Escrita por
Gary Brooker and Keith Reid, foi lançada pelo Procol Harum em 22 de
setembro de 1967, no compacto que tinha Good captain Clack como Lado
B.
Foi o
compacto que veio logo após o hit gigante deles, A whiter shade of
pale. Homburg chegou ao número 6 nos charts britânicos, número 15
no Canadá e número 34 nos Estados Unidos. Foi número 1 em vários
países, incluindo Austrália, África do Sul e Holanda. Uma versão
em italiano chegou ao número da Itália e ficou nessa posição por
10 semanas.
A letra:
Your multilingual business friend has
packed her bags and fled Leaving only ash-filled ashtrays and
the lipsticked unmade bed The mirror on reflection has climbed
back upon the wall for the floor she found descended and the
ceiling was too tall Your trouser cuffs are dirty and your
shoes are laced up wrong you'd better take off your homburg 'cos
your overcoat is too long The town clock in the market
square stands waiting for the hour when its hands they both
turn backwards and on meeting will devour both themselves and
also any fool who dares to tell the time And the sun and moon
will shatter and the signposts cease to sign
Escrita por
John Phillips and Michelle Phillips, foi lançada pelos The Mamas and
The Papas em abril de 1967, em um compacto que tinha Did you ever
want to cry como Lado B.
É uma
canção autobiográfica, que conta como o grupo foi formado, anos
antes. Chegou ao número 5 dos charts pop americanos, número 9 no
Reino Unido e número 4 no Canadá.
O nome se
deu ao nome de um e nas Ilhas Virgens, aonde alguns membros do grupo
passavam suas férias.
A letra:
John and
Mitchie were gettin' kind of itchy Just to leave the folk music
behind; Zal and Denny workin' for a penny Tryin' to get a fish
on the line. In a coffee house Sebastian sat, And after every
number they'd pass the hat. McGuinn and McGuire just a-gettin'
higher in L.A., You know where that's at. And no one's gettin'
fat except Mama Cass. Zallie said, "Denny, you know there
aren't many Who can sing a song the way that you do; let's go
south." Denny said, Zallie, golly, don't you think that I
wish I could play guitar like you." Zal, Denny, and
Sebastian sat (at the Night Owl) And after every number they'd
pass the hat. McGuinn and McGuire still a-gettin higher in
L.A., You know where that's at. And no one's gettin' fat except
Mama Cass.
When Cass was a sophomore, planned to go to
Swathmore But she changed her mind one day. Standin' on the
turnpike, thumb out to hitchhike, "Take me to New York right
away." When Denny met Cass he gave her love bumps; Called
John and Zal and that was the Mugwumps. McGuinn and McGuire
couldn't get no higher But that's what they were aimin' at. And
no one's gettin' fat except Mama Cass.
Mugwumps, high jumps,
low slumps, big bumps - Don't you work as hard as you play. Make
up, break up, everything is shake up; Guess it had to be that
way. Sebastian and Zal formed the 'Spoonful; Michelle, John,
and Denny gettin' very tuneful. McGuinn and McGuire just
a-catchin' fire in L.A., You know where that's at. And
everybody's gettin' fat except Mama Cass.
Broke, busted,
disgusted, agents can't be trusted, And Mitchie wants to go to the
sea. Cass can't make it; she says we'll have to fake it - We
knew she'd come eventually. Greasin' on American Express
cards; Tents low rent, but keeping out the heat's hard. Duffy's
good vibrations and our imaginations Can't go on indefinitely. And
California dreamin' is becomin' a reality...
Escrita por
Gsry Beisber e Jim Holvay, foi lançada pelos Buckinghams em março
de 1967, em um compacto que tinha Why don't you love me como Lado B.
Chegou ao
número 6 nos Estados Unidos e número 4 no Canadá.
A letra:
If you don't love me Why don't you tell
me Instead of running around With all the other guys in
town Can't you see You're hurting me Don't you care Don't
you care
If you don't want me Why don't you tell me Instead of
telling lies And making me cry Can't you see You're hurting
me Don't you care Don't you care
Whatever happened To all the good times we used to have The
times we cried and laughed I want to know, I want to know Will
you ever love me again Or will I find out that this is the
end Don't you care My my my my baby
You said that you'd believe me Then why'd you ever leave me I'm
standing here all alone Without a girl of my own Can't you
see You're hurting me Don't you care Don't you care
Don't you care Don't you care Don't
you care Don't you care Don't you care Don't you care
Escrita
por Allan Clarke, Graham Nash e Tony Hicks, foi gravada em 1 de maio
de 1967, no estúdio Abbey Road, em Londres e lançada em 26 de maio
de 1967, no compacto que tinha Signs that will never change como Lado
B. Foi produzida por Ron Richards. Chegou ao número 9 no Billboard
Hot100. Chegou ao número 3 no Reino Unido, número 4 na Holanda e
Irlanda, número 7 na Noruega e Australia, número 8 na Alemanha
Ocidental e número 9 no Canadá. Foi feita durante uma turnê com
Tom Jones e as harmonias vocais se assemelham muito com as dos Beach
Boys. Tem um solo de Steelpan e foi a primeira vez que o instrumento
foi gravado em uma música pop. Foi tocado por um rapaz de Trinidad y
Tobago chamado Ralph Richardson. Foi um tributo à Marianne
Faithfull.
When
we were at school, our games were simple I played a janitor, you
played a monitor Then you played with older boys and
prefects What's the attraction in what they're doing?
Hey,
Carrie Anne, what's your game now? Can anybody play? Hey,
Carrie Anne, what's your game now? Can anybody play?
You
were always something special to me Quite independent, never
caring You lost your charm as you were aging Where is your
magic disappearing?
Hey,
Carrie Anne, what's your game now? Can anybody play? Hey,
Carrie Anne, what's your game now? Can anybody play?
You're
so, so like a woman to me (So like a woman to me) So, so like
a woman to me (Like a woman to me)
Hey,
Carrie Anne, what's your game now? Can anybody play? Hey,
Carrie Anne, what's your game now? Can anybody play?
People
live and learn but you're still learning You use my mind and I'll
be your teacher When the lesson's over, you'll be with me Then
I'll hear the other people saying
Hey,
Carrie Anne, what's your game now? Can anybody play? Hey,
Carrie Anne, what's your game now? Can anybody play?
Escrita por Leonard
Cohen, foi gravada em outubro e novembro de 1967, nos estúdios da
Columbia, em New York City e lançada em 27 de dezembro de 1967, no
disco Songs of Leonard Cohen.
Master song foi escrita
num banco de pedra, que tem situado entre as ruas Guy e Burnside.
I believe that you heard your master
sing when I was sick in bed. I suppose that he told you
everything that I keep locked away in my head. Your master
took you travelling, well at least that's what you said. And
now do you come back to bring your prisoner wine and bread? You
met him at some temple, where they take your clothes at the door.
He was just a numberless man in a chair who'd just come back
from the war. And you wrap up his tired face in your hair and
he hands you the apple core. Then he touches your lips now so
suddenly bare of all the kisses we put on some time before.
And he gave you a German Shepherd to
walk with a collar of leather and nails, and he never once
made you explain or talk about all of the little details, such
as who had a word and who had a rock, and who had you through the
mails. Now your love is a secret all over the block, and it
never stops not even when your master fails.
And he took you up in his aeroplane,
which he flew without any hands, and you cruised above the
ribbons of rain that drove the crowd from the stands. Then he
killed the lights in a lonely Lane and, an ape with angel glands,
erased the final wisps of pain with the music of rubber
bands.
And now I hear your master sing, you
kneel for him to come. His body is a golden string that your
body is hanging from. His body is a golden string, my body
has grown numb. Oh now you hear your master sing, your shirt
is all undone.
And will you kneel beside this bed
that we polished so long ago, before your master chose
instead to make my bed of snow? Your eyes are wild and your
knuckles are red and you're speaking far too low. No I can't
make out what your master said before he made you go.
Then I think you're playing far too
rough for a lady who's been to the moon; I've lain by this
window long enough to get used to an empty room. And your
love is some dust in an old man's cough who is tapping his foot
to a tune, and your thighs are a ruin, you want too much, let's
say you came back some time too soon.
I loved your master perfectly I
taught him all that he knew. He was starving in some deep mystery
like a man who is sure what is true. And I sent you to him
with my guarantee I could teach him something new, and I
taught him how you would long for me no matter what he said no
matter what you'd do.
I believe that you heard your master
sing while I was sick in bed, I'm sure that he told you
everything I must keep locked away in my head. Your master
took you travelling, well at least that's what you said, And
now do you come back to bring your prisoner wine and bread?
Escrita por Geoff
Stephens e Les Reed, foi gravada em Londres, em 7 de dezembro de
1966, nos estúdios De Lane Lea. Foi lançada em janeiro de 1967 no
compacto que tinha No Milk Today nos Estados Unidos e Gaslight street
no Reino Unido.
Foi gravada em disco
inicialmente pelo New Vaudeville Band, banda de Geoff Stephens. O
primeiro compacto, no entanto, veio com Gary and The Hornets, de
Franklin, Ohio, que se tornou um sucesso regional.
A versão dos Herman's
Hermits, no entanto, chegou ao número 4 dos charts pop americanos e
foi o último hit deles a ser TOP TEN. Venderam mais de um milhão de
cópias nos Estados Unidos. No Reino Unido, eles chegaram ao número
7. Número 5 na Austrália e número 9 na África do Sul.
Foi também regravada
pelos Carpenters em 1976.
A letra:
There's a kind of hush all
over the world tonight All over the world you can hear the sounds
of lovers in love You know what I mean Just the two of us and
nobody else in sight There's nobody else and I'm feelin' good just
holdin' you tight
So listen very carefully Closer now and
you will see what I mean It isn't a dream The only sound that
you will hear Is when I whisper in your ear "I love you
forever and ever"
There's a kind of hush all over the
world tonight All over the world you can hear the sound of lovers
in love La la-la la-la la-la La-la la-la la-la
la-la La-la-la-la-la la-la la-la-la La la-la la-la
So
listen very carefully Closer now and you will see what I mean It
isn't a dream The only sound that you will hear Is when I
whisper in your ear "I love you forever and ever"
There's
a kind of hush all over the world tonight All over the world,
people just like us are falling in love Yeah, they're falling in
love They're falling in love
Escrita por
Jim Morrison, Ray Manzarek, Robby Krieger e John Densmore, foi
gravada entre 19 e 24 de agosto de 1966 e lançada em 4 de janeiro de
1967, no disco chamado The Doors. Foi gravada no Sunset Sound
Studios, em Hollywood, California e produzida por Paul Rothchild.
Jim Morrison
cantou, Ray Manzareck tocou orgao Vox Continental, Robby Krieger
tocou guitarra solo, baixo e John Densmore tocou bateria e percussão.
Larry Knechtel também tocou baixo.
A letra:
Well, the clock
says it's time to close now I guess I'd better go now I'd
really like to stay here all night The cars crawl past all
stuffed with eyes Street lights share their hollow glow Your
brain seems bruised with numb surprise Still one place to go
Still one place to go
Let me sleep all night in your soul
kitchen Warm my mind near your gentle stove Turn me out and
I'll wander baby Stumblin' in the neon groves
Well, your
fingers weave quick minarets Speak in secret alphabets I
light another cigarette Learn to forget, learn to forget Learn
to forget, learn to forget
Let me sleep all night in your
soul kitchen Warm my mind near your gentle stove Turn me out
and I'll wander baby Stumblin' in the neon groves
Well
the clock says it's time to close now I know I have to go now I
really want to stay here All night, all night, all night
Escrita por
Bonnie Dobson, foi lançado inicialmente por ela em 1962, mas a
versão que escolhemos e a que ficou mais famosa, foi do Grateful
Dead, de 1967.
A canção é
um diálogo entre o último homem e a última mulher que ficaram
vivos na terra após uma catástrofe apocaliptica. Foi escrita em
1961 enquanto Dobson estava em Lo Angeles na casa de uma amiga. Todos
falavam sobre o dia seguinte da uma guerra nuclear e ela foi pra cama
e escreveu essa canção. Ela nunca havia escrito nenhuma canção
até aquele momento.
Fred Neil
então gravou-a em 1964. Tim Rose gravou-a então em 1967. A nossa
versão, do Grateful Dead, chegou ao número 17 na Irlanda. Lulu
gravaria sua versão em 1967 também.
Foi
regravada também por Jeff Beck, Duane and Greg Allman, Nazareth,
Robert Plant, entre outros artistas.
A letra:
Walk me out in
the morning dew my honey, Walk me out in the morning dew today. I
can't walk you out in the morning dew my honey, I can't walk you
out in the morning dew today.
I thought I heard a baby cry
this morning, I thought I heard a baby cry this today. You
didn't hear no baby cry this morning, You didn't hear no baby cry
today.
Where have all the people gone my honey, Where have
all the people gone today. There's no need for you to be worrying
about all those people, You never see those people anyway.
I
thought I heard a young man morn this morning, I thought I heard a
young man morn today. I thought I heard a young man morn this
morning, I can't walk you out in the morning dew today.
Walk
me out in the morning dew my honey, Walk me out in the morning dew
today. I'll walk you out in the morning dew my honey, I guess
it doesn't really matter anyway, I guess it doesn't matter
anyway, I guess it doesn't matter anyway, Guess it doesn't
matter anyway.
Escrita por
Billy Edd Wheeler e Jerry Leiber em 1963, foi primeiramente gravada
por Wheeler. A gravação mais famosa no entanto é que a escolhemos,
feita por Johnny Cash e June Carter e lançada em 6 de fevereiro de
1967, num compacto que tinha Pack up your sorrows como Lado B. A
versão de Cash e Carter chegou ao número 2 dos charts country
americanos.
Nancy
Sinatra também gravou-a em 1967, com Lee Hazlewood, chegando ao
número 14 dos charts pop americanos. A canção fala sobre um casal
que descobre que o fogo da relação acabou. Então a canção fala
do desejo dos dois de irem até Jackson, onde esperam que sejam bem
vindos.
Foi também
regravada pelo Kingston Trio, Joaquin Phoenix com Resse Witherspoon,
INXS, entre outros artistas.
A letra:
We got married
in a fever, hotter than a pepper sprout, We've been talkin' 'bout
Jackson, ever since the fire went out. I'm goin' to Jackson, I'm
gonna mess around, Yeah, I'm goin' to Jackson, Look out Jackson
town.
Well, go on down to Jackson; go ahead and wreck your
health. Go play your hand you big-talkin' man, make a big fool of
yourself, You're goin' to Jackson; go comb your hair! Honey,
I'm gonna snowball Jackson. See if I care.
When I breeze
into that city, people gonna stoop and bow. (Hah!) All them women
gonna make me, teach 'em what they don't know how, I'm goin' to
Jackson, you turn-a loose-a my coat. 'Cos I'm goin' to
Jackson. "Goodbye," that's all she wrote.
But
they'll laugh at you in Jackson, and I'll be dancin' on a Pony
Keg. They'll lead you 'round town like a scalded hound, With
your tail tucked between your legs, You're goin' to Jackson, you
big-talkin' man. And I'll be waitin' in Jackson, behind my Jaypan
Fan,
Well now, we got married in a fever, hotter than a pepper
Sprout, We've been talkin' 'bout Jackson, ever since the fire went
out. I'm goin' to Jackson, and that's a fact. Yeah, we're goin'
to Jackson, ain't never comin' back.
Well, we got married in a
fever, hotter than a pepper sprout' And we've been talkin' 'bout
Jackson, ever since the fire went...
Escrita por
Paul Stoockey, James Mason e Dave Dixon, foi lançada por Peter, Paul
and Mary em 1967, em um compacto que tinha The great Mandella (The
wheel of life), como Lado B.
A letra fala
de artistas de rock da época, como The Mamas and The Papas, Donovan
e os Beatles. Chegou ao número 9 dos charts pop americanos.
A letra:
I dig rock and
roll music And I love to get the chance to play (And sing it) I
figure it's about the happiest sound goin' down today The message
may not move me Or mean a great deal to me But hey! It feels so
groovy to say
I dig The Mamas & The Papas at the trip
Sunset Strip in L.A. And they got a good thing goin' when the
words don't get in the way And when they're really
wailing Michelle and Cass are sailin' Hey! They really nail me
to the wall
I dig Donovan in a dream-like, tripped out way His
crystal images, hey, they tell you 'bout a brighter day And when
The Beatles tell you They've got a word "love" to sell
you They mean exactly what they say
I dig rock and roll
music I could really get it on in that scene I think I could
say somethin' if you know what I mean But if I really say it The
radio won't play it Unless I lay it between the lines
Escrita por
Leonard Cohen, foi lançada por Judy Collins em novembro de 1967, no
disco Wildflowers. Mas a versão que escolhemos é a do própio
autor, Leonard Cohen, lançada em dezembro de 1967, no seu disco
Songs of Leonard Cohen.
Leonard
Cohen escreveu essa música enquanto estava hospedado no Penn
Terminal Hotel, em New York City, na 34th street. Ele
disse que estava num quarto muito quente e não podia abrir a janela.
Estava no meio de uma briga com uma mulher loira. A canção foi
escrita em lápis e protegia eles em cada manobra da briga, em
direção à uma vitória incondicional. Ele disse que estava no
quarto errado e com a mulher errada. Esse foi o nascimento dessa
canção.
Foi
regravada também por Roberta Flack, no disco de estréia dela, First
Take e foi regravada também por muitos artistas.
A letra:
I loved you in
the morning, our kisses deep and warm, your hair upon the pillow
like a sleepy golden storm, yes, many loved before us, I know
that we are not new, in city and in forest they smiled like me
and you, but now it's come to distances and both of us must try,
your eyes are soft with sorrow, Hey, that's no way to say
goodbye.
I'm not
looking for another as I wander in my time, walk me to the
corner, our steps will always rhyme you know my love goes with
you as your love stays with me, it's just the way it changes,
like the shoreline and the sea, but let's not talk of love or
chains and things we can't untie, your eyes are soft with sorrow,
Hey, that's no way to say goodbye.
I loved you in the
morning, our kisses deep and warm, your hair upon the pillow like
a sleepy golden storm, yes many loved before us, I know that we
are not new, in city and in forest they smiled like me and you,
but let's not talk of love or chains and things we can't untie,
your eyes are soft with sorrow, Hey, that's no way to say
goodbye.
Escrita por
Eric Burdon, Vic Riggs, John Weider, Bary Jenkins e Danny McCulloch,
foi lançada em 8 de abril de 1967, num compacto que tinha A girl
named Sandoz como Lado B.
Chegou ao
número 2 na Austrália, número 10 no Canadá, número 15 nos
Estados Unidos e número 7 na Holanda. O solo é estilo indiano,
tocado por guitarra elétrica e violino. Tem também um forte tremolo
de guitarra distorcido.
É
autobiográfica de Eric Burdon. O pai dele era de fato um soldado,
ele fumou seu primeiro cigarro com dez anos de idade encontrou seu
primeiro amor aos 13 anos de idade.
O verso
final fala da desilusão dele com a sociedade da época. Ele diz:
“Minha fé era maior, eu acreditava nos homens e eu muito mais
velho, quando eu era jovem”.
Foi
regravada por Tina Turner e Ramones, entre outros artistas.
A letra:
The rooms were so much
colder then My father was a soldier then And times were very
hard When I was young, when I was young I smoked my first
cigarette at ten And for girls I had a bad yen And I had quite
a gall When I was young
When I was young it was more
important They'd more pain but they laughed much louder yeah When
I was young, when I was young
I met my first love at
thirteen She was brown and I was pretty green And I learned
quite a lot When I was young, when I was young
When I was young it was more
important They'd more pain but they laughed much louder yeah When
I was young, when I was young
My faith was so much
stronger then I believed in fellow man And I was so much older
then When I was young, when I was young When I was young, when
I was young When I was young, when I was young
Escrita por
Antonio Carlos Jobim e Vinicius de Moraes, com letra em ingles de Ray
Gilbert, foi gravada em 30 de janeiro e 1 de fevereiro de 1967, no
United Western Recorders, em Hollywood, Los Angeles, California.
Foi composta
em 1960 e gravada pela primeira vez por João Gilberto em 1961. Jobim
gravou-a instrumental em 1963.
A letra:
Once, once I
loved And I gave so much love to this love you were the world to
me Once I cried At the thought I was foolish and proud and let
you say goodbye
And then one day From my infinite sadness
you came and brought me love again Now I know That no matter
what ever befalls I'll never let you go I will hold you close,
make you stay Because love is the saddest thing when it goes
away Love is the saddest thing when it goes away
Escrita por
Donald e Richard Addrisi, foi lançada pelo Association em 9 de
agosto de 1967, em um compacto que tinha Requiem for the masses como
Lado B. Never my love foi a segunda música mais tocada em rádio e
televisão no século 20. A número 1 foi You've lost that loving
feeling e a número 3 foi Yesterday.
The
Association era um grupo californiano de pop rock. Eles chegaram ao
número 3 dos charts pop americanos e número 1 no Canadá. Venderam
um milhão de cópias já em dezembro de 1967.
Foi
regravada pelo 5th Dimenson, pelos compositores, Addrisi
Brothers, Barry Manilow, Booker T and The Mgs, The Four Tops, Astrud
Gilberto, Etta James, Henry Mancini, Johnny Mathis, Smokey Robinson,
The Ventures, Andy Williams, Sarah Vaughan, Bryan Adams, entre
outros.
A letra:
You ask me if
there'll come a time When I grow tired of you Never my
love Never my love
You wonder if this heart of mine Will
lose its desire for you Never my love Never my love
What
makes you think love will end When you know that my whole life
depends On you (on you)
Never my love Never my love
You
say you fear I'll change my mind And I won't require you Never
my love Never my love
How can you think love will end When
I've asked you to spend your whole life With me (with me, with
me)
Escrita
por Terry Slater e Jacqueline Ertel, foi gravada pelos Everly
Brothers em 22 de março de 1967 e lançada em 1967 pela dupla, em um compacto que tinha I don't wat to love you como Lado B.
Slater era o baixista da dupla. Fala sobre Bowling Green, uma cidade
no estado americano de Kentucky. Fica a uma hora de Central City,
Kentucky, onde Don Everly nasceu. A canção chegou ao número 40 nos
charts Billboard Hot100 e número 1 no Canadá. Foi a última vez que
a dupla entrou no Hot100, até 1984.
Way
down in Bowling Green Prettiest girls I've ever seen A man in
Kentucky Sure is lucky To love down in Bowling Green
Bowling
Green folks treat you kind They let you think your own mind A
man in Kentucky Sure is lucky In Bowling Green you walk your
own line
Kentucky
sunshine makes the heart unfold It warms the body And I know it
touches the soul Bluegrass is fine Kentucky owns my mind
The
fields down in Bowling Green Have the softest grass I've ever
seen A man in Kentucky Sure is lucky To lie down in Bowling
Green
Bowling
Green girls treat you right They wear dresses cut country tight A
man in Kentucky Sure is lucky If he's seen a Bowling Green
night
Kentucky
sunshine makes the heart unfold It warms the body And I know it
touches the soul Bluegrass is fine Kentucky owns my mind
Bowling
Green, Bowling Green Bowling Green, Bowling Green
Bowling
Green, Bowling Green Bowling Green, Bowling Green