1927 – Supertramp – Take the long way home (1979)

 

Escrita por Roger Hodgson, foi gravada entre maio e dezembro de 1978 e lançada em 29 de março de 1979, no disco Breakfast in America, o sexto disco da banda. Saiu também em compacto, com From now on como Lado B. Foi produzida por Supertramp e Peter Henderson. Fala sobre o desejo de tomar o caminho mais longo pra chegar em casa, pois a esposa o trata como um móvel da casa. E fala também do eterno desejo de termos um lugar onde nos sentimos em casa. Mas também é uma metáfora sobre a nossa jornada de auto-conhecimento. Chegou ao número 10 no Billboard Hot100, número 4 no Canadá, número 32 na Holanda e número 53 na Alemanha Ocidental. Roger Hodgson cantou, tocou piano e guitarra. Rick Davies tocou gaita, orgão Hammond e sintetizadores. Dougie Thomson tocou baixo. Bob Benberg tocou bateria e pandeiro. John Helliwell tocou clarinete.

A letra:

So, you think you're a Romeo
Playing a part in a picture show
Well, take the long way home
Take the long way home

'Cause you're the joke of the neighborhood
Why should you care if you're feelin' good?
Well, take the long way home
Take the long way home

There are times that you feel you're part of the scenery
All the greenery is comin' down, boy
And then your wife seems to think you're part of the furniture
Oh, it's peculiar, she used to be so nice

When lonely days turn to lonely nights
You take a trip to the city lights
And take the long way home
Take the long way home

You never see what you want to see
Forever playing to the gallery
You take the long way home
Take the long way home

When you're up on the stage, it's so unbelievable
Oh, unforgettable, how they adore you
But then your wife seems to think you're losing your sanity
Oh, calamity, is there no way out?

Does it feel that your life's become a catastrophe?
Oh, it has to be, for you to grow, boy
When you look through the years and see what you could have been
Oh, what you might have been
If you would have more time

So when the day comes to settle down
Who's to blame if you're not around?
You took the long way home
You took the long way home
You took the long way home
You took the long way home
You took the long way home
You took the long way home
You took the long way home
You took the long way home

Long way home
Long way home
Long way home
Long way home
Long way home
Long way home
Long way home

A versão do Supertramp:

A versão de James Coates:

A versão do Troubadour Project:

1926 – Pink Floyd – Another brick in the wall (Part 1) (1979)

Escrita por Roger Waters, foi gravada entre abril e setembro de 1979 e no disco The Wall, o décimo primeiro disco da banda, no dia 30 de novembro de 1979. Foi produzida por Roger Waters, David Gilmour, Bob Ezrin e James Guthrie. Nessa primeira parte da música (são três), Pink começa a construir metaforicamente o seu muro ao redor dele mesmo, após a morte do pai dele. Roger cantou e tocou baixo. David tocou guitarra e fez harmonias vocais. Richard Wright tcou sintetizadores. Não tem bateria.

A letra:

Daddy's flown across the ocean
Leaving just a memory
A snapshot in the family album
Daddy, what else did you leave for me?

Daddy, what d'ya leave behind for me?

All in all it was just a brick in the wall
All in all it was all just bricks in the wall

A versão do Pink Floyd:

1925 – Dire Straits – Communiqué (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:

They want to get a statement for Jesus' sake
It's like a talking to the wall
He's incommunicado no comment to make
He's saying nothing at all

But in the communique you know he's gonna come clean
Think what he say
Say what he means
Maybe on Monday he got something to say

Communication
Communique
Communique

Maybe he could talk about the tricks of the trade
Maybe he could talk about himself
Maybe he could talk about the money that he made
Maybe he'd be saying something else

But in the communique you know he's gonna come clean
Think what he say,
Say what he means
Maybe on monday he got something to say

Communication
Communique
Communique

And now the rumors are flying
Speculation rising
Say that he's been trying someone else's wife
Somebody at the airport
Somebody on the phone
Says he's at the station and he's coming on the noon
Then we get the story a serious breeze
And a photograph taken in the hall
You don't have to worry with the previous release
Right now, he's saying nothing at all
But in the communique you know he's gonna come clean
Think what he say
Say what he means
Maybe on Monday he got something to say

Communication
Communique
Communique

A versão do Dire Straits:

1924 – ABBA – Gimme gimme gimme (A man after midnight) (1979)

 

Escrita por Benny Andersson e Bjorn Ulvaeus, foi gravada em setembro de 1979 e lançada em 12 de outubro de 1979, no compacto que tinha The king has lost his crown como Lado B. Foi produzida por Benny Andersson e Bjorn Ulvaeus. Agnetha Faltskog fez os vocais principais. Fala de uma mulher à procura de um relacionamento romântico. Não entrou nos charts americanos, mas foi número 3 no Reino Unido. Número 1 na Bélgica, Europa, Finlandia, Irlanda, Japão e Suíça. Número 2 na Áustria, Holanda e Noruega. Número 3 na Alemanha Ocidental, número 8 na Austrália, número 15 da Nova Zelandia, número 16 na Suécia e África do Sul e número 17 no Japão.

A letra:

Half-past twelve
And I'm watching the late show in my flat all alone
How I hate to spend the evening on my own
Autumn winds
Blowing outside the window as I look around the room
And it makes me so depressed to see the gloom

There's not a soul out there
No one to hear my prayer

Gimme, gimme, gimme a man after midnight
Won't somebody help me chase the shadows away?
Gimme, gimme, gimme a man after midnight
Take me through the darkness to the break of the day

Movie stars
Find the end of the rainbow with a fortune to win
It's so different from the world I'm living in
Tired of TV
I open the window and I gaze into the night
But there's nothing there to see, no one in sight

There's not a soul out there
No one to hear my prayer

Gimme, gimme, gimme a man after midnight
Won't somebody help me chase the shadows away?
Gimme, gimme, gimme a man after midnight
Take me through the darkness to the break of the day

Gimme, gimme, gimme a man after midnight
Gimme, gimme, gimme a man after midnight

There's not a soul out there
No one to hear my prayer

Gimme, gimme, gimme a man after midnight
Won't somebody help me chase the shadows away?
Gimme, gimme, gimme a man after midnight
Take me through the darkness to the break of the day

Gimme, gimme, gimme a man after midnight
Won't somebody help me chase the shadows away?
Gimme, gimme, gimme a man after midnight
Take me through the darkness to the break of the day

A versão do ABBA:

A versão de Bandix:

A versão de Big Deal:

1923 – Neil Young – Ride my llama (1979)

Escrita por Neil Young, foi gravada em 26 de maio de 1978, no Boarding House, em San Francisco. Foi lançada no disco Rust never sleeps, em 22 de junho de 1979. Foi produzida por Neil Young, Davd Briggs e Tim Mulligan. Essa música na verdade foi composta pro disco Zuma, de 1975 e não foi utilizada. Conta a história de um viajante espacial que toca guitarra com um alien. Neil a chama de uma canção folk extraterrestre. Ela foi escrita no mesmo dia que Cortez the killer. Neil tocou violão e cantou.

A letra:

Remember the Alamo
When help was on the way
It's better here and now
I feel that good today
I'd like to take a walk
But not around the block
I really got some news
I met a man from Mars
He picked up all my guitars
And played me traveling songs
And when we got on ship
He brought out something for the trip
And said, "It's old but it's good"
Like any other primitive would

I'm gonna ride my llama
From Peru to Texarkana
I wanna ride him good
In my old neighborhood
My old neighborhood
My old neighborhood
Old neighborhood
Old neighborhood

A versão de Neil Young:

A versão de Christopher Pumphrey:

1922 – George Harrison – If you believe (1979)

Escrita por George Harrison e Gary Wright, foi gravada em 1978 na casa do próprio George, em Oxfordshire. Eles começaram a compô-la no dia 1 de janeiro de 1978 e George terminou-a no Hawaii, alguns meses depois. Foi lançada no disco George Harrison, o oitavo disco de sua carreira, no dia 20 de fevereiro de 1979. Foi produzida por George Harrison e Russ Titelman. A letra fala do poder da fé pra se conseguir o que se almeja. Esta foi a primeira colaboração oficial entre George e Wright. George cantou, tocou violão, slide guitar e fez backing vocals. Gary Wright tocou sintetizador. Neil Larsen tocou piano. Willie Weeks tocou baixo. Andy Newmark tocou bateria.

A letra:

You can worry your life away with
Not knowing what each new day may bring to you
Or take each day as it goes on
Wake up to the love that flows on, around you

If you believe if you believe in you
Everything you thought is possible, if you believe,
If you believe in me,
All your love's reflected back to you
When you believe

Too many troubles you can't control
To get you falling into the holes they dig for you
Get up - you have all your needs, pray
Give up - and it all recedes away from you
If you believe - if you believe in you

Everything you thought is possible, if you believe
If you believe in me
All your love's reflected back to you
When you believe

A versão de George Harrison:

1921 – Supertramp – Casual conversations (1979)

 

Escrita por Rick Davies, foi gravada entre maio e dezembro de 1978 no Village Recorder, em Los Angeles e lançada no disco Breakfast in America, o sexto da banda, em 16 de março de 1979. Foi produzida por Peter Henderson e Supertramp. Rick Davies cantou e tocou teclado. Roger Hodgson tocou teclado, guitarra e vibes. John Helliwell tocou sax e woodwinds. Bob Siebenberg tocou bateria e Dougie Thomson tocou baixo. Slyde Hyde tocou tuba e trombone.

A letra:

It doesn't matter what I say
You never listen, anyway
Just don't know what you're looking for
Imagination's all I have
But even then, you say it's bad
Just can't see why we disagree

Casual conversations, how they bore me
Yeah, they go on and on, endlessly
No matter what I say, you'll ignore me anyway
I might as well talk in my sleep
I could weep

You try to make me feel so small
Until there's nothing left at all
Why go on
Just hoping that we'll get along

There's no communication left between us
But is it me or you, who's to blame
There's nothing I can do, yes, you're fading out of view
Don't know if I feel joy or pain
It's such a shame

And now it seems it's all been said
If you must leave, then go ahead
Should feel sad
But I really believe that I'm glad
I really believe that I'm glad
I really believe that I'm glad

A versão do Supertramp:

1920 – Pink Floyd – Young lust (1979)

Escrita por Roger Waters e David Gilmour, foi gravada entre abril e setembro de 1979 e lançada no disco The Wall, o décimo primeiro disco da banda, em 30 de novembro de 1979. Foi produzida por David Gilmour, Roger Waters, Bob Ezrin e James Guthrie. Fala sobre se jogar no sexo, hedonismo, drogas e rock and roll. Fala de um astro do rock procurando sexo casual pra amenizar o tédio da turnê. É uma das poucas canções em que David Gilmour toca baixo. E uma das três em que ele compôs pro disco The Wall. David Gilmour cantou com backing vocals feitos por Roger Waters. Além de cantar e tocar baixo, David Gilmour toca guitarra. Nick Mason tocou bateria e pandeiro. Richard Wright toca orgão Hammond e piano elétrico Wurlitzer. Foi regravada por Bryan Adams ao vivo.

A letra:

I am just a new boy
Stranger in this town
Where are all the good times?
Who's gonna show this stranger around?
Ooh, I need a dirty woman
Ooh, I need a dirty girl

Will some woman in this desert land
Make me feel like a real man?
Take this rock and roll refugee
Ooh, baby set me free

Ooh, I need a dirty woman
Ooh, I need a dirty girl

Ooh, I need a dirty woman
Ooh, I need a dirty girl

Hello?
Yes, a collect call for Mrs. Floyd from Mister Floyd
Will you accept the charges from United States?

Oh, he hung up, that's your residence, right? I wonder why he hung up?
Is there supposed to be someone else there besides your wife there to answer?

Hello?
This is United States calling, are we reaching
See he keeps hanging up, and it's a man answering

A versão do Pink Floyd:

A versão de Bryan Adams:

A versão de Back to Floyd:

1919 – Dire Straits – Angel of mercy (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:

Well there's a Peter Pan moon, shepherd's delight
I got the dragon at noon, yes and I won the fight
Now I want my reward in heaven tonight, just like you promised
Angel of Mercy, you'll come to no harm
Angel of Mercy, there's no need for alarm
The knight in his armour wants a night in your arms
You know he's honest

Angel of Mercy, angel delight
Give me my reward in Heaven tonight
And if I give up my sword, won't you give me the right
Angel of Mercy give me Heaven tonight

Well now it's too late for talking we can talk later on
Let the saxophone play us till the chorus of dawn
And all I need is a little oblivion, you don't need protection
Well now here come the moonlight down on your bed
Angel of mercy let your heart rule your head
I don't want your money, I want you instead
Don't need rejection yeah

Angel of Mercy, angel delight
Give me my reward in Heaven tonight
And if I give up my sword, won't you give me the right
Angel of Mercy give me Heaven tonight

Well if you cross your heart
And spit and swear upon the grave of your mother
You got to get into it, you gotta tell me that I'm more than a lover

Angel of Mercy, angel delight
Give me my reward in Heaven tonight
And if I give up my sword, won't you give me the right
Angel of Mercy give me Heaven tonight

Yeah, angel of Mercy, angel delight
Give me my reward in Heaven tonight
And if I give up my sword, won't you give me the right
Angel of Mercy give me Heaven tonight

Angel of Mercy, angel delight
Give me my reward in Heaven tonight
And if I give up my sword, won't you give me the right
Angel of Mercy give me Heaven tonight

Hey, angel of mercy
Help me baby
Angel of mercy

A versão do Dire Straits:

1918 – ABBA – Voulez-vous (1979)

 

Escrita por Benny Andersson e Bjorn Ulvaeus, foi gravada entre março de 1978 e março de 1979 e lançada no disco de mesmo nome, o sexto da banda, em 23 de abril de 1979. Sairia também em compacto, em 2 de julho de 1979, com Angeleyes como Lado B. Foi produzida por Benny Andersson e Bjonr Ulvaeus. Agnetha Faltskog e Anni-Frid Lyngstad dividiram os vocais principais. Nasceu de uma viagem às Bahamas e como estavam perto de Miami, pararam no Criteria Studios em Miami pra gravar. Assim, essa foi a única canção do ABBA que foi gravada fora da Suécia. Chegou ao número 80 no Billboard Hot100, número 3 no Reino Unido, Irlanda e Holanda, número 1 na Bélgica, número 9 na Suíça, número 14 na Alemanha Ocidental, número 20 na Finlandia, número 79 na Austrália e número 87 no Canadá.

A letra:

People everywhere
A sense of expectation hangin' in the air
Givin' out a spark
Across the room, your eyes are glowin' in the dark

And here we go again, we know the start, we know the end
Masters of the scene
We've done it all before and now we're back to get some more
You know what I mean

Voulez-vous (aha)
Take it now or leave it (aha)
Now is all we get (aha)
Nothing promised, no regrets (aha)
Voulez-vous (aha)
Ain't no big decision (aha)
You know what to do (aha)
La question c'est voulez-vous
Voulez-vous

I know what you think
"The girl means business, so I'll offer her a drink"
Lookin' mighty proud
See you leave your table, pushing through the crowd

I'm really glad you came, you know the stars, you know the game
Master of the scene
We've done it all before and now we're back to get some more
You know what I mean

Voulez-vous (aha)
Take it now or leave it (aha)
Now is all we get (aha)
Nothing promised, no regrets (aha)
Voulez-vous (aha)
Ain't no big decision (aha)
You know what to do (aha)
La question c'est voulez-vous

And here we go again, we know the start, we know the end
Master of the scene
We've done it all before and now we're back to get some more
You know what I mean

Voulez-vous (aha)
(Aha)
(Aha)
Voulez-vous (aha)
(Aha)
(Aha)
Voulez-vous (aha)
(Aha)
(Aha)
Voulez-vous (aha)
(Aha)
(Aha)

Voulez-vous (aha)
Take it now or leave it (aha)
Now is all we get (aha)
Nothing promised, no regrets (aha)
Voulez-vous (aha)
Ain't no big decision (aha)
You know what to do (aha)
La question c'est voulez-vous
Voulez-vous

A versão do ABBA:

A versão de Beatrice Florea:

A versão de Shut up and Kiss me:

1917 – Neil Young – Pocahontas (1979)

 

Escrita por Neil Young, foi gravada em 8 de novembro de 1976, no Indigo Ranch Studio, em Malibu, California. Foi lançada no disco Rust never sleeps, o décimo de Neil, em 2 de julho de 1979. Foi produzida por Neil Young, David Briggs e Tim Mulligan. O único instrumento da gravaçã foi o violão de Neil. Críticos dizem que a melodia foi tirada de He's a bad boy, de Carole King, de 1963. Foi regravada por Johny Cash (com Tom Petty and The Heartbreakers como banda de fundo), entre outros artistas. Neil se inspirou quando leu o poema The Bridge, de Hart Cane, escrito em 1930. Neil leu esse poema em Londres, em 1931. O personagem central do poema é Matoaka, cujo nome branco é Pocahontas. Neil disse que escreveu a canção quando viu Marlon Brandon recusar o oscar e pediu pra uma atriz índia falar no lugar dele, pois ele estava protestando sobre o papel do índio nos filmes americanos. Por isso Neil Young fala em Marlon Brandon na música. A letra fala de um massacre de índios pelos colonizadores europeus, mas no fim da canção, existe um encontro entre Neil, Brandon e Pocahontas.

A letra:

Aurora Borealis
The icy sky at night
Paddles cut the water
In a long and hurried flight
From the white man to the fields of green
And the homeland we've never seen

They killed us in our teepees
And cut our women down
They might have left some babies
Cryin' on the ground
But the fire sticks and the wagons come
And the night falls on the setting sun

They massacred the buffalo
Kitty corner from the bank
Taxis run across my feet
And my eyes have turned to blanks
In my little box at the top of the stairs
With my Indian rug and a pipe to share

I wish a was a trapper
I would give a thousand pelts
To sleep with Pocahontas
And find out how she felt
In the mornin' on the fields of green
In the homeland we've never seen

Yes and maybe Marlon Brando will be there by the fire
We'll sit and talk of Hollywood and the good things there for hire
And the Astrodome and the first tepee
Marlon Brando, Pocahontas and me
Marlon Brando, Pocahontas and me
Pocahontas

A versão de Neil Young:

A versão de Johnny Cash:

A versão de Crash Vegas:

1916 – George Harrison – Faster (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 de George Harrison. Sairia também em compacto, com Your love is forever como Lado B. Foi produzida por Russ Titelman e George Harrison. Canção inspirada em corridas de carro. Em 1977, George tirou umas férias da música e viajou com Jackie Stewart e Niki Lauda para as corridas de Formula 1 naquele ano. A música fala das dificuldades de ter e manter o sucesso na Formula 1. George fala que a carreira de um piloto é como viver em um circo e que a esposa sempre tem que segurar o choro, por causa do perigo inerente à profissão. Fala da emoção dos espectadores e da inveja entre os pilotos. George cantou, tocou violão de 12 cordas, slide guitar, guitarra, baixo e fez backing vocals. Neil Larsen tocou piano. Andy Newmark tocou bateria. Ray Cooper tocou pandeiro

A letra:

Chose a life in circuses
Jumped into the deepest end
Pushing himself to all extremes
Made it, people became his friend

Now they stood and noticed him
Wanted to be a part of it
Pulled out some poor machinery
So he worked 'til the pieces fit

The people were intrigued
His wife held back her fears
The headlines gave acclaim
He'd realized their dreams

Faster than a bullet from a gun
He is faster than everyone
Quicker than the blinking of an eye
Like a flash you could miss him going by
No one knows quite how he does it
But it's true, they say
"He's the master of going faster"

Now he moved into the space
That the special people share
Right on the edge of do or die
Where there is nothing left to spare

Still the crowds came pouring in
Some had hoped to see him fail
Filling their hearts with jealousies
Crazy people with love so frail

The people were intrigued
His wife held back her fears
The headlines gave acclaim
He'd realized their dreams

Faster than a bullet from a gun
He is faster than everyone
Quicker than the blinking of an eye
Like a flash you could miss him going by
No one knows quite how he does it
But it's true, they say
"He's the master of going faster"

No need to wonder why
His wife held back her fears
So few have even tried
To realize their dreams

Faster than a bullet from a gun
He is faster than everyone
Quicker than the blinking of an eye
Like a flash you could miss him going by
No one knows quite how he does it
But it's true, they say
"He's the master of going faster"

No one knows quite how he does it
But it's true, they say
"He's the master of going faster"

A versão de George Harrison:

1915 – Supertramp – Goodbye stranger (1979)

Escrita por Rick Davis, foi gravada entre maio e setembro de 1978 e lançada no disco Breakfast in America, o sexto disco da banda, em 16 de março de 1979. Sairia também no compacto que tinha Even in que quietest moments como Lado B, em julho de 1979. Foi produzida por Peter Henderson e Supertramp. A letra é uma visão otimista de um naufrágo. Rick Davies tocou piano eletronico Wurlitzer, orgão Hammond e cantou. Roger Hodgson tocou guitarra e fez harmonias vocais. John Helliwell fez harmonias vocais e assobio. Dougie Thomson tocou baixo e Bob Siebenberg tocou bateria. Chegou ao número 15 do Billboard Hot100, número 57 no Reino Unido, número 6 no Canadá, número 9 na França, número 40 na Nova Zelandia e número 41 na Holanda.

A letra:

It was an early morning yesterday
I was up before the dawn
And I really have enjoyed my stay
But I must be moving on

Like a king without a castle
Like a queen without a throne
I'm an early morning lover
And I must be moving on

Now I believe in what you say
Is the undisputed truth
But I have to have things my own way
To keep me in my youth

Like a ship without an anchor
Like a slave without a chain
Just the thought of those sweet ladies
Sends a shiver through my veins

And I will go on shining
Shining like brand new
I'll never look behind me
My troubles will be few

Goodbye stranger it's been nice
Hope you find your paradise
Tried to see your point of view
Hope your dreams will all come true

Goodbye Mary, goodbye Jane
Will we ever meet again
Feel no sorrow, feel no shame
Come tomorrow, feel no pain

Sweet devotion (Goodby Mary)
It's not for me (Goodbye Jane)
Just give me motion (Will we ever)
To set me free (Meet again)
In the land and the ocean (Feel no sorrow)
Far away (Feel no shame)
It's the life I've chosen (Come tomorrow)
Every day (Feel no pain)
So goodbye Mary (Goodbye, Mary)
So goodbye Jane (Goodbye, Jane)
Will we ever (Will we ever)
Meet again (Meet again)

Now some they do and some they don't
And some you just can't tell
And some they will and some they won't
With some it's just as well

You can laugh at my behaviour
And that'll never bother me
Say the devil is my saviour
But I don't pay no heed

And I will go on shining
Shining like brand new
I'll never look behind me
My troubles will be few

Goodbye, stranger, it's been nice
Hope you find your paradise
Tried to see your point of view
Hope your dreams will all come true

Goodbye Mary, goodbye Jane
Will we ever meet again
Feel no sorrow, feel no shame
Come tomorrow, feel no pain

Sweet devotion (Goodbye, Mary)
It's not for me (Goodbye, Jane)
Just give me motion (Will we ever)
To set me free (Meet again)
In the land and the ocean (Feel no sorrow)
Far away (Feel no shame)
It's the life I've chosen (Come tomorrow)
Every day (Feel no pain)

So now I'm leaving (Goodbye, Mary)
Got to go (Goodbye, Jane)
Hit the road (Will we ever)
I'll say it once again (Meet again)
Oh, yes, I'm leaving (Feel so sorrow)
Got to go (Feel no shame)
Got to go (Come tomorrow)
I'm sorry, I must dash (Feel no pain)

So goodbye Mary (Goodbye, Mary)
So goodbye Jane (Goodbye, Jane)
Will we ever (Will we ever)
Meet again? (Meet again)

Go and believe it

I've got to go

A versão do Supertramp:

A versão de Dave Loss:

A versão de KMR:

1914 – Pink Floyd – Comfortable numb (1979)

 

Escrita por David Gilmour e Roger Waters, foi gravada entre abril e novembro de 1979 e lançada no disco The wall, o décimo primeiro disco da banda. Sairia também em compacto, com Hey you como Lado B, em 23 de junho de 1980. Foi produzida por James Guthrie, Bob Ezrin, David Gilmour e Roger Waters. A letra foi escrita por Roger, baseado em uma experiencia em 1977, que deram tranquilizantes pra ele antes de um show. Foi a última composição em que Gilmour e Waters fizeram juntos. É o número 179 da lista da revista Rolling Stone das 500 greatest songs of all time. O personagem Pink é medicado por um médico pra que possa fazer um show. Roger Waters cantou os versos e tocou baixo. David Gilmour cantou o refrão e fez harmonias vocais, tocou violão, guitarra, baixo, pedal steel guitar e sintetizador. Nick Mason tocou bateria. Richard Wright tocou orgão Hammond. Lee Ritenour tocou violão. A Rádio BBC elegeu-a como a número 4 das músicas pra se levar pra uma ilha deserta. A Guitar World Magazine disse que o solo de Gilmour era o quarto melhor de todos os tempos. A rádio digital Planet Rock disse que o solo de Gilmour foi o melhor solo de todos os tempos. A revista Guitarrist disse que o tom da guitarra de Gilmour era o melhor som de guitarra de todos os tempos.

A letra:

Hello? (Hello? Hello? Hello?)

Is there anybody in there?
Just nod if you can hear me
Is there anyone home?
Come on now
I hear you're feeling down
Well I can ease your pain
Get you on your feet again
Relax
I'll need some information first
Just the basic facts
Can you show me where it hurts?

There is no pain you are receding
A distant ship smoke on the horizon
You are only coming through in waves
Your lips move but I can't hear what you're saying
When I was a child I had a fever
My hands felt just like two balloons
Now I've got that feeling once again
I can't explain you would not understand
This is not how I am
I have become comfortably numb

I have become comfortably numb

Okay (okay, okay, okay)
Just a little pinprick
There'll be no more, ah
But you may feel a little sick
Can you stand up?
I do believe it's working, good
That'll keep you going through the show
Come on it's time to go

There is no pain you are receding
A distant ship, smoke on the horizon
You are only coming through in waves
Your lips move but I can't hear what you're saying
When I was a child
I caught a fleeting glimpse
Out of the corner of my eye
I turned to look but it was gone
I cannot put my finger on it now
The child is grown
The dream is gone
I have become comfortably numb

A versão do Pink Floyd:

A versão do Main Squeeze:

A versão de Miley Cyrus:

1913 – Dire Straits – Where do you think you're going? (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:

Where do you think you're going?
Don't you know it's dark outside?
Where do you think you're going?
I wish they'd care about my pride

Where do you think you're going?
I think you don't know
You got no way of knowing
You got no place you can go

I understand your changes
How long before you reach the door
I know where you think you're going
I know what you came here for

And now I'm sick of joking
You know I like you to be free
Where do you think you're going?
I think you'd better go with me, girl

You say there is no reason
But you still find cause to doubt me
When you ain't with me, girl
You're gonna be without me

Where do you think you're going?
Don't you know it's dark outside?
Where do you think you're going?
I wish they'd care about my pride

And now I'm sick of joking
You know I like you to be free
Where do you think you're going?
I think you'd better go with me, girl

Come on

A versão do Dire Straits:

A versão de José Churruca:

A versão de Yoni Schlesinger: