1963 – J.J. Cale – Thirteen days (1979)

 

Escrita por J.J. Cale, foi gravada em 1979 no Crazy Mama Studios, em Nashville, Tennessee e lançada em agosto de 1979, no disco 5, o quinto da carreira de Cale. Foi produzida por J.J. Cale e Audie Ashworth. É uma canção sobre drogas e que fala dos altos e baixos de ser um músico em turnê. J.J. Cale tocou guitarra e cantou. Christine Lakeland cantou e tocou orgão. Billy Cox tocou baixo. Karl Himmel tocou bateria.

A letra:

Thirteen days on a gig down South
But we had enough dope to keep us all around
We had two girls dancin' to bring in a crowd
A sound man to mix us, make us sound loud

Sometimes we make money, sometimes I don't know
Thirteen days with five to go

Birmingham, Mobile, and up to Baton Rouge
We're smokin' cigarettes and reefer, drinkin' coffee and booze
We see the sun go down in Georgia, come up in New Orleans
Now we got to know a waitress, I tried to get in her jeans

Sometimes we make money, sometimes I don't know
Thirteen days with five to go

Migrant worker is the name of this band
Well, they come to your town, come and see us if you can
Yeah, we've been to California, we been to New York
Some think we're good, to others it's a joke

Sometimes we make money, sometimes I don't know
Thirteen days with five to go
Yeah, thirteen days with five to go

Thirteen days with five to go
Thirteen days with five to go

A versão de J.J. Cale:

A versão Tom Petty and The Heartbreakers:

1962 – Pink Floyd – Nobody home (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 da banda. Foi produzida por Roger Waters, David Gilmour, Bob Ezrin e James Guthrie. Waters pegou um briga com a banda e foi pra casa. No outro dia apareceu com essa música, que David Gilmour chama de fantástica. O personagem Pink descreve sua vida solitária, de isolamento, por trás do muro mental que ele criou. Ele não tem ninguém pra conversar, somente seus objetos. Rogers disse que foi isso que ele sentiu na turnê de 1977 da banda, a primeira da banda em estádios lotados. A canção faz referencias à Syd Barrett. Foi a última canção a ser escrita pro disco. Gilmour diz que é uma de suas favoritas do disco. A letra: "I got nicotine stains on my fingers, I got a silver spoon on a chain. Got a grand piano to prop up my mortal remains" foi escrita pra Richard Wright, que lutava na época pra se livrar do vício da cocaína. David Gilmour tocou baixo. Roger Waters cantou e tocou EMS VCS3. Richard Wright tocou sintetizador. Bob Ezrin tocou piano. Também participou da gravação a New York Symphony Orchestra.

A letra:

"But there's somebody else that needs taking care of in Washington..."
"Who's that?"
"Rose Pilchitt!"
"Rose Pilchitt? Who's that?"
(Shut up!)
"36-24-36. Does that answer your question?"
(Oi! I've got a little black book with me poems in!)
"Who's she?"
"She was 'Miss Armoured Division' in 1961."

I've got a little black book with my poems in
Got a bag with a toothbrush and a comb in
When I'm a good dog they sometimes throw me a bone in

I got elastic bands keeping my shoes on
Got those swollen hand blues
I've got thirteen channels of shit on the T.V. to choose from

I've got electric light
And I've got second sight
I've got amazing powers of observation

And that is how I know
When I try to get through
On the telephone to you
There'll be nobody home

I've got the obligatory Hendrix perm
And the inevitable pinhole burns
All down the front of my favourite satin shirt

I've got nicotine stains on my fingers
I've got a silver spoon on a chain
I've got a grand piano to prop up my mortal remains

I've got wild staring eyes
And I've got a strong urge to fly
But I've got nowhere to fly to

Ooh, babe, when I pick up the phone
("Surprise, surprise, surprise")
There's still nobody home

I've got a pair of Gohil's boots
But I've got fading roots

A versão do Pink Floyd:

1961 – Tom Petty and The Heartbreakers – Here comes my girl (1979)

 

Escrita por Tom Petty e Mike Campbell, foi gravada em 1979 e lançada em 19 de outubro de 1979, no disco Damn the torpedoes, o terceiro de Tom Petty and The Heartbreakers. Sairia também em compacto, com Louisiana rain como Lado B, em 7 de abril de 1980. Foi produzida por Tom Petty e Jimmy Iovine. Chegou ao número 59 do Billboard Hot100, número 41 na Nova Zelandia e número 82 no Canadá. Petty disse que o refrão foi inspirado no som dos Byrds. Tom Petty cantou e tocou guitarra base. Mike Campbell tocou guitarra solo. Ron Blair tocou baixo. Stan Lynch tocou bateria e fez backing vocals. Benmont Tench tocou piano e orgão.

A letra:

You know sometimes, I don't know why
But this old town just seems so hopeless
I ain't really sure but it seems
I remember the good times
Were just a little bit more in focus

But when she puts her arms around me
I can somehow rise above it
Yeah, man when I got that little girl
Standing right by my side
You know, I can tell the whole wide world
To shove it, hey

Here comes my girl
Here comes my girl
Yeah, and she looks so right
She is all I need tonight

Every now and then I get down to the end of the day
I'll just stop, ask myself
Why I've done it?
It just seems so useless to have to work so hard
And nothing ever really seem to come from it

And then she looks me in the eye and says
"We're gonna last forever and ever"
And you know I can't begin to doubt it
No, 'cause it just feels so good and so free and so right
I know we ain't never going to change our minds about it, hey

Here comes my girl
Here comes my girl
Yeah, and she looks so right
She is all I need tonight

Watch her walk

Yeah every time, it seems like there ain't nothing left no more
I find myself having to reach out and grab hold of something
Yeah, I just catch myself wondering, and waiting, and worrying
About some silly little thing that don't add up to nothing

And then she looks me in the eye, and says
"We're gonna last forever and ever"
And you know I can't begin to doubt it
No, 'cause it just feels so good and so free and so right
I know we ain't never gonna change our minds about it, hey

Here comes my girl
Here comes my girl
Yeah, and she looks so right
She is all I need tonight

That's right
That's right

A versão de Tom Petty and The heartbreakers:

1960 – Paul McCartney – Arrow through me (1979)

 

Escrita por Paul McCartney, foi gravada entre 12 e 17 de julho de 1978 e lançada em 8 de junho de 1979 no sétimo e último disco dos Wings, chamado Back to the egg. Sairia também em compacto em 14 de agosto de 1979, com Old Siam, Sir como Lado B. Foi produzida por Paul McCartney e Chris Thomas. Chegou ao número 29 no Billboard Hot100 e número 6 no Canadá. Paul cantou, tocou baixo, piano elétrico e clavinet. Steve Holley tocou bateria e flexatone. Howie Casey, Tony Dorsey, Steve Howard e Thaddeus Richard tocaram os sopros.

A letra:

Ooh, baby, you couldn't have done a worse thing to me
If you'da taken an arrow and run it right through me, ooh
Ooh baby, a bird in the hand is worth two flyin'
But when it came to love, I'd knew you'd be lyin'

It could have been a finer thing
Would have been a major attraction
With no other thing
Offering a note of distraction
Come on, get up, get under way and bring your love

Ooh baby, you wouldn't have found a more down hero
If you'da started at nothing and counted to zero

Ooh baby, you couldn't have done a worse thing to me
If you'da taken an arrow and run it right through me

It could have been a finer thing
Flying in a righter direction
With no other thing
Featuring my love and affection
Come on, get up, get under way and bring your love
Ooh baby, you wouldn't have found a more down hero
If you'da started at nothing and counted to zero

A versão de Paul McCartney and Wings:

A versão de Madison Cunningham:

A versão de Boogie Monster:

1959 – Leonard Cohen – The Window (1979)

Escrita por Leonard Cohen, foi gravada entre abril e maio de 1979 e lançada no disco Recent songs, o sexto disco de Leonard. Foi produzida por Leonard Cohen e Henry Lewy. Leonard se inspirou em um texto chinês do século 12 chamado Ten bulls, que ele conheceu através de Joshu Sasaki. Tem também o uso de uma banda de Mariachi. Foi regravada por Emmylou Harris, entre outros artistas. Leonard cantou e tocou violão. Mitch Watkins, Ricardo Gonzalez e Filipe Peres tocaram guitarra. Everado Sandoval tocou “guitarrón”. Abraham Laboriel tocou baixo. John Lissaeur tocou piano. Garth Hudson tocou acordeon. Bill Ginn tocou piano elétrico. Steve Meador tocou bateria.

A letra:

Why do you stand by the window
Abandoned to beauty and pride
The thorn of the night in your bosom
The spear of the age in your side
Lost in the rages of fragrance
Lost in the rags of remorse
Lost in the waves of a sickness
That loosens the high silver nerves

Oh chosen love, Oh frozen love
Oh tangle of matter and ghost
Oh darling of angels, demons and saints
And the whole broken-hearted host
Gentle this soul

And come forth from the cloud of unknowing
And kiss the cheek of the moon
The New Jerusalem glowing
Why tarry all night in the ruin
And leave no word of discomfort
And leave no observer to mourn
But climb on your tears and be silent
Like a rose on its ladder of thorns

Oh chosen love, Oh frozen love

Then lay your rose on the fire
The fire give up to the sun
The sun give over to splendour
In the arms of the high holy one
For the holy one dreams of a letter
Dreams of a letter's death
Oh bless thee continuous stutter
Of the word being made into flesh

Oh chosen love, Oh frozen love

Gentle this soul

A versão de Leonard Cohen:

A versão de Patricia O'Callaghan:

1958 – George Harrison – Soft-hearted Hana (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 da carreira de George. Foi produzida por George Harrison e Rus Titelman. Fala das experiencias de George com chás de cogumelo, enquanto estava de férias no Hawaii. Hana é uma cidade em Maui. É tocada em um ragtime da década de 1920, chamada Hard Hearted Hannah. O dobro é o instrumento principal da canção. George foi quem tocou. George dedicou a canção à Bob Longui, que era o dono do restaurante Longhi's, em Lahaina, no lado oposto de Hana, em Mauí. George cantou, tocou violão, dobro e fez backing vocals. Neil Larsen tocou piano. Willie Weeks tocou baixo. Andy Newmark tocou bateria. Steve Winwood fez backing vocals.

A letra:

I ate it and at once my eyes could see you
No sooner had I ooped it down
I felt so far off from the ground I stood on.

My legs they seemed to me like high-rise buildings
My head was high up in the sky
My skin the sun began to fry like bacon.

And then somebody old appeared and asked had I come far . . .
And hadn't they just seen me up on Haleakala . . .
I kept on body surfing to pretend I hadn't heard
There was someone there beside me, swimming like Richard III
And I'm still smiling

Seven naked native girls swam seven sacred pools . . .
Lone-ranger smoking doobies said you're breaking all the rules . . .
You'd better get your clothes on or else there'll be a row . . .
If it wasn't for my sunstroke I would take you on right now . . .
And I'm still smiling.

I fell in love with my Soft-Hearted Hana
She entered right in through my heart
And now although we're miles apart
I still feel her.

She lives beneath the crater in the meadow
She moves among the fruit and grain
You can meet her after heavy rain has fallen.

A versão de George Harrison:

1957 – Supertramp – Just another nervous wreck (1979)

 

Escrita por Rick Davies, foi gravada entre maio e dezembro de 1978 e lançada no disco Breakfast in America, o sexto disco da banda. Foi produzida por Supertramp e Peter Henderson. Rick Davies cantou e tocou teclado. Roger Hodgson cantou, tocou teclado e guitarra. John Helliwel tocou sax, cantou e tocou woodwinds. Bob Siebenberg tocou bateria. Dougie Thomson tocou baixo. Slyde Hyde tocou tuba e trombone. É a canção que fecha o disco. Assim como em Logical song, o piano elétrico Wurlitzer é o instrumento principal da canção. Depois da parte da letra, a canção vai pra um longo solo, tocado por um grande piano, ao lado do Wurlitzer. Acaba com um solo de sax curto, feito por John Helliwell. Roger disse que a canção foi escrita com pensamento similar à Gone Hollywood, que olha pra maneira de viver dos americanos.

A letra:

I'm feeling so alone now
They cut the telephone, uh, huh
Yeah, my life is just a mess

I threw it all away now
I could have made a fortune
I lost the craving for success

And as the acrobats, they tumble
And so the corn begins to crumble
While in the mirror
She admires a brand new dress

Live on the second floor now
They're trying to bust the door down
Soon I'll have a new address

So much for liberation
They'll have a celebration
Yeah, I've been under too much stress

And as the clouds begin to rumble
So the juggler makes his fumble
And the sun upon my wall is getting less

Don't, give a damn
Fight, while you can
Kill, shoot 'em up
They'll, they'll run amok
Shout, Judas
Loud, they'll hear us
Soldier, sailor
Who's your jailer?
They'll run for cover when they discover
Everyone's a nervous wreck now

I used to think she was so nimble
I would have bought her as a symbol
But now I can't afford the pen
To sign her checks

I Don't give a damn
Fight, while you can
Kill, shoot 'em up
They'll, yeah, they'll run amok
Shout, Judas
Loud, they'll hear us
Soldier, sailor
Who's your jailer?
They'll run for cover when they discover
Everyone's a nervous wreck now

Life's just a bummer, they got your number
Well, give as good as we get now
Rise from the gutter, stick with each other
We'll drive 'em over the edge now
They're gonna bleed, that's what they need
We'll get together and blow their cover
We're ready (yeah, we're ready)
Yeah, we're ready (yeah, we're ready)
Yeah, we're ready, yeah, yeah, yeah, yeah (yeah, we're ready)
Oh, we're ready, ready (yeah, we're ready)
Ah, we're ready, yeah (yeah, we're ready)

(Yeah, we're ready)
(Yeah, we're ready)
(Yeah, we're ready)
(Yeah, we're ready)
(Yeah, we're ready)
(Yeah, we're ready now)

A versão do Supertramp:

1956 – Pink Floyd – One of my turns (1979)

 

Escrita por Roger Waters, foi gravada entre abril e setembro de 1979 e lançada em 23 de novembro de 1979, no compacto que tinha Another brick in the wall Part 2 como Lado A. Saiu também no disco The wall, o décimo primeiro do Pink Floyd, em 30 de novembro de 1979. Foi produzida por Roger Waters, Bob Ezrin e David Gilmour. Começa com uma fã, interpretada pela atriz canadense Trudy Young, falando do local onde eles estão. A história da canção é que Pink, o roqueiro alienado, chama a fã pro seu quarto, depois que descobriu que foi traído por sua esposa. A fã fica tentando chamar a atenção de Pink, mas ele a ignora, pensando na esposa que o traiu. Ele começa cantando normalmente, depois a canção explode em um violento rock, e ele quebra o quarto todo e a fã corre com medo. No fim ele não sabe porque ela foi embora e pergunta: why are you running away? Roger Waters cantou e tocou baixo. David Gilmour tocou guitarra solo. Richard Wright tocou orgão e sintetizador. Nick Mason tocou bateria e percussão. Bob Ezrin tocou piano. Lee Ritenour tocou guitarra base e wah-wah pedal. Trudy Young fez a voz da fã.

A letra:

"Oh my God! What a fabulous room! Are all these your guitars?"
[Film in background:]
("I'm sorry sir, I didn't mean to startle you!")
"God! This place is bigger than our apartment!"
("Let me know when you're entering a room.")
("Yes, sir!")
"Uh, can I get a drink of water?"
("I was wondering about dinner, sir.)
"You want some, huh?"
("Yes?")
("When do you and your guests want to dine? I have to inform the kitchen staff.")
"Oh wow, look at this tub? Wanna take a bath?"
("Yes, I'm aware of your duties, Dobbs.")
("Yes, sir.")
(I'll have to find out from Mrs. Bancroft what time she wants to eat. As for her maid, needless to say, she can have her meal with the kitchen help.)
"What are you watching?"
("Very good, sir. If you'll just let me know as soon as you can when you and Mrs Bancroft want to eat.")
("Mrs. Bancroft will be dining alone.")
"Hello?"
("Why? I don't understand, sir.")
("I won't be staying for dinner.")
"Are you feeling OK?..."
("I'm surprised to hear that, sir, since you just arrived.")
("Yes, I'm a little surprised about it myself.")

Day after day, love turns grey
Like the skin of a dying man
And night after night, we pretend it's all right
But I have grown older and
You have grown colder
And nothing is very much fun any more
And I can feel one of my turns coming on
I feel cold as a razor blade
Tight as a tourniquet
Dry as a funeral drum

Run to the bedroom
In the suitcase on the left
You'll find my favourite axe
Don't look so frightened
This is just a passing phase
One of my bad days
Would you like to watch T.V.?
Or get between the sheets?
Or contemplate the silent freeway?
Would you like something to eat?
Would you like to learn to fly?
Would you?
Would you like to see me try?

Ah, no!

Would you like to call the cops?
Do you think it's time I stopped?
Why are you running away?

A versão do Pink Floyd:

1955 – Tom Petty and The Heartbreakers – Refugee (1979)

 

Escrita por Tom Petty e Mark Campbell, foi gravada em 1979 e lançada no disco Damn the torpedoes, o terceiro de Tom Petty and The Heartbreakers, em 19 de outubro de 1979. Sairia também em compacto, com It's rainin' again como Lado B. Foi produzida por Jimmy Iovine e Tom Petty. Chegou ao número 15 do Billboard HOT 100, número 2 no Canadá, número 3 na Nova Zelandia, número 23 na Bélgica e número 24 na Austrália e Holanda. Foi regravada por Melissa Etheridge, entre outros artistas. Tom Petty cantou e tocou guitarra base. Mike Campbell tocou guitarra base. Ron Blair tocou baixo. Stan Lynch tocou bateria e fez backing vocals. Jim Keltner tocou shaker.

A letra:

We did somethin' we both know it
We don't talk too much about it
Ain't no real big secret all the same
Somehow we get around it
Listen it don't really matter to me, baby
You believe what you want to believe
You see, you don't have to live like a refugee (don't have to live like a refugee)

Somewhere, somehow, somebody
Must have kicked you around some
Tell me why you want to lay there
Revel in your abandon
Honey, it don't make no difference to me, baby
Everybody's had to fight to be free
You see, you don't have to live like a refugee (don't have to live like a refugee)
Now baby, you don't have to live like a refugee (don't have to live like a refugee) No

Baby we ain't the first
I'm sure a lot of other lovers been burned
Right now this seems real to you
But it's one of those things
You gotta feel to be true

Somewhere, somehow, somebody
Must have kicked you around some
Who knows, maybe you were kidnapped
Tied up, taken away and held for ransom, honey
It don't really matter to me, baby
Everybody's had to fight to be free
You see, you don't have to live like a refugee (don't have to live like a refugee)
No, you don't have to live like a refugee (don't have to live like a refugee)
You don't have to live like a refugee (don't have to live like a refugee)
Oh, oh, oh

A versão de Tom Petty and The Heartbreakers:

A versão de Lexington Lab Band:

A versão de Melissa Etheridge:

1954 – Paul McCartney – Old Siam, sir (1979)

 

Escrita por Paul McCartney, foi gravada em 23 de julho de 1978 e lançada em 1 de junho de 1979, em um compacto que tinha Spin it on como Lado B. Saiu também em 8 de junho no disco Back to egg, o sétimo e último disco que saiu com o nome dos Wings. Foi produzida por Paul McCartney e Chris Thomas. Chegou ao número 35 no Reino Unido e número 29 na Irlanda. A sequencia de acordes da parte instrumental foi criada por Steve Holley. Paul cantou, tocou baixo e guitarra. Linda tocou teclado. Denny laine tocou guitarra. Laurence Juber tocou guitarra. Steve Holley tocou bateria.

A letra:

In a village in Old Siam, sir
Lived a lady who lost her way
In an effort to find a man, sir
She found herself in the old UK

She waited 'round in Walthamstow
She scouted 'round in Scarborough
She waited 'round in Walthamstow
She scouted 'round in Scarborough

In the village in old East End, sir
She met a fellow who made her reel
Took her rushes to show his mam, sir
Met his dad at the wedding meal

In a letter from old siam, sir
Came a terrible tale of woe
She decided the only answer
Was to get up a pile of dough

She waited 'round in Walthamstow
She scouted 'round in Scarborough
She waited 'round in Walthamstow
She scouted 'round in Scarborough

When a relative told her man, sir
He directed her not to stay
In a village in Old Siam, sir
Lives a lady who lost her way

In a village in Old Siam, sir
Lived a lady who lost her way
In an effort to find a man, sir
She found herself in the old UK

She waited 'round in Walthamstow
She scouted 'round in Scarborough
She waited 'round in Walthamstow
She scouted 'round in Scarborough

In a village in Old Siam, sir
Lived a lady who lost her way
In an effort to find a man, sir
She found herself in the old UK

A versão de Paul McCartney and Wings:

1953 – Leonard Cohen – Ballad of the absent mare (1979)

 

Escrita por Leonard Cohen, foi gravada entre abril e maio de 1979 e lançada no disco Recent songs, o sexto disco de Leonard. Foi produzida por Leonard Cohen e Henry Lewy. Leonard se inspirou em um texto chinês do século 12 chamado Ten bulls, que ele conheceu através de Joshu Sasaki. Tem também o uso de uma banda de Mariachi. Foi regravada por Emmylou Harris, entre outros artistas. Leonard cantou e tocou violão. Mitch Watkins, Ricardo Gonzalez e Filipe Peres tocaram guitarra. Everado Sandoval tocou “guitarrón”. Abraham Laboriel tocou baixo. John Lissaeur tocou piano. Garth Hudson tocou acordeon. Bill Ginn tocou piano elétrico. Steve Meador tocou bateria.

A letra:

Say a prayer for the cowboy
His mare's run away
And he'll walk til he finds her
His darling, his stray
But the river's in flood
And the roads are awash
And the bridges break up
In the panic of loss.

And there's nothing to follow
There's nowhere to go
She's gone like the summer
Gone like the snow
And the crickets are breaking
His heart with their song
As the day caves in
And the night is all wrong

Did he dream, was it she
Who went galloping past
And bent down the fern
Broke open the grass
And printed the mud with
The iron and the gold
That he nailed to her feet
When he was the lord

And although she goes grazing
A minute away
He tracks her all night
He tracks her all day
Oh blind to her presence
Except to compare
His injury here
With her punishment there

Then at home on a branch
In the highest tree
A songbird sings out
So suddenly
Ah the sun is warm
And the soft winds ride
On the willow trees
By the river side

Oh the world is sweet
The world is wide
And she's there where
The light and the darkness divide
And the steam's coming off her
She's huge and she's shy
And she steps on the moon
When she paws at the sky

And she comes to his hand
But she's not really tame
She longs to be lost
He longs for the same
And she'll bolt and she'll plunge
Through the first open pass
To roll and to feed
In the sweet mountain grass

Or she'll make a break
For the high plateau
Where there's nothing above
And there's nothing below
And it's time for the burden
It's time for the whip
Will she walk through the flame
Can he shoot from the hip

So he binds himself
To the galloping mare
And she binds herself
To the rider there
And there is no space
But there's left and right
And there is no time
But there's day and night

And he leans on her neck
And he whispers low
"Whither thou goest
I will go"
And they turn as one
And they head for the plain
No need for the whip
Ah, no need for the rein

Now the clasp of this union
Who fastens it tight?
Who snaps it asunder
The very next night
Some say the rider
Some say the mare
Or that love's like the smoke
Beyond all repair

But my darling says
"Leonard, just let it go by
That old silhouette
On the great western sky"
So I pick out a tune
And they move right along
And they're gone like the smoke
And they're gone like this song

A versão de Leonard Cohen:

1952 – George Harrison – Soft touch (1979)

Escrita por George Harrison, foi gravada entre abril e outubro de 1978 e lançada no disco George Harrison, o oitavo disco dele, em 14 de fevereiro de 1978. Foi produzida por George Harrison e Russ Titelman. Foi escrita nas Ilhas Virgens, em uma viagem com a futura esposa Olivia Arias, depois da gravação do disco Thirty three and 1/3 em 1976. Soft touch era o apelido que Jim Keltner deu a George, pela sua personalidade generosa com seus amigos e músicos. A melodia dessa música é inspirada na melodia de sopros que tinha na música Run of the mill, dele de 1970. George cantou, tocou violão, guitarra, slide guitar e fez backing vocals. Steve Winwood tocou sintetizador. Neil Larsen tocou orgão. Willie Weeks tocou baixo. Andy Newmark tocou bateria. Ray Cooper tocou congas.

A letra:

You're a soft touch baby
Like a snowflake falling
My whole heart is melting

As a warm sun rises
Into joy, I'm sailing
To your soft touch baby

Eyes that shine from depths of your soul
Fixed by their charm, take my control
Love so sweet as the ocean is wide
Caught by your waves and drawn to your side

As a cool wind blows me
All the treetops whisper
To your soft touch baby

As a new moon rises
Those ideas of Heaven
Fall in your soft touch, baby

Eyes that shine from depths of your soul
Fixed by their charm, take my control
Love so sweet as the ocean is wide
Caught by your waves and drawn to your side

You're a soft touch baby
Like a snowflake falling
My whole heart is melting

As a warm sun rises
Into joy I'm sailing
To your soft touch baby

You're a soft touch baby
Yes, I love that soft touch
Hmm, that soft touch

You're a soft touch baby
Yes, I love that soft touch

A versão de George Harrison:

1951 – Supertramp – Child of vision (1979)

 

Escrita por Roger Hogson, foi gravada entre maio e dezembro de 1978 e lançada no disco Breakfast in America, o sexto disco da banda. Foi produzida por Supertramp e Peter Henderson. Rick Davies cantou e tocou teclado. Roger Hodgson cantou, tocou teclado e guitarra. John Helliwel tocou sax, cantou e tocou woodwinds. Bob Siebenberg tocou bateria. Dougie Thomson tocou baixo. Slyde Hyde tocou tuba e trombone. É a canção que fecha o disco. Assim como em Logical song, o piano elétrico Wurlitzer é o instrumento principal da canção. Depois da parte da letra, a canção vai pra um longo solo, tocado por um grande piano, ao lado do Wurlitzer. Acaba com um solo de sax curto, feito por John Helliwell. Roger disse que a canção foi escrita com pensamento similar à Gone Hollywood, que olha pra maneira de viver dos americanos.

A letra:

Well, who do you think you're foolin'?
You say you're havin fun
But you're busy going nowhere
Just lyin' in the sun

You tried to be a hero
Commit the perfect crime
But the dollar got you dancing
And you're running out of time

And you're messin' up the water
And you're rollin' in the wine
And you're poisoning your body
And you're poisoning your mind

And you gave me Coca-Cola
'Cause you said it tasted good
And you watch the television
'Cause it tells you that you should

Ooh, how can you live in this way?
(Why do you think it's so strange?)
You must have something to say?
(Tell me why should I change?)
There must be more than this life
It's time we did something right
I said

Child of vision
Won't you listen?
Find yourself a new ambition

I've heard it all before
You're saying nothing new
I thought I saw a rainbow
But I guess it wasn't true

And you cannot make me listen
And I cannot make you hear
So you'll find your way to heaven
I'll meet you when you're there

How can you live in this way?
(Why do you think it's so strange?)
You must have something to say?
(You tell me why should I change?)
We have no reason to fight
'Cause we both know that we're right
I said

Child of vision
Won't you listen?
Find yourself a new ambition

A versão do Supertramp:

1950 – Pink Floyd – Goodbye blue sky (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. Num breve prólogo, se ouve um skylark cantando. O som das bombas se aproximando chama a atenção de uma criança. Quem falou na gravação foi o filho de Roger Waters, Harry Waters. Ele diz: "Look mummy, there's an aeroplane up in the sky". A letra descreve a memória da blitz: “Did you see the frightened ones? Did you hear the falling bombs? Did you ever wonder why we had to run for shelter when the promise of a brave new world unfurled beneath a clear blue sky? ... The flames are all long gone, but the pain lingers on”. David Gilmour canta e faz harmonias vocais, toca violão, baixo e sintetizador. Roger Waters toca sintetizador. Richard Wright toca sintetizador. Harry Waters faz a voz da criança. Foi regravada pelo Yes, entre outros artistas.

A letra:

Look, Mummy. There's an airplane up in the sky

Did, did, did, did you see the frightened ones?
Did, did, did, did you hear the falling bombs?
Did, did, did, did you ever wonder
Why we had to run for shelter
When the promise of a brave new world
Unfurled beneath a clear blue sky?

Did, did, did, did you see the frightened ones?
Did, did, did, did you hear the falling bombs?
The flames are all long gone
But the pain lingers on

Goodbye blue sky
Goodbye blue sky
Goodbye
Goodbye

The Eleven Fifteen from Newcastle is now approaching

The Elven eighteen arrival

A versão do Pink Floyd:

A versão do Heart:

A versão do Yes:

1949 – Dire Straits – Single handed sailor (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:

Two in the morning, dry-dock town
The river roll away in the night
Little gypsy moth, she's all tied down
She quiver in the wind and the light

Yeah, and the sailing ship just held down in chains
From the lazy days of sail
She's just a lying there, silent in pain
He lean on the tourist rail

A mother and her baby and the college of war
In the concrete graves
You never wanna fight against the river law
Nobody rules the waves

Yeah, and on a night when the lazy wind is a-wailing
Around the Cutty Sark
The single-handed sailor goes sailing
Sailing away in the dark

He's up on the bridge on the self-same night
The mariner of dry dock land
Two in the morning but there's one green light
And a man on a barge of sand

She's a gonna slip away below him
Away from things he's done
But he just shouts, "Hey man, what you call this thing?"
He could have said "Pride of London"

On a night when the lazy wind is a-wailing
Around the Cutty Sark
Yeah, the single-handed sailor goes sailing
Sailing away in the dark

A versão do Dire Straits:

A versão de José Churruca: