1469 – ABBA – Waterloo (1974)

Escrita por Benny Andersoon, Bjorn Ulvaeus e Stig Anderson, foi gravda em 17 de dezembro de 1973 e lançada no disco de mesmo nome em 4 de março de 1974. Saiu também em compacto no mesmo dia, com Watch out como Lado B. O título faz referencia à batalha de Waterloo, de 1815, usando-a como uma metafora pra um relacionamento romântico. Chegou ao número 1 em vários países e vendeu mais de 6 milhões de cópias. Na metáfora, a mulher se rende ao homem, prometendo amá-lo, como se ela fosse Napoleão se rendendo em Waterloo. Foi número 1 no Reino Unido, Bélgica, Dinamarca, Finlandia, Alemanha Ocidental, Irlanda, Noruega, Africa do Sul e Suíça. Foi número 3 na Austria, França, Holanda, Suécia e Espanha. Chegou ao número 6 nos Estados Unidos. Foi regravada por Cher, entre outros artistas.

A letra:

My, my, At Waterloo, Napoleon did surrender
Oh, yeah, And I have met my destiny in quite a similar way

The history book on the shelf
Is always repeating itself

Waterloo, I was defeated, you won the war
Waterloo, Promise to love you forever more

Waterloo, Couldn't escape if I wanted to
Waterloo, Knowing my fate is to be with you
Wa-Wa-Wa-Wa-Waterloo, Finally facing my Waterloo

My, my
I tried to hold you back, but you were stronger
Oh, yeah, And now it seems my only chance is giving up the fight

And how could I ever refuse
I feel like I win when I lose

Waterloo, I was defeated, you won the war
Waterloo, Promise to love you for ever more

Waterloo, Couldn't escape if I wanted to
Waterloo, Knowing my fate is to be with you
Wa-Wa-Wa-Wa-Waterloo, Finally facing my Waterloo

So how could I ever refuse
I feel like I win when I lose

Waterloo, Couldn't escape if I wanted to
Waterloo, Knowing my fate is to be with you

Wa-Wa-Wa-Wa-Waterloo, Finally facing my Waterloo

Ooh-ooh, Waterloo, Knowing my fate is to be with you

Wa-Wa-Wa-Wa-Waterloo, Finally facing my Waterloo
Ooh-ooh, Waterloo...

A versão do ABBA:

A versão de Cher:

A versão de Dwayne Gretzky:

1468 – Bob Seger – 20 years from now (1974)

 

Escrita por Bob Seger, foi gravada em 1973, em Nashville, Tennessee e lançada em março de 1974 no disco Seven, o sétimo da carreira de Bob Seger. Bob cantou e tocou guitarra. David Briggs tocou piano. John Harris tocou orgão. Bob Woods tocou piano. Tommy Cogbill tocou baixo. Kenny Buttrey tocou bateria.

A letra:

Jan is tired of her inhaler
When she moved here from back east
Still she said she'd stay beside me
And she brought me a new peace

I saw her smilin' in the summer sun
I saw her 'neath the quiet moon
I knew right then I'd never leave her
She had taken me so soon
When she went
She went

And we settled near the blue lagoon
Listened all night to the wind
Sometimes we laughed, sometimes we cried
Sometimes we just went for a swim
All that time my love kept growing, growing, growing
Made me feel so warm inside
All the time her smile get glowing
And it gave me so much pride
When she went, yeah when she went

Yeah, now we sit here in the evening
And listen to the crickets sing
And we'll be here twenty years from now
And we'll hear the crickets sing
And then she'll go, oh, oh, oh, oh
She'll go

A versão de Bob Seger:

1467 – The Rolling Stones – Time waits for no one (1974)

 

Escrita por Mick Jagger and Keith Richards, foi gravada em novembro de 1973 e janeiro, abril e maio de 1974 de lançada em 18 de outubro de 1973 no disco It's only rock 'n roll. A canção abre com o riff de Richards, que ecoa durante toda a canção. Charlie Watts e Bill Wyman dão a batida de jazz. Ray Cooper criou a percussão, com pandeiro, maracas e uma batida que também dura toda a música, como o tique de um relógio. Wyman também tocou o sintetizador. Nicky Hopkins tocou o piano. Os elementos mais notáveis da música no entanto são o solo de guitarra de Mick Taylor e a letra de Jagger. A inspiração pro solo de Taylor foi uma visita ao Brasil. Jagger fala como uma pessoa que está de fato aprendendo o verdadeiro significado da vida. “Yes, star crossed in pleasure the stream flows on by. Yes, as we're sated in leisure, we watch it fly ...Drink in your summer, gather your corn
The dreams of the night time will vanish by dawn...”

A letra:

Yes, star-crossed in pleasure, the stream flows on by
Yes, as we're sated in leisure, we watch it fly, yes

And time waits for no one, and it won't wait for me
And time waits for no one, and it won't wait for me

Time can tear down a building or destroy a woman's face
Hours are like diamonds, don't let them waste

Time waits for no one, no favors has he
Time waits for no one, and he won't wait for me

Men, they build towers to their passing
Yes, to their fame everlasting
Here he comes, chopping and reaping
Hear him laugh at their cheating

And time waits for no man, and it won't wait for me
Yes, time waits for no one, and it won't wait for thee

Drink in your summer, gather your corn
The dreams of the nighttime will vanish by dawn

And time waits for no one, and it won't wait for me
And time waits for no one, and it won't wait for me
No, no, no, not for me, no, not for me

A versão dos Rolling Stones:

A versão dos Stones Free:

A versão do Bandung Stones:

1466 – Bob Dylan – Never say goodbye (1974)

 

Escrita por Bob Dylan, foi gravada em novembro de 1973 e lançada no disco Planet Waves em 17 de janeiro de 1974. Ela já havia sido feita em junho, junto com Forever Young e Nobody 'cept you. Inclusive já havia sido feita uma demo por meados de 1973. Mais uma elegante composição de Bob. Porém uma rara canção onde não há ironia com relação à amada.

A letra:

Twilight on the frozen lake
A North wind about to break
On footprints in the snow
Silence down below.

You're beautiful beyond words
You're beautiful to me
You could make me cry
Never say goodbye.

Because my dreams are made of iron and steel
With a big bouquet of roses hanging down
From the heavens to the ground.

The crashing waves roll over me
As I stand upon the sand
Wait for you to come
And grab hold of my hand.

Oh, baby, baby, baby blue
You'll change your last name, too
You've turned your hair to brown
Love to see it hangin' down.

A versão de Bob Dylan:

A versão de Kevin Magoon:

A versão de Robert Verderese:

1465 – Eric Clapton – Give me strength (1974)

 

Escrita por Eric Clapton, foi gravada entre abril e maio de 1974, em Miami Beach, Flórida e lançada em julho de 1974 no disco 461 Ocean Boulevard. Saiu também em compacto, com I shot the sheriff como Lado A, no mesmo mês. Tem uma veia de rock, pop e blues.

A letra:

Dear Lord, give me strength to carry on
Dear Lord, give me strength to carry on
My home may be out on the highway
Lord, I've done so much wrong
But please, give me strength to carry on

Dear Lord, give me strength to carry on
Dear Lord, give me strength to carry on
My home may be out on the highway
Lord, I've done so much wrong
But please, give me strength to carry on

A versão de Eric Clapton:

A versão de Three Chord Guitar:

A versão de Arvi K:

1464 – Ken Boothe – Everything I own (1974)

Escrita por David Gates, foi lançada originalmente pela banda Bread, em 1972 no disco Baby I'm-A want you e no compacto que tinha I don't love you como Lado B. A nossa versão no entanto é do artista jamaicano Ken Boothe, que chegou ao núnero 1 no Reino Unido. Depois teriamos tambem uma versão de Boy George, lançada em 1987, que seria número 1 no Reino Unido, Canadá, Irlanda e Noruega. A canção fala sobre o pai de Gates, que havia morrido. Boothe lançou sua versão no compacto que tinha Drum song como Lado B e ela saiu também no disco de mesmo nome. Foi gravada em Kingston, Jamaica, no Federal Studios. Chegou também ao número 1 na Jamaica. Ken Boothe cantou, Willie Lindo tocou guitarra. Lloyd Parks tocou baixo. Paul Douglas tocou bateria. Lloyd Charmers tocou orgao, piano e percussão. Foi gravada também por Olivia Newton John, Rod Stewart, Chrissie Hynde, Vanessa Hudgens, Andy Williams, Cilla Black, 'N Sync e Susanna Hoffs, entre outros artistas. A cantora brasileira Diana lançou uma versão em português chamada Tudo que eu tenho.

A letra:

You sheltered me from harm

Kept me warm, kept me warm

You gave my life to me

Set me free, set me free

The finest years I ever knew

Is all the years I had with you

And I would give anything I own

I'd give up my life, my heart, my own

And I would give anything I own

Just to have you back again

Is there someone you know

That won't let you go

And taking it all for granted?

You may lose them one day

Someone takes them away

And you don't hear the words they say

And I would give anything I own

I'd give up my life, my heart, my own

I would give anything I own

Just to have you back again

Just to talk to you words again

If there's someone you know

That won't let you go

And taking it all for granted?

You may lose them one day

Someone takes them away

And you don't hear the words they say

And I would give anything I own

I'd give up my life, my heart, my own

And I would give anything I own

Just to have you back again

Just to talk to you words again

Just hold you once again

A versão de Ken Boothe:

A versão de Bread:

A versão de Boy George:

1463 – ABBA – Honey honey (1974)

 

Escrita por Benny Anderson, Bjorn Ulvaeus e Stig Anderson, foi gravada em janeiro de 1974 e lançada em 4 de março de 1974 no disco Waterloo. Saiu também em compacto em um compacto com King King song como Lado B em abril de 1974. Os vocais foram feitos por Agnetha Falkstog, Anni-Frid Lyngstad e Bjorn Ulvaeus. Foi lançada também em sueco e seria a última vez que gravariam em sueco. Assim, Agnetha Falkstog cantou e fez backing vocals. Anni-Frid Lyngstad cantou e fez backing vocals. Bjorn Ulvaeus cantou, fez backing vocals e tocou guitarra ritmica Benny Anderson tocou teclado e fez backing vocals. Janne Schaffer tocou guitarra solo. Rutger Gunnarsson tocou baixo. Ola Brunkert tocou bateria. E Martin Bylund, Anders Dahl, Gunnar Michols, Claes Nilsson, Åke Jelving, Inge Lindstedt, Alfred Pisuke, Sixten Strömvall, Harry Teike, Kryztof Zdrzalka tocaram violino. Chegou ao número 2 na Alemanha, número 4 na Austria e Suíça, número 8 no Canada, número 10 na Dinamarca, número 14 na Finlandia, número 16 na Holanda, Espanha e Noruega, número 19 na Bélgica e número 27 no Billboard HOT100.

A letra:

Honey honey, how you thrill me, a-ha, honey honey
Honey honey, nearly kill me, a-ha, honey honey
I'd heard about you before
I wanted to know some more
And now I know what they mean, you're a love machine
Oh, you make me dizzy

Honey honey, let me feel it, a-ha, honey honey
Honey honey, don't conceal it, a-ha, honey honey
The way that you kiss good night
The way that you hold me tight
I feel like I wanna sing when you do your thing

I don't wanna hurt you baby, I don't wanna see you cry
So stay on the ground girl, you better not get too high
But I'm gonna stick to you boy, you'll never get rid of me
There's no other place in this world where I rather would be

Honey honey, touch me baby, a-ha, honey honey
Honey honey, hold me baby, a-ha, honey honey
You look like a movie star (look like a movie star)
But I know just who you are (I wonder just who you are)
And honey, to say the least, you're a doggone beast

So stay on the ground girl, you better not get too high

There's no other place in this world where I rather would be
Honey honey, how you thrill me, a-ha, honey honey
Honey honey, nearly kill me, a-ha, honey honey
I'd heard about you before (I'd heard about you before)
I wanted to know some more (I wanted to know you some more)
And now I know what they mean, you're a love machine Oh, you make me dizzy

A versão do ABBA:

A versão de PIP:

A versão de Aurel:

1462 – Ringo Starr – No no song (1974)

Escrita por Hoyt Axton e David Jackson, foi gravada em agosto de 1974 e lançada em 15 de novembro de 1974 no disco Goodnight Vienna, o quarto da carreira de Ringo. Depois sairia em compacto, com Snookeroo como Lado B, em 27 de janeiro de 1975. Chegou ao número 1 no Canadá e número 3 no Billboard HOT100. O narrador encontra uma mulher da Colombia que oferece a ele maconha. Uma mulher de Mallorca, Espanha, que oferece a ele cocaína e um homem de Nashville, Tennessee que oferece a ele moonshine whiskey. Ele recusa todas as ofertas dizendo que faz mal pra saúde dele. Harry Nilsson faz os backing vocals. Foi regravada pelo próprio Hoyt Axton, por Joe Dassin em francês, por Raul Seixas em português, entre outros artistas.

A letra:

A lady that I know just came from Colombia
She smiled because I did not understand
Then she held out some marijuani ha-ha
She said it was the best in all the land

And I said: No no no no, I don't smoke it no more
I'm tired of waking up on the floor
No, thank you, please,

It only makes me sneeze
And then it makes it hard to find the door

A woman that I know just came from Mallorca Spain
She smiled because I did not understand

Then she held out a 10 pound bag of Cocaine
She said it was the best in all the land

And I said: No no no no, I don't sniff it no more

I'm tired of waking up on the floor
No, thank you, please,
It only makes me sneeze
And then it makes it hard to find the door

A man I know just came from Nashville Tennessee oh
He smiled because I did not understand
Then he held out some moonshine whiskey oh-ho
He said it was the best in all the land

And I said: No no no no, I don't drink it no more
I'm tired of wakin' up on the floor
No, thank you, please,

It only makes me sneeze
And then it makes it hard to find the door

And I said: No no no no, I can't take it no more
I'm tired of wakin' up on the floor
No, thank you, please,

It only makes me sneeze
And then it makes it hard to find the door

A versão de Ringo Starr:

A versão de Joe Dassin em Francês:

A versão de Raul Seixas em português:

1461 – The Rolling Stones – Till the next goodbye (1974)

 

Escrita por Mick Jagger e Keith Richards, foi gravada em novembro de 1973 e lançada em 18 de outubro de 1974 no disco It's only rock 'n roll. É uma balada tradicional desse período da banda, com uma pequena influencia country. Abre com um violão e fala de um encontro ilícito entre dois amantes. “Honey, is there any place that you would like to eat? I know a coffee shop down on 52^nd street And I don't need no fancy food and I don't need no fancy wine; And I sure don't need the tears you cry”.”Yeah, a movie house on 42nd Street, Ain't a very likely place for you and I to meet; Watching the snow swirl around your hair and around your feet; And I'm thinking to myself 'she surely looks a treat...” Nos anos 70, um cinema na 42^nd street era um local de reputação questionável e um ótimo lugar pra um rendezvous romantico. A letra é complexa, do ponto de vista do narrador, fala pra amante de forma como se estivesse se desculpando e com dor na consciencia. Em uma frase, na ponte, ele expressa culpa, empatia e frustração. ''I can't go on like this/Can you? Can you?' Mick, Keith e Mick Taylor, cada um tocam um violão na gravação. Taylor tambem toca uma slide guitar. Nicky Hopkins toca piano. Bill Wyman toca baixo e Charlie Watts bateria.

A letra:

Honey, is there any place that you would like to eat?
I know a coffee shop down on Fifty-Second Street
And I don't need no fancy food and I don't need no fancy wine
And I sure don't need the tears you cry

Till the next time we say goodbye
Till the next time we say goodbye
Till the next time we say goodbye
I'll be thinking of you
I'll be thinking of you

Yeah, a movie house on Forty-Second Street
Ain't a very likely place for you and I to meet
Watching the snow swirl around your hair and around your feet
And I'm thinking to myself she surely looks a treat

Till the next time we say goodbye
Till the next time we say goodbye
Till the next time that we kiss goodnight
I'll be thinking of you
I'll be thinking of you

I can't go on like this, can you? Can you?
I can't go on like this, can you?

You give me a cure all from New Orleans
Now that's a recipe I sure do need
Some cider vinegar and some elderberry wine
May cure all your ills, but it can't cure mine

Your Lou'siana recipes have let me down
Your Lou'siana recipes have surely let me down
Till the next time we say goodbye
Drink to it

Till the next time we say goodbye
Till the next time that we kiss goodnight
Till the next time we say goodbye
Till the next time we say goodbye
Till the next time that we kiss goodnight
I'll be thinking of you
I'll be thinking of you

A versão dos Rolling Stones:

A versão de Steven Wallace Lowe:

A versão de Cory Costa:

1460 – The Guess Who – Clap for the Wolfman (1974)

 

Escrita por Burton Cummings, Bill Wallace and Kurt Winter, foi gravada em 1973 e 1974 e lançada em abril de 1974 no disco Road food e depois saiu em compacto em junho de 1974 com Road food como Lado B. É uma homenagem à Wolfman Jack, que falou várias vezes na sua típica voz de locutor de rádio várias vezes na gravação. Chegou ao número 4 no Canadá, número 6 no Billboard HOT100, número 4 no Canadá, número 9 na Holanda, número 14 na África do Sul, número 18 ma Bélgica e número 39 na Australia.

A letra:

Clap for the Wolfman
He gonna rate your record high
Clap for the Wolfman
You gonna dig him 'til the day you die

Clap for the Wolfman
He gonna rate your record high (mmh, yes gracious)
Clap for the Wolfman
You gona dig him 'til the day you die

Doo Ron Ron and the Duke of Earl
They were friend's of mine
And I was on my moonlight drive
Snuggled in said, "Baby, just one kiss"
She said, "No, no, no"
Romance ain't keepin' me alive

I said, "Hey babe, do you wanna coo, coo, coo?"
She said, "Ah, ah, ah"
So I was left out in the cold
I said, "You're what I've been dreaming of"
She said, "I don't want to know"

(Oh you know, she was diggin' the cat on the radio)

Clap for the Wolfman
He gonna rate your record high
(Yes baby, I your doctor love)
Clap for the Wolfman
You gonna dig him 'til the day you die
(Heh heh, everybody's talking about the Wolfman's "pompatous of love")

Seventy-five or eighty miles an hour
She hollered, "Slow, slow, slow"
Baby, I can stop right on a dime
I said, "Hey baby, give me just one kiss"
She said, "No, no, no"
But how was I to bide my time?
I said, "Hey babe, do you wanna coo, coo, coo?"
He said "Ah, ah, ah"
Said, "I'm about to overload"
I said "You're what I been living for"
She said "I don't know want to know"

(Oh, you thought she was diggin' you but she was diggin' me)

Clap for the Wolfman
He gonna rate your record high
(As long as you got the curves, baby, I got the angles)
Clap for the Wolfman
You gonna dig him 'til the day you die

(It's all according to how your boogaloo situation stands, you understand?)

Clap for the Wolfman
He gonna rate your record high
(You ain't gonna get them, 'cause I got them, ha yeah)
Clap for the Wolfman (oh)
You gon' dig him 'til the day you die
(You might wanna try, but I gonna keep them)

Clap for the Wolfman (ain't that right girls? Yes)
Clap for the Wolfman
Clap for the Wolfman
Clap for the Wolfman
Clap for the Wolfman (and I got 'em all)
Clap for the Wolfman (yes you go right on 'head and try)
Clap for the Wolfman (I'm gonna say bye)
Clap for the Wolfman (you love him don't you?)
Clap for the Wolfman (I love you)
Clap for the Wolfman (come over here my precious little baby)
Clap for the Wolfman (come here)...

A versão do Guess Who:

A versão do Retromatics:

A versão de Colin Wiebe:

1459 – Genesis – The Carpet Crawlers (1974)

Escrita por Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett e Mike Rutherford, foi gravada entre agosto e outubro de 1974 e lançada em 18 de novembro de 1974 no disco The lamb lies down on Broadway, o sexto da carreira da banda. Depois sairia em compacto, com The waiting room como Lado B. Conta a história de Rael, que se encontra num corredor com um carpete vermelho, cercado de pessoas ajoelhadas, que depois rastejam até uma porta de madeira. Rael é forçado a ir com eles e passa pro outro lado dessa porta. Do outro lado tem uma mesa com uma festa à luz de velas e depois disso, uma escada em espiral, que leva pra um lugar que não sabemos o que é. Tony Banks tocou piano elétrico, teclados e sintetizador. Phil Collins tocou bateria, percussão e fez backing vocals. Peter Gabriel cantou e tocou flauta. Steve Hackett tocou guitarra. Mike Rutherford tocou violão de 12 cordas, guitarra, baixo e fez backing vocals.

A letra:

There is lambswool under my naked feet
The wool is soft and warm
Gives off some kind of heat
A salamander scurries into flame to be destroyed
Imaginary creatures are trapped in birth on celluloid

The fleas cling to the golden fleece
Hoping they'll find peace
Each thought and gesture are caught in celluloid
There's no hiding in my memory
There's no room to void

The crawlers cover the floor in the red ochre corridor
For my second sight of people, they've more lifeblood than before
They're moving. in time to a heavy wooden door
Where the needle's eye is winking, closing in on the poor

The carpet crawlers heed their callers
We've got to get in to get out, ahhh
We've got to get in to get out, ahhh

We've got to get in to get out

There's only one direction in the faces that I see
It's upward to the ceiling, where the chambers said to be
Like the forest fight for sunlight, that takes root in every tree
They are pulled up by the magnet, believing that they're free

The carpet crawlers heed their callers
We've got to get in to get out, ahhh
We've got to get in to get out, ahhh

We've got to get in to get out...

Mild mannered supermen are held in kryptonite
And the wise and foolish virgins giggle with their bodies glowing bright
Through a door a harvest feast is lit by candlelight
It's the bottom of a staircase that spirals out of sight

The carpet crawlers heed their callers:
We've got to get in to get out, ahhh
We've got to get in to get out, ahhh

We've got to get in to get out...

The porcelain mannikin with shattered skin fears attack
And The eager pack lift up their pitchers- the carry all they lack
The liquid has congealed, which has seeped out through the crack
And the tickler takes his stickleback.

The carpet crawlers heed their callers
We've got to get in to get out, ahhh
We've got to get in to get out, ahhh

We've got to get in to get out...

We've got to get in to get out...

We've got to get in to get out...

We've got to get in to get out...

We've got to get in to get out...

A versão do Genesis...

A versão de Thomas Melzer:

A versão de Albert Sadebeck: