1903 – Supertramp – Breakfast in America (1979)

Escrita por Rick Davies e Roger Hodgson, foi gravada entre maio e dezembro de 1978 e lançada em 16 de março de 1979, no disco de mesmo nome, o sexto da banda. Sairia também em compacto, com Gone Holywood como Lado B. Foi produzida por Peter Henderson e Supertramp. A letra fala de uma pessoa, que se entende ser britânica, que sonha em visitar os Estados Unidos. Chegou ao número 9 no Reino Unido, número 62 no Billboard Hot 100, número 6 na Irlanda, número 9 na África do Sul, número 14 na Holanda, número 16 na Áustria, número 18 na Bélgica, número 20 no Japão e número 23 na Alemanha Ocidental. Roger Hodgson cantou, tocou piano, orgão e guitarra. Rick Davies tocou harpsichord, sintetizador e cantou backing vocals. John Helliwell tocou clarinete. Dougie Thomson tocou baixo. Bob Siebenberg tocou bateria e percussão. Slyde Hyde tocou trombone e tuba.

A letra:

Take a look at my girlfriend
She's the only one I got
Not much of a girlfriend
I never seem to get a lot
Take a jumbo across the water
Like to see America
See the girls in California
I'm hoping it's going to come true
But there's not a lot I can do

Could we have kippers for breakfast
Mummy dear, Mummy dear?
They gotta have 'em in Texas
'Cause everyone's a millionaire
I'm a winner, I'm a sinner
Do you want my autograph?
I'm a loser, what a joker
I'm playing my jokes upon you
While there's nothing better to do, hey

Don't you look at my girlfriend (Girlfriend)
She's the only one I got
Not much of a girlfriend (Girlfriend)
I never seem to get a lot (What she's got? Not a lot)
Take a jumbo across the water
Like to see America
See the girls in California
I'm hoping it's going to come true
But there's not a lot I can do, hey
Ba da da dum
Ba da da dum
Ba da da da dum

A versão do Supertramp:

A versão de Abbie and The Roses:

A versão de Hannah Goodall:

1902 – Pink Floyd – Mother (1979)

 

Escrita por Roger Waters, foi gravada entre abril e novembro de 1979 e lançada em 30 de novembro de 1979 no disco The wall, o décimo primeiro disco da banda. Foi produzida por Roger Waters, David Gilmour, Bob Ezrin e James Guthrie. Nick Mason não conseguiu tocar a bateria, devido à dificuldade da composição. Quem tocou foi Jeff Porcaro, um baterista de estúdio. O disco inteiro fala de Pink, um rock star alienado. A canção Mother fala que a alienação dele vem grande parte por ter sido criado por uma superprotetora mãe solteira, que perdeu o marido e pai de Pink na segunda guerra mundial. A canção é na verdade uma conversa entre Pink e sua mãe, cantada por David Gilmour. A mãe de Pink está ajudando-o a contruir o muro, pra protegê-lo do mundo exterior. David Gilmour canta o refrão, violão e guitarra. Roger Waters canta os versos, violão e baixo. Bob Ezrin tocou harmonium, orgão Hammond e piano. Jeff Porcaro tocou bateria.

A letra:

Mother, do you think they'll drop the bomb?
Mother, do you think they'll like this song?
Mother, do you think they'll try to break my balls?
Ooh, aah, mother, should I build the wall?

Mother, should I run for president?
Mother, should I trust the government?
Mother, will they put me in the firing line?
Ooh, aah, is it just a waste of time?

Hush now, baby, baby, don't you cry
Mama's gonna make all of your nightmares come true
Mama's gonna put all of her fears into you
Mama's gonna keep you right here under her wing
She won't let you fly but she might let you sing
Mama's gonna keep baby cozy and warm

Ooh, babe, ooh, babe, ooh, babe
Of course mama's gonna help build the wall

Mother, do you think she's good enough for me?
Mother, do you think she's dangerous to me?
Mother, will she tear your little boy apart?
Ooh, aah, mother, will she break my heart?

Hush now, baby, baby, don't you cry
Mama's gonna check out all your girlfriends for you
Mama won't let anyone dirty get through
Mama's gonna wait up 'til you get in
Mama will always find out where you've been
Mamma's gonna keep baby healthy and clean

Ooh, babe, ooh, babe, ooh, babe
You'll always be a baby to me

Mother, did it need to be so high?

A versão do Pink Floyd:

A versão de Pearl Jam:

A versão de Natalie Maines e Fred Morris:

1901 – Dire Straits – Portobello Belle (1979)

 

 

Escrita por Mark Knopfler, foi gravada entre 28 de novembro e 12 de dezembro de 1978, no Compass Point Studio, em Nassau. Foi lançada em 5 de junho de 1979, no disco Communiqué, o segundo da banda. Foi produzida por Jerry Wexler e Barry Beckett. Mark Knopfler cantou e tocou guitarra solo e base. David Knopfler tocou guitarra base e fez backing vocals. John Illsley tocou baixo e fez backing vocals. Pick Withers tocou bateria. Barry Beckett tocou teclado.

A letra:

Belladonna's on the high street
Her breasts upon the offbeat
And the stalls are just the side shows
Victoriana's old clothes
And yes, her jeans are tight now
She gotta travel light now
She got to turn up all her roots now
She got to turn up for the boots now

She thinks she's tough
She ain't no English rose
Ah, but the blind singer
He's seen enough and he knows
Yes, and he do a song about a long-gone Irish girl
Ah, but I got one for you, Portobello Belle

She sees a man upon his back there
Escaping from a sack there
And Belladonna lingers
Her gloves they got no fingers
Yeah, the blind man sing in Irish
He get his money in a tin dish
Just a corner serenader
Upon a time he could have made her, made her

She thinks she's tough
She ain't no English rose
Ah, but the blind singer
He's seen enough and he knows
Yes, and he do a song about a long-gone Irish girl
Ah, but I got one for you, Portobello Belle

Yes, and the barrow boys are hawking
And the parakeet is squawking
Upon a truck there is a rhino
She get the crying of a wino
And then she hear the reggae rumble
Belladonna's in the jungle
But she is no garden flower
There is no distress in the tower

Belladonna walks
Belladonna taking a stroll
She don't care about your window box
Or your button hole
Yes, and she sing a song about a long-gone Irish girl
Ah, but I got one for you, Portobello Belle

A versão do Dire Straits:

A versão de Damion Lee Taylor:

1900 – The Jam – Down in the tube station at midnight (1978)

 

Escrita por Paul Weller, foi gravada entre 4 de julho e 17 de agosto de 1978, em Londres, foi lançada em 13 de outubro de 1978, no compacto que tinha So sad about us, do Who e The night como Lado B. Sairia também no disco All mod cons, o terceiro da banda, em 3 de novembro de 1978. Foi produzida por Vic Coppersmith-Heaven. Conta a história de um homem que está indo pra sua casa de metrô, à meia noite, e é atacado por homens que cheiravam à pub. Isso acontece enquanto ele está comprando o ticket em uma máquina.

A letra:

The distant echo -
of faraway voices boarding faraway trains
To take them home to
the ones that they love and who love them forever
The glazed, dirty steps - repeat my own and reflect my thoughts
Cold and uninviting, partially naked
Except for toffee wrapers and this morning's papers
Mr. Jones got run down
Headlines of death and sorrow - they tell of tomorrow
Madmen on the rampage
And I'm down in the tube station at midnight

I fumble for change - and pull out the Queen
Smiling, beguiling
I put in the money and pull out a plum
Behind me
Whispers in the shadows - gruff blazing voices
Hating, waiting
"Hey boy" they shout "have you got any money?"
And I said "I've a little money and a take away curry,
I'm on my way home to my wife.
She'll be lining up the cutlery,
You know she's expecting me
Polishing the glasses and pulling out the cork"
And I'm down in the tube station at midnight

I first felt a fist, and then a kick
I could now smell their breath
They smelt of pubs and Wormwood Scrubs
And too many right wing meetings
My life swam around me
It took a look and drowned me in its own existence
The smell of brown leather
It blended in with the weather
It filled my eyes, ears, nose and mouth
It blocked all my senses
Couldn't see, hear, speak any longer
And I'm down in the tube station at midnight
I said I was down in the tube station at midnight

The last thing that I saw
As I lay there on the floor
Was "Jesus Saves" painted by an atheist nutter
And a British Rail poster read "Have an Awayday - a cheap holiday -
Do it today!"
I glanced back on my life
And thought about my wife
'Cause they took the keys - and she'll think it's me
And I'm down in the tube station at midnight
The wine will be flat and the curry's gone cold
I'm down in the tube station at midnight
Don't want to go down in a tube station at midnight

A versão do Jam:

A versão do Subculture:

1899 – 10 cc – Dreadlock Holiday (1978)

 

Escrita por Eric Stewart e Graham Gouldman, foi gravada em 1977, no Strawberry Studios South, em Surrey, Inglaterra e lançada em julho de 1978, no compacto que tinha Nothing can move me como Lado B. Saiu também no disco Bloody Tourists, o sexto disco da banda, em setembro de 1978. Foi produzida pela própria banda. É o primeiro hit internacional do grupo e número 1 no Reino Unido, Bélgica, Nova Zelandia e Holanda. Número 2 na Irlanda e Austrália. Número 5 na Suíça e número 7 na Noruega. Número 11 na Alemanha Ocidental, número 16 na Suécia e número 18 na Áustria. Número 45 no Canadá. Número 44 no Billboard hot100.

A letra:

I was walkin' down the street
Concentratin' on truckin' right
I heard a dark voice beside of me
And I looked round in a state of fright

I saw four faces, one mad
A brother from the gutter
They looked me up and down a bit
And turned to each other

I say
I don't like cricket (Oh no!)
I love it
I don't like cricket (No no!)
I love it

Don't you walk through my words
You got to show some respect
Don't you walk through my words
'Cause you ain't heard me out yet

Well he looked down at my silver chain
He said "I'll give you one dollar"
I said you've got to be jokin' man
It was a present from me mother

He said "I like it, I want it
I'll take it off your hands
And you'll be sorry you crossed me
You'd better understand that you're alone
A long way from home

And I say
I don't like reggae (No no!)
I love it (Eh!)
I don't like reggae (No!)
I love it (Eh!)

Don't you cramp me style
Don't you queer me pitch
Don't you walk through my words
'Cause you ain't heard me out yet

I hurried back to the swimming pool
Sinkin' pina colada
I heard a dark voice beside me say
"Would you like something harder?"

She said, "I've got it, you want it
My harvest is the best
And if you try it, you'll like it
And wallow in a Dreadlock Holiday"

And I say
Don't like Jamaica (Oh no!)
I love her (Eh!)
Don't like Jamaica (Oh no!)
I love her (Oh yeah!)

Don't you walk through her words
You got to show some respect
Don't you walk through her words
'Cause you ain't heard her out yet

I don't like cricket (Oh no!)
I love it (Dreadlock Holiday)
I don't like reggae (Oh no!)
I love it (Dreadlock Holiday)
Don't like Jamaica (Eh!)
I love her (Dreadlock Holiday)

A versão do 10 cc:

A versão de Jake and Flo:

A versão de Boney M.:

1898 – Bob Dylan – True love tends to forget (1978)

 

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.

A versão de Bob Dylan:

A versão de Girl from the North Country:

1897 – Village People – Y.M.C.A. (1978)

 

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 20^th 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.

Y.M.C.A.
It's fun to stay at the Y.M.C.A.

A versão do Village People:

A versão do Bulletized:

A versão do Walk off the Earth:

1896 – The Undertones – Teenage kicks (1978)

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

A versão dos Undertones:

A versão de Andy Guitar Band:

A versão de Pony and Trap:

1895 – Rush – The trees (1978)

 

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

A versão do Rush:

A versão do Modern Days Warriors:

A versão do New World Men:

1894 – Queen – Don't stop me now (1978)

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

A versão do Queen:

A versão de First to Eleven:

A versão de Marc Martel:

1893 – Ramones – I wanna be sedated (1978)

 

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

A versão dos Ramones:

A versão de Minority 905:

A versão do Offspring:

1892 – Rod Stewart – Ain't love a bitch (1978)

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

A versão de Rod Stewart:

1891 – Patti Smith – Because the night (1978)

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 ...

A versão de Patti Smith:

A versão de U2, Bruce Springsteen e Patti Smith:

A versão dos 10000 Maniacs:

1890 – Bob Dylan – No time to think (1978)

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.

A versão de Bob Dylan:

A versão de Belle Brigade: