1519 – Bob Dylan – Tangled up in blue (1975)

Escrita por Bob Dylan, foi gravada em 30 de dezembro de 1974 no Sound 80 Studio em Minneapolis, Minnesota e teve seu irmão David Zimmerman como produtor. Foi lançada em 20 de janeiro de 1975 no disco Blood on the tracks e no compacto que tinha If you see her say hello como Lado B, no mesmo dia. Foi a canção que abriu o disco. Chegou ao número 31 do Billboard Hot100. Fala de relacionamentos e tem perspectivas diferentes. É a canção de número 68 na lista da revista Rolling Stne das 500 greatest songs of all time. Foi escrita no verão de 1974, depois da turnê com a The Band e da separação de sua esposa Sara, que estava casado desde 1965. Dylan compôs essa canção após frequentar uma escola de arte e ter aprendido uma nova forma de escrever. Ali, ele disse, que não tem um código e não tem tempo. Não tem respeito pelo hoje, ontem ou amanhã, todos estão na mesma sala. E quase nada que você imagine não pode acontecer. Dylan escreveu Tangled up in blues depois de ter ouvido o disco Blue, de Joni Mitchell, de 1971. Bob Dylan cantou, tocou violão e gaita. Kevin Odegard tocou guitarra. Chris Weber tocou guitarra. Gregg Inhofer tocou teclado. Billy Peterson tocou baixo e Bill Berg tocou bateria. Todos esses músicos foram contratados localmente em Minneapolis por David Zimmerman e Bob somente os conheceu no dia da gravação. Foi regravada por Jerry Garcia e Joan Baez, entre outros artistas.

A letra:

Early one morning, the sun was shining
I was laying in bed
Wondering if she'd changed it all
If her hair was still red

Her folks, they said our lives together
Sure was gonna be rough
They never did like mama's homemade dress
Papa's bankbook wasn't big enough

And I was standing on the side of the road
Rain falling on my shoes
Heading out for the east coast
Lord knows I've paid some dues getting through

Tangled up in blue

She was married when we first met
Soon to be divorced
I helped her out of a jam, I guess
But I used a little too much force

We drove that car as far as we could
Abandoned it out west

Split up on a dark, sad night
Both agreeing it was best

She turned around to look at me
As I was walking away
I heard her say over my shoulder
"We'll meet again someday on the avenue"

Tangled up in blue

I had a job in the great north woods
Working as a cook for a spell
But I never did like it all that much
And one day the axe just fell

So I drifted down to New Orleans
Where I was lucky for to be employed
Working for a while on a fishing boat
Right outside of Delacroix

But all the while I was alone
The past was close behind
I seen a lot of women

But she never escaped my mind and I just grew
Tangled up in blue

She was working in a topless place
And I stopped in for a beer
I just kept looking at the sight of her face
In the spotlight so clear

And later on when the crowd thinned out
I was just about to do the same
She was standing there in back of my chair
Said, "Tell me, don't I know your name?"

I muttered something underneath my breath
She studied the lines on my face

I must admit I felt a little uneasy
When she bent down to tie the laces of my shoe
Tangled up in blue

She lit a burner on the stove and offered me a pipe
"I thought you'd never say hello, " she said
"You look like the silent type"

Then she opened up a book of poems
And handed it to me
Written by an Italian poet
From the thirteenth century

And every one of them words rang true

And glowed like burning coal
Pouring off of every page
Like it was written in my soul from me to you
Tangled up in blue

I lived with them on Montagüe Street
In a basement down the stairs
There was music in the cafés at night
And revolution in the air

Then he started into dealing with slaves
And something inside of him died
She had to sell everything she owned
And froze up inside

And when finally the bottom fell out
I became withdrawn
The only thing I knew how to do
Was to keep on keeping on like a bird that flew
Tangled up in blue

So now I'm going back again
I got to get her somehow
All the people we used to know
They're an illusion to me now

Some are mathematicians
Some are carpenter's wives
Don't know how it all got started
I don't what they do with their lives

But me, I'm still on the road
Heading for another joint
We always did feel the same
We just saw it from a different point of view
Tangled up in blue

A versão de Bob Dylan:

A versão de Jerry Garcia:

A versão de Joan Osborne:

1518 – America – Midnight (1975)

Escrita por Gerry Beckley e Dewey Bunnell, foi gravada em janeiro de 1975 e lançada em 19 de março de 1975 no disco Hearts. Foi produzida por George Martin. Gerry Beckley cantou, tocou guitarra e teclado. Dewey Bunnell cantou e tocou guitarra. Dan Peek cantou, tocou guitarra e teclado. David Dickey tocou baixo. Willie Leaco tocou bateria e percussão. George Martin tocou teclado.

A letra:

Midnight rolling in, sunlight
Reaching out for your return

As you were running through the tunnel of life
And soon you'll dance around the fire of fright
Tonight

When you're standing on the corner
And the sun is getting hot
Does this day begin to worry you a lot

You are, what you are, too far
Golden star, a ruby light

As you were running through the tunnel of life
And soon you'll dance around the fire of fright
Tonight

When you're standing on the corner
And the sun is getting hot
Does the day begin to worry you a lot

A versão do America:

1517 – Led Zeppelin – Black country woman (1975)

Escrita por Jimmy Page e Robert Plant, foi gravada em maio de 1972 no jardim do Stargroves para o disco Houses of the Holy, como desejo do grupo de gravar do lado de fora, em vez de um estúdio de gravação. Quase que foi abandonada quando um avião passou no final, mas decidiram usá-la no disco Physical graffitti. Além do disco, saiu também em compacto em 2 de abril de 1975, com Trampled under foot como Lado A. Trata-se de um rock and roll acústico. Se tornou uma música que a banda sempre tocava ao vivo. Robert Plant cantou e tocou gaita. Jimmy Page tocou violão, guitarra e slide guitar. John Paul Jones tocou orgao, baixo, e violão. John Bonham tocou bateria e percussão.

A letra:

Hey, hey, mama, what's the matter here
Hey, hey, mama, what's the matter here
You didn't have to tell me that you love me so
You didn't have to love me, mama, let me go

Hey, hey, mama, what's the matter here
You didn't have to make me a total disgrace
You didn't have to leave me with that beer in my face

Hey, hey, mama, what's the matter here
That's alright, it's awful dog-gone clear

Hey, hey, baby, why you treat me mean

Oh, oh, baby, why you treat me mean
You didn't have to crucify me like you did
You didn't have to tell me I was just your kid

Hey, hey, mama, why'd you treat me mean
You didn't have say you'd always be by my side
Why' didn't have to tell me you'd be my blushin' bride

Hey, hey, mama, why you treat me mean
But that's alright, I know your sisters, too

You didn't have to tell me that you love me so
You didn't have to leave me, mama, let me go

Hey, hey, mama, what is wrong with you
You didn't have to leave me like a total disgrace
You didn't have to leave me with that beer on my face

Hey, hey, mama, what is wrong with you
But that's alright, I'd be the same way, too

Oh yeah, yeah, oh baby

You didn't have to crucify me like you did
You didn't have to tell me I was just your kid

Hey, hey, mama, what's the matter here
You didn't have to tell me you would be my own
You didn't have to tell me, baby, let me go

Hey, hey, mama, what is wrong with you
That's alright, I know your sister, too

A versão do Led Zeppelin:

A versão das Whiskey Sisters:

A versão de Michael Richardson e Matt Mabe:

1516 – Bruce Springsteen – Jungleland (1975)

Escrita por Bruce Springsteen, foi gravada em 20 de julho de 1975 e lançada em 25 de agosto de 1975 no disco Born to run. Ela fecha o disco. Tem um dos solos mais conhecidos de Clarence Clemons.. Suki Lahav faz uma introdução no violino, acompanhada de Roy Bittan no piano. A letra fala do Magic Rat que dirige no fronteira do estado de New Jersey pra encontrar a Barefoot Girl. Fala de algumas cenas da cidade e da vida de gangster que o Magic Rat vive. Até que descreve a morte do Rat e seu sonho e do fim do seu romance com a Barefoot girl. Fala como a morte dele foi irrelevante pra sociedade. Q Magazine disse que ela era uma das 1010 canções que voce deveria ter. Bruce Pollock disse que era uma das 7500 mais importantes canções entre 1944 e 2000. Acclamedmusic.net disse que era a canção número 898 das melhores canções. É o número 298 da lista da revista Rolling Stone das 500 greatest songs of all time. Bruce Sprigsteen tocou guitarra e cantou. Garry Tallent tocou baixo. Max Weinberg tocou bateria. Roy Bittan tocou piano e orgao Hammond. Clarecen Clemons tocou sax tenor. Suki Lahav tocou violino.

A letra:

The Rangers had a homecoming
In Harlem late last night
And the Magic Rat drove his sleek machine
Over the Jersey state line

Barefoot girl sitting on the hood of a Dodge
Drinking warm beer in the soft summer rain
The Rat pulls into town, rolls up his pants
Together they take a stab at romance
And disappear down Flamingo Lane

Well, the Maximum Lawmen run down Flamingo
Chasing the Rat and the barefoot girl
And the kids 'round there live just like shadows
Always quiet, holding hands

From the churches to the jails
Tonight all is silence in the world
As we take our stand
Down in Jungleland

The midnight gang's assembled
And picked a rendezvous for the night
They'll meet 'neath that giant Exxon sign
That brings this fair city light

Man, there's an opera out on the Turnpike
There's a ballet being fought out in the alley
Until the local cops, Cherry-Tops, rips this holy night

The street's alive as secret debts are paid
Contacts made, they flash unseen
Kids flash guitars just like switchblades
Hustling for the record machine

The hungry and the hunted
Explode into rock 'n' roll bands
That face off against each other out in the street
Down in Jungleland

In the parking lot the visionaries dress in the latest rage
Inside the backstreet girls are dancing
To the records that the DJ plays

Lonely-hearted lovers struggle in dark corners
Desperate as the night moves on
Just one look and a whisper, and they're gone

Beneath the city, two hearts beat
Soul engines running through a night so tender
In a bedroom locked in whispers
Of soft refusal and then surrender

In the tunnels uptown, the Rat's own dream guns him down
As shots echo down them hallways in the night
No one watches when the ambulance pulls away
Or as the girl shuts out the bedroom light

Outside the street's on fire in a real death waltz
Between what's flesh and what's fantasy
And the poets down here don't write nothing at all
They just stand back and let it all be

And in the quick of a knife, they reach for their moment
And try to make an honest stand
But they wind up wounded, not even dead
Tonight in Jungleland

A versão de Bruce Springsteen:

A versão de Johnny Coull:

A versão de GNGR Band:

1515 – Rod Stewart – It's not the spotlight (1975)

 

Escrita por Barry Goldberg e Gerry Goffin, foi gravada entre abril de junho de 1975 e lançada em 15 de agosto de 1975 no disco Atlantic crossing, o sexto disco da carreira de Rod Stewart.

A letra:

If I ever feel the light again shining down on me
I don't have to tell you, what a welcome it will be
I felt the light before but I let it slip away
But I still keep on believing that it'll come back someday

It's not the spotlight, it's not the camera light
It's not the street lights of some old street of dreams
It ain't the moonlight, not even the sunlight
But I've seen it shining in your eyes and you know what I mean

Sometimes I try to tell myself the light was never real
Just a fantasy that used to be, the way I used to feel
But you and I know better, even though it's been so long
If your memory really serves you well, you'll never tell me no wrong

It's not the spotlight, it's not the camera light
It's not the streetlights of some old street of dreams
It ain't the moonlight, not even the sunlight
But I've seen it shining in your eyes, you know what I mean

So if I ever feel the light again shinin' down on me
I don't have to tell you what a welcome it would be
I felt the light before but I let it slip away
But I still keep on believing that it'll come back someday

It's not the spotlight, it's not the camera light
It's not the streetlights of some old street of dreams
It ain't the moonlight, not even the sunlight
But I've seen it shining in your eyes and you know what I mean

It's not the spotlight, it's ain't the camera light
It's not the streetlights of some old street of dreams
No, it ain't the moonlight, never the sunlight
But I've seen it shining in your eyes, you know what I mean

A versão de Rod Stewart:

A versão de Gerry Goffin:

A versão do Manhatthan Transfer:

1514 – Pink Floyd – Have a cigar (1975)

Escrita por Roger Waters, foi gravada entre janeiro e julho de 1975 e lançada em 12 de setembro de 1975 no disco Wish were here. Saiu também em compacto, com Welcome to the machine como Lado B, em 15 de novembro de 1975. É uma crítica ao cinismo e ganância dos managers dos grupos de rock daquele tempo. O vocal principal foi feito por Roy Harper. É uma das duas únicas canções do Pink Floyd que tem um convidado pra cantar. A outra foi The great gig in the sky, com Clare Torry. Roger diz que é uma sequencia de Money, representando as demandas dos executivos da indústria fonográfica após o sucesso de The dark side of the moon, lançado em 1973. Gilmour e Gilmour não gostaram de nenhuma das duas vozes na gravação e chamaram Harper pra cantar. Chegaram a tentar como dueto e como vozes individuais, até desistirem. Harper gravava um disco no Abbey Road e como Gilmour tinha feito uns licks de guitarra pra ele, ele retornou o favor. Gilmour gostou do vocal de Harper, enquanto Waters não gostou. Gilmour disse que ficou perfeito o ar cínico da voz. Waters disse que ele deveria ter sido menos cínico. Ele queria uma interpretação mais vulnerável. David Gilmour tocou as guitarras elétricas. Richard Wright tocou piano elétrico Wurlitzer, piano, um Clavinet Hohner D6, Minimoog e um Sintetizador ARP String. Roger Waters tocou baixo e Nick Mason tocou bateria. Foi regravada pelos Foo Fighters, entre outros artistas.

A letra:

Come in here, dear boy, have a cigar
You're gonna go far, you're gonna fly
You're never gonna die
You're gonna make it if you try
They're gonna love you

Well I've always had a deep respect
And I mean that most sincere
The band is just fantastic
That is really what I think
Oh by the way, which one's pink?

And did we tell you the name of the game, boy
We call it 'riding the gravy train'

We're just knocked out
We heard about the sell out
You gotta get an album out
You owe it to the people
We're so happy we can hardly count

Everybody else is just green
Have you seen the chart?
It's a helluva start
It could be made into a monster
If we all pull together as a team

And did we tell you the name of the game, boy
We call it 'riding the gravy train'

A versão do Pink Floyd:

A versão do Main Squeeze:

A versão do Foo Fighters:

1513 – Bob Dylan – Idiot Wind (1975)

 

Escrita por Bob Dylan, foi gravada em 27 de dezembro de 1974 e lançada em janeiro de 1975, no disco Bloo on the tracks. Foi escrita na época da sua separação com a esposa, Sara Dylan. Bob então se mudou pra uma fazenda em Minnesota, com seu irmão David. Lá em Minnesota foi onde ele gravou todo o álbum Blood on the tracks. Dylan disse que essa canção era como se ele tivesse pintado um quadro. É uma puta canção sobre divórcio.

A letra:

Someone's got it in for me
They're planting stories in the press
Whoever it is I wish they'd cut it out quick
But when they will I can only guess

They say I shot a man named Gray
And took his wife to Italy
She inherited a million bucks
And when she died it came to me
I can't help it if I'm lucky

People see me all the time
And they just can't remember how to act
Their minds are filled with big ideas
Images and distorted facts

Even you, yesterday
You had to ask me where it was at
I couldn't believe after all these years
You didn't know any better than that
Sweet lady

Idiot wind
Blowing every time you move your mouth
Blowing down the back roads headin' south

Idiot wind
Blowing every time you move your teeth
You're an idiot, babe
It's a wonder that you still know how to breathe

I ran into the fortune-teller
Who said, "beware of lightning that might strike"
I haven't known peace and quiet
For so long I can't remember what it's like

There's a lone soldier on the cross
Smoke pourin' out of a boxcar door
You didn't know it, you didn't think it could be done
In the final end he won the wars
After losin' every battle

I woke up on the roadside
Daydreamin' 'bout the way things sometimes are
Visions of your chestnut mare
Shoot through my head and are makin' me see stars

You hurt the ones that I love best
And cover up the truth with lies
One day you'll be in the ditch
Flies buzzin' around your eyes
Blood on your saddle

Idiot wind
Blowing through the flowers on your tomb
Blowing through the curtains in your room

Idiot wind
Blowing every time you move your teeth
You're an idiot, babe
It's a wonder that you still know how to breathe

It was gravity which pulled us down
And destiny which broke us apart
You tamed the lion in my cage
But it just wasn't enough to change my heart

Now everything's a little upside down
As a matter of fact the wheels have stopped
What's good is bad, what's bad is good
You'll find out when you reach the top
You're on the bottom

I noticed at the ceremony
Your corrupt ways had finally made you blind
I can't remember your face anymore
Your mouth has changed
Your eyes don't look into mine

The priest wore black on the seventh day
And sat stone-faced while the building burned
I waited for you on the running boards
Near the cypress trees, while the springtime turned
Slowly into autumn

Idiot wind
Blowing like a circle around my skull
From the Grand Coulee Dam to the Capitol

Idiot wind
Blowing every time you move your teeth
You're an idiot, babe
It's a wonder that you still know how to breathe

I can't feel you anymore
I can't even touch the books you've read
Every time I crawl past your door
I been wishin' I was somebody else instead

Down the highway, down the tracks
Down the road to ecstasy
I followed you beneath the stars
Hounded by your memory
And all your ragin' glory

I been double-crossed now
For the very last time and now I'm finally free
I kissed goodbye the howling beast
On the borderline which separated you from me

You'll never know the hurt I suffered
Nor the pain I rise above
And I'll never know the same about you
Your holiness or your kind of love
And it makes me feel so sorry

Idiot wind
Blowing through the buttons of our coats
Blowing through the letters that we wrote

Idiot wind
Blowing through the dust upon our shelves
We're idiots, babe
It's a wonder we can even feed ourselves

A versão de Bob Dylan:

A versão de Lucinda Williams:

A versão de Vanguart:

1512 – Neil Young – Albuquerque (1975)

 

Escrita por Neil Young, foi gravada em agosto e setembro de 1973, no Studio Instrumental Rentals, em Hollywood, California e lançada em 20 de junho de 1975 no disco Tonight's the night. É a segunda música no do Lado B e foi gravada acompanhada da banda chamada The Santa Monica Flyers. Neil Young cantou e tocou guitarra. Ben Keith tocou pedal steel guitar. Nils Lofgren tocou piano.

A letra:

Well, they say that Santa Fe
Is less than ninety miles away
And I got time to roll a number and rent a car
Oh, Albuquerque

I've been flyin' down the road
And I've been starvin' to be alone
And independent from the scene that I've known
Albuquerque

So I'll stop when I can
Find some fried eggs and country ham
I'll find somewhere
Where they don't care who I am
Oh, Albuquerque
Albuquerque

A versão de Neil Young:

A versão de Leah Grams Johnson:

A versão de J. D. Delves:

1511 – Led Zeppelin – Night flight (1975)

 

Escrita por Jimmy Page, Robert Plant e John Paul Jones, foi gravada em janeiro de 1971 na Headley Grange pro quarto disco do grupo, mas não foi usada. Produzida por Jimmy Page e lançada em 24 de fevereiro de 1975 no disco Physical graffitti. Além do baixo, John Paul Jones toca orgao Hammond e Jimmy Page toca guitar através de um Leslie Speaker. Plant escreveu a letra após ler uma notícia chamada Nuclear Damage Test Threat e ponderou porque havia tão pouco amor e paz no mundo. Além dos já citados, Robert Plant cantou e tocou gaita. Jimmy Page tocou violão, guitarra e slide guitar. John Paul Jones tocou orgao, baixo, e violão. John Bonham tocou bateria e percussão.

A letra:

I received a message from my brother across the water
He sat laughin' as he wrote the end's in sight
So I said goodbye to all my friends
And packed my hopes inside a matchbox
'Cause I know it's time to fly

Oh yeah, come on, meet me in the morning
Meet me in the middle of the night
Ah yeah, the morning light is comin'
Don't it make you want to go and feel alright

I just jumped a train that never stops
So now somehow I'll know I never finished payin' for my ride
Just and someone pushed a gun into my hand
Tell me I'm the type of man to fight the fight that I'll require

Oh yeah, come on, meet me in the morning
Want you meet me in the middle of the night
The morning light is comin'
Don't it make you want to go and feel alright

Oh, mama, well I think it's time I'm leavin'
Nothin' here to make me stay
Whoa, mama, well it must be time I'm goin'
They're knockin' down them doors
They're tryin' to take me away

Please Mr. Brakeman, won't you ring your bell
And ring loud and clear
Please Mr. Fireman, won't you ring your bell
Tell the people they got to fly away from here

I once saw a picture of a lady with a baby
Southern lady, had a very, very special smile
We are in the middle of a change in destination
When the train stops, all together we will smile

Oh, come on, come on now meet me in the morning
Won't you meet me in the middle of the night, night, night
Oh oh, yeah, everybody know the mornin' time is comin'
Don't it make you want to feel alright

Ah, ah, yeah, make me feel alright
Fly now, baby
Get to fly, yeah
Fly now, baby
Oh, hey, hey

A versão do Led Zeppelin:

A versão do Gruhak:

A versão de Jeff Buckley:

1510 – Bruce Springsteen – Born to run (1975)

 

Escrita por Bruce Springsteen, foi gravada em 6 de agosto de 1974, no 914 Sound Studios, em Blauvelt, estado de New York. Foi lançada em 25 de agosto de 1975 no disco Born to run. Foi lançada no mesmo dia em compacto, com Meeting across the river como Lado B. Ela usa o mesmo Wall of sound de Be my baby. Foi o primeiro compacto de Bruce a ser lançado no mundo inteiro. Foi o primeiro TOP40 da carreira de Bruce, chegando ao número 23 no Billboard HOT100. Chegou ao número 53 no Canadá e número 38 na Australia. É a canção de número 21 da lista das 500 greatest songs of all time da revista Rolling Stone. E é uma das 500 canções that shaped rock and roll, do The Rock and Roll Hall of Fame. No final de 1973, enquando fazia uma turnê no Tennessee, Bruce acordou com a frase Born to run e anotou num papel. Escrita em primeira pessoa, a canção é uma carta de amor pra uma mulher chamada Wendy, por quem o dono do carrão potente parece ter uma paixão. Na época, Billboard descreveu Born to run como um dos melhores hinos do rock à liberdade individual já criado. Disse que era uma canção monstra. Disseram que ainda que Bruce era uma mistura de Roger McGuinn nos tempos dos Byrds com alguém que ainda não tinha sido inventado. Em 1980, o estado de New Jersey nomeou Born to run como o teme não -oficial da juventude do estado. Em 2016, Pitchfork colocou-a como número 16 das 200 melhores canções dos anos 70s. É também a número 6 da lista da WXPN das 885 melhores cancões de todos os tempos. É uma das canção do século da RIAA. O National Public Radio colocou-a como NPR100, ou seja, uma das 100 melhores gravações americanas do século 20. Foi regravada por Melissa Etheridge e Roger Daltrey, entre outros artistas. Bruce Springsteen tocou guitarra e cantou. Garry Tallent tocou baixo. Ernest Carter tocou bateria. David Sancious tocou teclado. Danny Federici tocou orgão e Glockenspiel. Clarence Clemons tocou sax tenor.

A letra:

In the day we sweat it out on the streets
Of a runaway American dream
At night we ride through the mansions of glory
In suicide machines
Sprung from cages on Highway 9
Chrome wheeled, fuel injected, and steppin' out over the line

Oh, baby this town rips the bones from your back
It's a death trap, it's a suicide rap
We gotta get out while we're young
'Cause tramps like us, baby, we were born to run
Yes, girl, we were

Wendy, let me in, I wanna be your friend
I wanna guard your dreams and visions
Just wrap your legs 'round these velvet rims
And strap your hands 'cross my engines
Together we could break this trap
We'll run 'til we drop, baby, we'll never go back
Oh, will you walk with me out on the wire?
'Cause, baby, I'm just a scared and lonely rider
But I gotta know how it feels
I want to know if love is wild
Babe, I want to know if love is real
Oh, can you show me

Beyond the Palace, hemi-powered drones
Scream down the boulevard
Girls comb their hair in rearview mirrors
And the boys try to look so hard
The amusement park rises bold and stark
Kids are huddled on the beach in the mist
I wanna die with you, Wendy, on the street tonight
In an everlasting kiss

The highway's jammed with broken heroes
On a last chance power drive
Everybody's out on the run tonight
But there's no place left to hide
Together, Wendy, we can live with the sadness
I'll love you with all the madness in my soul
Oh, someday, girl, I don't know when
We're gonna get to that place
Where we really wanna go and we'll walk in the sun
But 'til then, tramps like us
Baby, we were born to run

Oh honey, tramps like us
Baby, we were born to run
Come on with me, tramps like us
Baby, we were born to run

A versão de Bruce Springsteen:

A versão de Melissa Etheridge:

A versão de Roger Daltrey: