo
nome. Saiu também em compacto, com uma versão instrumental de
Grease como Lado B, em 6 de maio de 1978. Foi produzida por Barry
Gibb, Albhy Galuten e Karl Richardson. Fala do estilo de vida daquele
momento e vendeu 7 milhões de cópias. Foi o último top 40 de
Valli. Chegou ao número 1 no Billboard Hot 100, também número 1 na
Holanda e no Canadá. Chegou ao número 2 na Austrália e Nova
Zelandia. Número 3 na Irlanda e Reino Unido. Número 4 na Bélgica,
França e Noruega. Número 6 na Suécia e número 7 na Suíça.
Número 13 na Espanha e número 14 na África do Sul. Número 24 na
Alemanha Ocidental. Frankie Valli cantou. Barry Gibb fez backing
vocals. The Sweet Inspirations fizeram backing vocals. Peter Frampton
tocou guitrra. George Terry tocou guitarra. Harld Cowart tocou baixo.
Ron Ziegler tocou bateria. Gary Brown tocou sax.
A
letra:
I
solve my problems and I see the light We got a lovin' thing, we
gotta feed it right There ain't no danger we can go too far We
start believing now that we can be who we are Grease is the
word
They think our love is just a growing pain Why don't
they understand, it's just a crying shame Their lips are lying,
only real is real We stop the fight right now, we got to be what
we feel Grease is the word
(Grease is the word, is the word
that you heard) It's got a groove, it's got a meaning Grease is
the time, is the place, is the motion Grease is the way we are
feeling
We take the pressure and we throw away Conventionality
belongs to yesterday There is a chance that we can make it so
far We start believing now that we can be who we are Grease is
the word
(Grease is the word, is the word that you heard) It's
got a groove, it's got a meaning Grease is the time, is the place,
is the motion Now, grease is the way we are feeling
This is
a life of illusion Wrapped up in trouble Laced with
confusion What are we doing here?
We take the pressure and
we throw away Conventionality belongs to yesterday There is a
chance that we can make it so far We start believing now that we
can be who we are (be who we are) Grease is the word
(Grease
is the word, is the word that you heard) It's got a groove, it's
got a meaning Grease is the time, is the place, is the motion Now,
grease is the way we are feeling
(Grease is the word, is the
word that you heard) It's got a groove, it's got a meaning Grease
is the time, is the place, is the motion Now, grease is the way we
are feeling
Escrita
por Elton John e Gary Osborne, foi gravada entre janeiro e setembro
de 1978 e lançada em 16 de outubro de 1978, no disco A single man, o
décimo segundo disco da carreira de Elton. Foi produzida por Clive
Franks e Elton John. Elton cantou e tocou piano acústico. Tim
Renwick tocou guitarra. Clive Franks tocou baixo. Steve Holley tocou
bateria. Ray Cooper tocou pandeiro e vibrafone.
A
letra:
It
ain't gonna be easy from now on You've been messing around while
I've been gone But sometimes telling the truth can be unkind Folks
who suffer guilt can be so blind
It ain't gonna be easy, I can tell Just
how empty I'm feeling, you know damn well I'm telling you it ain't
gonna be easy from the start Look out, honey, you're playing with
my heart
It ain't gonna be easy and that's for
sure Changing things back the way they were before Once you've
lifted the lid on such pain It ain't easy to put it back again
It ain't gonna be easy to forget Now
you've been seeing a man that I ain't met I'm telling you that it
ain't gonna be easy from the start Look out, baby, you're playing
with my heart
It ain't gonna be so easy this time
around Turning back the clock on what's gone down Oh, there
comes a time when you need to make a stand You gotta play your
cards or fold a losing hand
And it ain't gonna be easy and that's
no lie But if you're willing to try it, so am I It ain't gonna
be so easy from the start You better look out, darling, you're
playing with my heart
It ain't gonna be easy It ain't
gonna be easy
It ain't gonna be easy and that's no
lie But if you're willing, willing to try it, so am I It ain't
gonna be so easy from the start Oh, you better look out, darling,
you're playing with my heart With my heart, yeah
It ain't gonna be easy It ain't
gonna be easy
It ain't gonna be so easy from the
start Ooh It ain't gonna be so easy from the
sta-a-a-a-a-a-art It ain't gonna, it ain't gonna be so easy Easy,
easy, easy, easy, easy, easy, easy, easy, yeah It ain't gonna be
so easy
It ain't gonna be so easy from the
start Yeah, you got my heart, yeah And it ain't gonna be so
easy from the start Yeah It ain't gonna be so easy, easy from
the start
It ain't gonna be so easy from the
start Yeah, you got my heart, yeah
But it ain't gonna be so easy from the
start It ain't gonna be easy Easy from the
sta-a-a-a-a-a-a-art It ain't gonna be easy...
