1909 – Supertramp – The logical song (1979)

 

Escrita por Roger Hodgson, foi gravada entre março e dezembro de 1978 e lançada em 16 de março de 1979, no disco Breakfast in America, o sexto disco da banda. Sairia também em compacto, no mesmo mês, com Just another nervous wreck como Lado B. Foi produzida por Peter Henderson e Supertramp. Roger baseou sua composição na experiencia dele de ter sido mandado pra estudar por 10 anos em uma escola tipo internato. Esse é o maior hit do Supertramp. Chegou ao número 7 no Reino Unido e número 6 no Billboard Hot 100. Chegou também no numero 1 no Canadá, número 3 na África do Sul, número 6 na Irlanda, número 8 em Portugal, número 9 na Bélgica, número 12 na Alemanha Ocidental e Espanha, número 13 na Nova Zelandia, número 14 na Itália e Áustria e número 16 na Austrália. Fala também sobre as muitas coisas ensinadas na escola que não tem importancia na vida real. Ou até mesmo a lidar com os seus sentimentos. Ninguém aprende a se conhecer. Please tell me who I am, fala a canção. Paul McCartney disse que The logical song foi a sua canção preferida de 1979. Roger cantou e fez backing vocals e tocou piano eletronico Wurlitzer, guitarra e violão de 12 cordas. Rick Davis tocou piano, orgao, clavinet, sintetizadores e fez backing vocals. John Helliwell tocou sax alto, apito e fez backing vocals. Bob Siebenberg tocou bateria, castanets, timbals, sino de vaca e blocos de madeira. Dougie Thomson tocou baixo.

A letra:

When I was young, it seemed that life was so wonderful
A miracle, oh, it was beautiful, magical
And all the birds in the trees, well they'd be singing so happily
Oh, joyfully, oh, playfully watching me
But then they sent me away to teach me how to be sensible
Logical, oh, responsible, practical
Then they showed me a world where I could be so dependable
Oh, clinical, oh, intellectual, cynical

There are times when all the world's asleep
The questions run too deep
For such a simple man
Won't you please, please tell me what we've learned?
I know it sounds absurd
Please tell me who I am

I said, now, watch what you say, they'll be calling you a radical
A liberal, oh, fanatical, criminal
Oh, won't you sign up your name? We'd like to feel you're acceptable
Respectable, oh, presentable, a vegetable
Oh, take, take, take it, yeah

But at night, when all the world's asleep
The questions run so deep
For such a simple man
Won't you please (oh, won't you tell me)
Please tell me what we've learned?
(Can you hear me?) I know it sounds absurd
(Oh, won't you tell me) please tell me who I am
Who I am, who I am, who I am

Ooh
Hey

'Cause I was feeling so logical
Yeah
D-D-D-D-D-D-D-Digital
Yeah, one, two, three, five
Oh, oh, oh, oh, yeah
Ooh, it's getting unbelievable
Yeah
Getting, getting, yeah, yeah
Uh, uh, uh, uh

A versão do Supertramp:

A versão de Pomplamoose:

A versão de Haley Johnsen:

1908 – Pink Floyd – Hey you (1979)

 

Escrita por Roger Waters, foi gravada entre abril e setembro de 1979 e lançada em 30 de novembro de 1979, no disco The Wall, o décimo primeiro disco da banda. Sairia também em compacto no mesmo dia, com Comfortably numb como Lado A. Foi produzida por Bob Ezrin, David Gilmour, Rogers Waters e James Guthrie. Como no disco The Wall, Pink é um roqueiro alienado, que está fugindo da sociedade e se isolando atrás de um muro. Aqui, Pink entende seu erro em se afastar da sociedade e tenta ganhar novamente contato com o mundo exterior. Entretanto, ele não consegue ver ou ouvir do outro lado do muro. Ele fica desesperado quando percebe que não há saída. David Gilmour tocou baixo sem trastes, violão de 6 e de 12 cordas, guitarra, pedal steel e cantou vocais principais e fez harmonias vocais. Roger Waters cantou. Nick Mason tocou bateria. Richard Wright tocou piano elétrico Rhodes, orgão Hammond e sintetizadores. James Guthrie usou uma furadeira elétrica.

A letra:

Hey you, out there in the cold
Getting lonely, getting old
Can you feel me?
Hey you, standing in the aisles
With itchy feet and fading smiles
Can you feel me?
Hey you, don't help them to bury the light
Don't give in without a fight

Hey you out there on your own
Sitting naked by the phone
Would you touch me?
Hey you with you ear against the wall
Waiting for someone to call out
Would you touch me?
Hey you, would you help me to carry the stone?
Open your heart, I'm coming home

But it was only fantasy
The wall was too high
As you can see
No matter how he tried
He could not break free
And the worms ate into his brain

Hey you, out there on the road
Always doing what you're told
Can you help me?
Hey you, out there beyond the wall
Breaking bottles in the hall
Can you help me?
Hey you, don't tell me there's no hope at all
Together we stand, divided we fall

A versão do Pink Floyd:

A versão de Bobaflex:

A versão de Yoni Schlesinger:

1907 – Dire Straits – Once upon a time in the west (1979)

 

Escrita por Mark Knopfler, foi gravada entre 28 de novembro e 12 de dezembro de 1978, no Compass Point, em Nassau e lançada em 5 de junho de 1979 no disco Communiqué, o segundo disco da banda. Foi produzida por Barry Beckett e Jerry Wexler. Mark Knopfler cantou, 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:

Some people get a cheap laugh breaking up the speed limit
Scaring the pedestrians for a minute
Crossing up progress driving on the grass
Leaving just enough room to pass
Sunday driver never took a test
Oh yeah, once upon a time in the west

Yes it's no use saying that you don't know nothing
It's still gonna get you if you don't do something
Sitting on a fence that's a dangerous course
Oh, you could even catch a bullet from the peace-keeping force
Even the hero gets a bullet in the chest
Oh yeah, once upon a time in the west

Mother Mary your children are slaughtered
Some of you mothers ought to lock up your daughters
Who's protecting the innocents
Heap big trouble in the land of plenty
Tell me how we're gonna do what's best
You guess once upon a time in the west

Oh yeah, once upon a time in the west
Oh yeah, once upon a time in the west
Oh yeah, once upon a time in the west

once upon a time in the west
Once upon a time in the west
Once upon a time in the west
Once upon a time in the west
Once upon a time in the west
Once upon a time in the west
Once upon a time in the west
Once upon a time in the west
Once upon a time in the west

A versão do Dire Straits:

A versão de Pavel Fomenkov:

A versão de Jose Churruca:

1906 – ABBA – Chiquitita (1979)

 

Escrita por Benny Andersson e Bjorn Ulvaeus, foi gravada em 13 de dezembro de 1978 e lançada em 16 de janeiro de 1979, no compacto que tinha Lovelight como Lado B. Saiu também no disco Voulez-vous, o sexto disco da banda, em 23 de abril de 1979. Foi produzida por Benny Andersson e Bjorn Ulvaeus. Agnetha Faltskog canta os vocais principais. Anni-Frid Lyngstad fez os backing vocals. Bjorn Ulvaeus tocou guitarra. Benny Andersson tocou teclado. Teve como base a canção peruana El Condor Pasa, de Simon e Garfunkel. Foi regravada por Cher e Sinead O'Connor, entre outros artistas. Foi gravada em espanhol pelo Menudo. Foi número 29 no Billboard Hot 100, número 2 no Reino Unido. Chegou no número 1 na Argentina, Bélgica, Finlandia, Holanda, México, Nova Zelandia e Suíça. Chegou ao número 2 na Suécia, número 3 na Alemanha Ocidental, número 4 na Austrália e Noruega. Número 6 na Áustria.

A letra:

Chiquitita, tell me what's wrong
You're enchained by your own sorrow
In your eyes there is no hope for tomorrow
How I hate to see you like this
There is no way you can deny it
I can see that you're oh so sad, so quiet

Chiquitita, tell me the truth
I'm a shoulder you can cry on
Your best friend, I'm the one you must rely on
You were always sure of yourself
Now I see you've broken a feather
I hope we can patch it up together

Chiquitita, you and I know
How the heartaches come and they go and the scars they're leaving
You'll be dancing once again and the pain will end
You will have no time for grieving
Chiquitita, you and I cry
But the sun is still in the sky and shining above you
Let me hear you sing once more like you did before
Sing a new song, Chiquitita
Try once more like you did before
Sing a new song, Chiquitita

So the walls came tumbling down
And your love's a blown out candle
All is gone and it seems too hard to handle
Chiquitita, tell me the truth
There is no way you can deny it
I see that you're oh so sad, so quiet

Chiquitita, you and I know
How the heartaches come and they go and the scars they're leaving
You'll be dancing once again and the pain will end
You will have no time for grieving
Chiquitita, you and I cry
But the sun is still in the sky and shining above you
Let me hear you sing once more like you did before
Sing a new song, Chiquitita
Try once more like you did before
Sing a new song, Chiquitita
Try once more like you did before
Sing a new song, Chiquitita

A versão do Abba:

A versão de Cher:

A versão de Sinead O'Connor:

1905 – Neil Young – My my, hey hey (Out of the blue) (1979)

 

Escrita por Neil Young e Jeff Blackburn, foi gravada no início de 1978 e lançada em 22 de junho de 1979 no disco Rust never sleeps, o décimo disco de Neil Young. Sairia também em compacto, em 27 de agosto de 1979, com Hey hey, my my (Into the black) como Lado B. Foi produzida por Neil Young, Tim Mulligan e David Briggs. Foi gravada ao vivo em 1978 na Boarding House, em San Francisco, California. A frase “It's better to burn out than to fade away” foi a que Kirt Cobain deixou escrito quando se matou. Neil Young ficou tão abalado que dedicou seu disco Sleeps with angels, de 1994, pra Kurt Cobain. Curiosamente, em 1980, John Lennon, pouco antes de morrer, foi totalmente contra a idéia de roqueiro cultuar a morte. Ele disse que era uma grande idiotice. E pouco tempo depois foi assassinado. Ele tinha vontade de viver. A música comparava a ascensão do punk Johnny Rotten com a figura do recém morto Elvis, que um dia era uma figura que representava uma influencia negativa pros jovens, até se tornar um ícono. Foi regravada pelo Oasis, entre outros artistas.

A versão de Neil Young:

A versão de Jimmy Diamond:

A versão de Grace Milton:

1904 – George Harrison – Here comes the moon (1979)

 

Escrita por George Harrison, foi gravada entre abril e outubro de 1978 e lançada em 20 de fevereiro de 1979, no disco George Harrison, o oitavo disco dele. Foi produzida por George Harrison e Russ Titelman. Foi escrita durante umas férias na Ilha Maui, no Hawaii, em fevereiro de 1978. Sua inspiração foi a lua que saiu, no mesmo momento em que o sol estava se pondo. A mulher de george estava grávida e eles tinham ido comemorar. A data que George colocou no papel que escreveu a letra foi 25 defevereiro de 1978, o dia que ele completava 35 anos de idade. George Harrison cantou, tocou violão, slide guitar, cítara e fez backing vocals. Neil Larsen tocou piano elétrico. Steve Winwood tocou harmonium e fez backing vocals. Willie Weeks tocou baixo. Andy newmark tocou bateria. Ray Cooper tocou percussão.

A letra:

Everybody's talking up a storm
Act like they don't notice it
But here it is and here it comes

Here comes the moon, the moon, the moon, the moon, the moon
Here comes the moon, the moon, the moon, the moon, the moon
Oh, yeah

Impulse always quickens when it's full
As it turns my head around me
Yes it does and here it comes

Here comes the moon, the moon, the moon, the moon, the moon
Here comes the moon, the moon, the moon, the moon, the moon
Here comes the moon, the moon, the moon, the moon, the moon
Oh, yeah, ooh-ooh

God's gift I see that's moving up there into the night
Though dark, the mirror in the sky reflects us our light
Looks like a little brother to the sun
Or mother to the stars at night
And here it is and here it comes

Here comes the moon, the moon, the moon, the moon, the moon
Here comes the moon, the moon, the moon, the moon, the moon
Oh, yeah, ooh-ooh

Breath is always taken when it's new
Enhance upon the clouds around it
Yes it is and here it comes

Here comes the moon, the moon, the moon, the moon, the moon
Here comes the moon, the moon, the moon, the moon, the moon
Here comes the moon, the moon, the moon, the moon, the moon
Here comes the moon, the moon, the moon, the moon, the moon
Oh, yeah, ooh-ooh

A versão de George Harrison:

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: