1603 – Peter Tosh – Till you well runs dry (1976)

Escrita por Peter Tosh e Bunny Livington, foi gravada em Kingston, em 1976 e lançada em junho de 1976 no disco Legalize it, o disco de estréia de Tosh. Peter Tosh tocou guitarra, teclado e cantou. Al Anderson tocou guitarra. Aston Barrett e Robbie Shakespeare tocaram baixo. Carlton Davis e Carlton Barrett tocaram bateria. Tyrone Downie tocou teclado. Donald Kinsey tocou guitarra. Robbie Lee tocou gaita. Rita Marley, Bunny Wailer e Judy Mowatt fizeram backing vocals.

A letra:

You said you loved me
And then you left
You broke every promise, oh yes you did
You win every bet

You never miss your water
Till your well runs dry

Tell me, tell me
Whatcha gonna do
When your well runs dry
Whatcha gonna do
When your well runs dry
Whatcha gonna do
When your well runs dry, I'd like to know
Whatcha gonna do
When your well runs dry

Listen to me darlin'
You cheat and you lie
Now you come a runnin'
Runnin', wanting second try

You never miss your water
Till your well runs dry

Tell me, tell me
Whatcha gonna do
When your well runs dry
Whatcha gonna do
When your well runs dry
Whatcha gonna do
When your well runs dry, I'd like to know
Whatcha gonna do
When your well runs dry

Sat down and sighed
And I heard you packin'
I watched you pass by me
But you said nothin'
Not one single word
but I know you're gonna miss me
And you're gonna be blue

tell me, tell me
Whatcha gonna do
When you're feeling blue
Whatcha gonna do, woman
When you're feeling blue
Whatcha gonna do
When you're feeling so blue, I'd like to know
Whatcha gonna do
When you're feeling blue

Tell me, tell me
Whatcha gonna do
When you're feeling blue
Whatcha gonna do
When you're feeling blue
Whatcha gonna do
When you're feeling so blue, I'd like to know
Whatcha gonna do
When you're feeling blue

Whatcha gonna do
When your well runs dry, woman
Whatcha gonna do
When your well runs dry
Whatcha gonna do
When your well runs dry
Whatcha gonna do, I'd like to know
Whatcha gonna do, I just know
Whatcha gonna do, I want to know
Whatcha gonna do
Whatcha gonna
Whatcha gonna do
Whatcha gonna do
Whatcha gonna do when your well runs dry
Whatcha gonna do
Whatcha gonna do when your well runs dry
Whatcha gonna do
When your well runs dry
Whatcha gonna do
Whatcha gonna do (when your well runs dry)
Whatcha gonna do when your well runs dry
Whatcha gonna do when your well runs dry
Whatcha gonna do when your well runs dry
Whatcha gonna do when your well runs dry

A versão de Peter Tosh:

A versão de Andrew Tosh:

A versão de Eric Clapton:

1602 – The Rolling Stones – Cherry Oh Baby (1976)

Escrita por Eric Donaldson, foi gravada entre outubro de 1975 e fevereiro de 1976 e lançada em 23 de abril de 1976, no disco Black and blue, o décimo quinto disco da banda. Foi produzida por Mick Jagger e Keith Richards, sob o pseudonimo de Glimmer Twins. Trata-se de um reggae composta e gravada inicialmente por Eric Donaldson, em 1971. Os Stone resolveram fazer um cover dela nesse disco. Mick Jagger cantou e fez backing vocals. Keith Richards tocou guitarra. Bill Wyman tocou baixo. Charlie Watts tocou bateria. Nicky Hopkins tocou órgão. Ronnie Wood tocou guitarra. Ollie E. Brown tocou percussão.

A letra:

Oh, Cherry, oh Cherry, oh baby
Don't ya know I in need of thee
You don't believe it true
Why don't you love me, too
Its so long I've been waiting
For you to come right in
Now that we are together
Is make my joy run over

Yeah [Repeat: x7]

{Chorus]

Oh Cherry, oh Cherry, oh baby
Don't ya know I in love with you
You don't believe I know
So why don't you try me
I'm never gonna let you down
Never make you wear no frown
You say you love me madly
Then why do you treat me badly

Yeah [Repeat: x7]

Oh Cherry, oh Cherry, oh baby
Don't ya know I in love with you
You don't believe I know
So why don't you try me (try me)
I'm never gonna let you down no
Never make you wear no frown
You say you love me madly
Then why do you treat me badly

Yeah [Repeat: x3]

A versão dos Rolling Stones:

A versão de Eric Donaldson:

A versão do UB40:

1601 – Bob Dylan – Romance in Durango (1976)

Escrita por Bob Dylan e Jacques Levy, foi gravada em 28 de julho de 1975, nos estúdios da Columbia Records, em New York City e lançada no disco Desire, em 5 de janeiro de 1976. O refrão tem frases cantadas em espanhol. É uma história que se passa em Durango, no México, com um bandido e sua amante em fuga, com xerife e matadores de aluguel no encalço deles. Porém, o personagem principal é perseguido pela morte de um amigo próximo chamado Ramon. A Rolling Stone magazine disse que era a música de número 79 das 100 greatest Bob Dylan songs. Raimundo Fagner gravou uma versão em português chamada Romance no deserto.

A letra:

Hot chili peppers in the blistering sun
Dust on my face and my cape
Me and Magdalena on the run
I think this time we shall escape

Sold my guitar to the baker's son
For a few crumbs and a place to hide
But I can get another one
And I'll play for Magdalena as we ride

No llores, mi querida
Dios nos vigila
Soon the horse will take us to Durango
Agarrame, mi vida
Soon the desert will be gone
Soon you will be dancing the fandango

Past the Aztec ruins and the ghosts of our people
Hoofbeats like castanets on stone
At night I dream of bells in the village steeple
Then I see the bloody face of Ramon

Was it me that shot him down in the cantina
Was it my hand that held the gun?
Come, let us fly, my Magdalena
The dogs are barking and what's done is done

No llores, mi querida
Dios nos vigila
Soon the horse will take us to Durango
Agarrame, mi vida
Soon the desert will be gone
Soon you will be dancing the fandango

At the corrida we'll sit in the shade
And watch the young torero stand alone
We'll drink tequila where our grandfathers stayed
When they rode with Villa into Torreon

Then the padre will recite the prayers of old
In the little church this side of town
I will wear new boots and an earring of gold
You'll shine with diamonds in your wedding gown

The way it is long but the end is near
Already the fiesta has begun
The face of God will appear
With his serpent eyes of obsidian

No llores, mi querida
Dios nos vigila
Soon the horse will take us to Durango
Agarrame, mi vida
Soon the desert will be gone
Soon you will be dancing the fandango

Was that the thunder that I heard?
My head is vibrating, I feel a sharp pain
Come sit by me, don't say a word
Oh, can it be that I am slain?

Quick, Magdalena, take my gun
Look up in the hills, that flash of light
Aim well, my little one
We may not make it through the night

No llores, mi querida
Dios nos vigila
Soon the horse will take us to Durango.
Agarrame, mi vida
Soon the desert will be gone
Soon you will be dancing the fandango

A versão de Bob Dylan:

A versão de Weathermen:

A versão de Aileen and Sticks:

1600 – Eric Clapton – (We've been told) Jesus is coming soon (1975)

 

Canção tradicional, adaptada por Willie Johnson, foi gravada por Eric Clapton entre o final de 1974 e começo de 1975 e lançada em março de 1975 no disco There's one in every crowd. Eric Clapton cantou, tocou guitarra, violão, dobro e fez os arranjos. Dick Sims tocou orgão Hammond, piano acústico e Fender Rhodes. Albhy Galuten tocou sinterizadores. George Terry tocou guitarra, violão e fez backing vocals. Carl Radle tocou guitarra e baixo. Jamie Oldaker tocou bateria e percussão. Yvonne Elliman e Marcy Levy fizeram backing vocals.

A letra:

God is warning the nations
Warning them in every way
To turn away from the evil
And seek the Lord and pray

We've been told that God done warned us
Jesus coming soon
We've been told that God done warned us
Jesus coming soon

God is warning the nations
Warning them in every way
To turn away from the evil
And seek the Lord and pray

We've been told that God done warned us
Jesus coming soon
We've been told that God done warned us
Jesus coming soon

God is warning the nations
Warning them in every way
To turn away from the evil
And seek the Lord and pray

[7x]
We've been told that God done warned us
Jesus coming soon
We've been told that God done warned us
Jesus coming soon

A versão de Eric Clapton:

1599 – Joni Mitchell – In France they kiss on main street (1975)

 

Escrita e produzida por Joni Mitchell, foi gravada em 1975 e lançada em novembro de 1975, no disco The hissing of summer lawns, o sétimo da carreira de Joni. Sairia depois em compacto com The Boho dance como Lado B. Chegou ao número 66 no Billboard Hot100 e número 19 no Canadá. Joni Mitchell cantou e tocou violão. James Taylor, David Crosby e Graham Nash nos backing vocals e Jeff Baxter tocou guitarra. Victor Feldman tocou piano elétrico. Max Bennett tocou baixo. John Guerin tocou bateria. Robben Ford tocou guitarra.

A letra:

Downtown
My darling dime store thief
In the War of Independence
Rock 'n' roll rang sweet as victory
Under neon signs
A girl was in bloom
And a woman was fading
In a suburban room
I said take me to the dance
Do you want to dance?
I love to dance
And I told him
They don't take chances
They seem so removed from romance
They've been broken in churches & schools
And molded to middle class circumstance
And we were rollin'
Rollin'
Rock 'n' rollin'

Downtown
The dance halls and cafes
Feel so wild you could break somebody's heart
Just doing the latest dance craze
Gail and Louise
In those push up brassieres
Tight dresses and rhinestone rings
Drinking up the band's beers
Young love was kissing under bridges
Kissing in cars
Kissing in cafes
And we were walking down Main Street
Kisses like bright flags hung on holidays
In France they kiss on Main Street
Amour, mama, not cheap display
And we were rollin'
Rollin'
Rock 'n' rollin'

Downtown
In the pinball arcade
With his head full of pool hall pitches
And songs from the hit parade
He'd be singing "Bye, Bye, Love"
While he's racking up his free play
Let those rock 'n' roll choir boys
Come and carry us away
Sometimes Chickie had the car
Or Ron had a car
Or Lead Foot Melvin with his hotwire head
We'd all go looking for a party
Looking to raise Jesus up from the dead
And I'd be kissing in the back seat
Thrilling to the Brando-like things that he said
And we'd be rollin'
Rollin'
Rock 'n' rolling

X2 Rollin'
Rollin'
Rock 'n' rollin'

A versão de Joni Mitchell:

A versão de Mutts of the Planet:

A versão de Both Sides Now:

1598 – The Four Seasons – December, 1963 (Oh, what a night!) (1975)

Escrita por Bob Gaudio and Judy Parker, foi gravada em novembro de 1975, no esúdio Sound Factory, em Hollywood, California e lançada no mesmo mês, novembro de 1975 no disco Who loves you. Sairia também em compacto, com Slip away como Lado B, em dezembro de 1975. Foi produzida pelo próprio Bob Gaudio, o tecladista original dos Four Seasons e sua futura esposa Judy Parker. O baterista foi Gerry Polci nos vocais principais e Frankie Valli cantando na bridge e backing vocals e o baixista Don Ciccone cantando a parte do falsetto. A letra original era December 5^th, 1933, celebrando o fim da Prohibition nos Estados Unidos. No entanto, foi mudado pra December 1963 e em vez de celebrar o fim da Lei Seca, falava de uma lembrança nostálgica de um jovem quando ele teve seu primeiro caso com uma mulher. No caso, o namoro de Gaudio com sua noiva no momento, Judy Parker. Chegou ao número 1 no Reino Unido, número 1 no Canadá, número 1 na África do Sul e no Billboard Hot100. Foi a última canção dos Four Seasons a chegar ao número 1. Chegou também ao número 2 na Australia e Nova Zelandia, número 3 na Bélgica e Holanda, número 6 na Noruega, número 11 na Suécia, númer0 16 na Alemanha Ocidental, número 18 na Irlanda e número 19 na Itália.

A letra:

Oh, what a night
Late December back in sixty three
What a very special time for me
As I remember, what a night

Oh, what a night, you know I didn't even know her name
But I was never gonna be the same
What a lady, what a night

Oh, I, I got a funny feelin' when she walked in the room
And my, as I recall it ended much too soon

Oh what a night, hypnotizin' mesmerizing me
She was ev'rything I dreamed she'd be
Sweet surrender, what a night

I felt a rush like a rollin' ball of thunder
Spinnin' my head around and takin' my body under

Oh, what a night

Oh, I, I got a funny feelin' when she walked in the room
And my, as I recall it ended much too soon

Oh, what a night
Why'd it take so long to see the light?
Seemed so wrong, but now it seems so right
What a lady, what a night

Oh I felt a rush like a rollin' ball of thunder
Spinnin' my head around and takin' my body under
Oh what a night
Do-do-do, do-do-do
Do-do-do-do, oh what a night
Do-do-do, do-do-do
Do-do-do-do-do-do, oh what a night
Do-do-do, do-do-do
Do-do-do-do-do-do, oh what a night
Do-do-do, do-do-do
Do-do-do-do-do-do, oh what a night

A versão dos Four Seasons:

A versão de Under the Streetlamp:

A versão de Sarah Collins:

1597 – Eric Clapton – Opposites (1975)

 

Escrita por Eric Clapton, foi gravada entre o final de 1974 e o começo de 1975, em Miami, Flórida e em Kingston, Jamaica e foi lançada no disco There's one in every crowd, o terceiro disco da carreira solo de Eric, em março de 1975. Eric Clapton cantou, tocou guitarra, dobro e violão. Dick Sims tocou orgao Hammond, piano aúctico e Fender Rhodes. Albhy Galuten tocou sintetizadores. George Terry tocou guitarra, violão e fez backing vocals. Carl Radle tocou guitarra e baixo. Jamie Oldaker tocou bateria e percussão. Yvonne Elliman e Marcy Levy fizeram backing vocals.

A letra:

Night after day, day after night.
White after black, black after white.
Fight after peace, peace after fight.
Life after death, death after life

Night after day, day after night.
White after black, black after white.
Fight after peace, peace after fight.
Life after death, death after life.

Night after day, day after night.
White after black, black after white.
Fight after peace, peace after fight.
Life after death, death after life.

A versão de Eric Clapton:

1596 – The Band – Acadian Driftwood (1975)

 

Escrita por Robbie Robertson, foi gravada na primavera e verão de 1975 e lançada em 1 de novembro de 1975, no disco Northern lights, southern cross, o sexto disco da banda. Sairia depois em compacto em 1976 com Twilight como Lado B. Foi produzida pela própria The Band. Richard Maniel, Levon Helm e Rick Danko ficam trocando os vocais principais e harmonias vocais durante toda a canção. Fa;a da história de problemas entre Nova Scotia e Acadia, falando especificamente da expulsão dos Acadianos durante a briga entre os franceses e os ingleses pelas terras que hoje são Nova Scotia, New Brunswick, Price Edward Island e a maioria do Maine. A letra foi baseada no poema de Henry Wadsworth Longfellow, de 1847, chamado Evangeline. A letra não tem muito a ver com a história real pois os acadianos foram expulsos durante a guerra dos franceses com os indios e não com os ingleses. Richard Maniel cantou, fez backing vocals e tocou clavinet. Levon Helmo cantou, fez backing vocals e tocou bateria. Rick Danko cantou e fez backing vocals e tocou baixo. Robbie Robertson tocou violão. Garth Hudson tocou sanfona, piccolo e chanter. Byron Berline tocou rabeca.

A letra:

The war was over
And the spirit was broken
The hills were smokin'
As the men withdrew
We stood on the cliffs,
Oh and watched the ships,
Slowly sinking to their rendezvous

They signed a treaty
And our homes were taken
Loved-ones forsaken,
They didn't give a damn.
Try to raise a family
End up an enemy
Over what went down on the Plains of Abraham.

Acadian driftwood,
Gypsy tailwind
They call my home,
The land of snow
Canadian cold front,
Movin' in
What a way to ride,
Oh what a way to go

Then some returned,
To the motherland
The high command,
Had them cast away
Some stayed on,
To finish what they started
They never parted,
They're just built that way

We had kin livin',
South of the border
They're a little older,
And they been around
They wrote in a letter
Life is a whole lot better
So pull up your stakes, children,
And come on down

Acadian driftwood,
Gypsy tailwind
They call my home,
The land of snow
Canadian cold front,
Movin' in
What a way to ride,
Oh what a way to go

Fifty under zero when the day became a threat
My clothes were wet
And I was drenched to the bone
Then out ice fishin', mmm,
Too much repetition
Make a man want to leave
The only home he's known

Sailed out of the Gulf,
Headed for St. Pierre
Nothing to declare,
All we had was gone
Broke down along the coast oh
What hurt the most
When the people there said
"You better keep movin' on"

Acadian driftwood,
Gypsy tailwind
They call my home,
The land of snow
Canadian cold front,
Movin' in
What a way to ride,
Oh what a way to go

Everlastin' summer
Filled with ill-contempt
This government
Had us walkin' in chains
This isn't my turn
This isn't my season
Can't think of one good reason
To remain oh

We worked in the sugar fields
Up from New Orleans
It was ever-green
Up until the flood
You could call it an omen
Point ya where ya goin'
Set my compass North
I got winter in my blood

Acadian driftwood,
Gypsy tailwind
They call my home,
The land of snow
Canadian cold front,
Movin' in
What a way to ride,
Oh what a way to go

Sais tu, Acadie j'ai le mal do pays
Ta neige, Acadie, fait des larmes au soleil
J'arrive Acadie, teedle um, teedle um, teedle oo
J'arrive Acadie, teedle um, teedle um, teedle oo
J'arrive Acadie, teedle um, teedle um, teedle oo
J'arrive Acadie, teedle um, teedle um, teedle oo
J'arrive Acadie, teedle um, teedle um, teedle oo

A versão da Band:

A versão de Barefoot Tune Twist:

A versão das Roches:

1595 – 10 cc – I'm not in love (1975)

Escrita por Eric Stewart e Graham Gouldman, foi gravada entre final de 1974 e começo de 1975 e lançada em 11 de maio de 1975 no disco The original soundtrack e também no compacto que tinha Good news como Lado B. É conhecida pelo seu backing track inovador e distinto, composto praticamente pelo backing vocal da banda. Foi o segundo número 1 da banda no Reino Unido. Chegou também ao número 1 no Canadá, Irlanda e Top 10 na Australia (número 3), Alemanha (número 8), Nova Zelandia (número 4), Noruega (númer 6) e Estados Unidos. Número 4 na Bélgica, número 5 na Holanda, número 8 na Suíça, número 12 na Espanha e número 17 na África do Sul. Foi escrita baseado na declaração da esposa de Stewart que ele não dizia muito frequentemente que a amava. Ele achava que se dissesse muito, a declaração que a amava iria perdendo valor. Assim, com essa idéia na cabeça, ele fez uma canção dizendo que não a amava mas deixando pistas que realmente a amava. A banda passou três semanas gravando “ahhh”, 16 vezes pra cada nota da escala cromática, criando um coro de 48 vozes pra cada nota da escala. Essa canção foi uma grande influencia pra Just the way you are, de Billy Joel, lançada dois anos depois. Poucos instrumentos foram adicionados. Um piano elétrico Fender Rhodes, tocado por Stewart. Uma guitarra Gibson 335 tocada por Gouldman e um bass drum foi tocado por Godley em um sintetizador Moog. Creme tocou piano. Eles queriam uma voz feminina pra dizer Be quiet, big boys don't cry e foi nesse momento que a secretária Kathy Redfern abriu a porta do estúdio pra anunciar um telefonema, susurrando pra não atrapalhar a gravação... e eles resolveram que seria a voz dela sussurrada e assim foi. Chegou ao número 2 no Billboard Hot100. Já tocou mais de 3 milhões de vezes nos rádios americanos desde que foi lançada. Ganhou o premio Ivor Novello pela melhor canção pop de 1976, maior hit internacional do ano e mais tocado trabalho inglês. Queen Latifah gravou-a e Axl Rose disse que essa canção foi muito significante pra ele quando era adolescente. Eric Stewart cantou e tocou piano elétrico. Graham Gouldman tocou guitarra, baixo e fez backing vocals. Kevin Godley tocou sintetizador e fez backing vocals. Lol Creme tocou piano e fez backing vocals. Kathy Redfern fez backing vocals. Vendeu 400 mil cópias somente no Reino Unido.

A letra:

I'm not in love
So don't forget it
It's just a silly phase I'm going through
And just because
I call you up
Don't get me wrong, don't think you've got it made
I'm not in love, no no, it's because..

I like to see you
But then again
That doesn't mean you mean that much to me
So if I call you
Don't make a fuss
Don't tell your friends about the two of us
I'm not in love, no no, it's because..

I keep your picture
Upon the wall
It hides a nasty stain that's lying there
So don't you ask me
To give it back
I know you know it doesn't mean that much to me
I'm not in love, no no, it's because..

Ooh you'll wait a long time for me
Ooh you'll wait a long time
Ooh you'll wait a long time for me
Ooh you'll wait a long time

I'm not in love
So don't forget it
It's just a silly phase I'm going through
And just because I call you up
Don't get me wrong, don't think you've got it made
I'm not in love
I'm not in love

A versão do 10 cc:

A versão de Elle Hollis:

A versão de Queen Latifah:

1594 – David Bowie – Right (1975)

 

Escrita por David Bowie, foi gravada entre agosto e novembro de 1974, no Sigma Sound na Filadélfia e lançada em 7 de março de 1975 no disco Young Americans e no compacto que tinha Fame como Lado A, em agosto de 1975. A repetição da letra “Taking it all the right way/Never no turning back”, a proeminencia de percussão e baixo e a ênfase nos backing vocals se torna uma das canções mais “soul” do disco. Um dos cantores que fazem o backing vocal é o Luther Vandross e Geoff MacCormack. O sistema de call e response entre Bowie e o pessoal do backing vocal dá um ar de sofisticação. David Bowie fez os vocais principais. Carlos Alomar tocou guitarra base. David Sanborn tocou sax alto. Mike Garson tocou clavinet. Willie Weeks tocou baixo. Andy Newmark tocou bateria. Larry Washington tocou conga. Luther Vandross, Robin Clark, Ava Cherry e Geoff MacCormack fizeram os backing vocals.

A letra:

Taking it all the right way
Keeping it in the back
Taking it all the right way
Never no turning back, never need no
Never no turning back

Flying just a sweet place
Coming inside and safe
Flying just a sweet place
Never been known to fail, never been no
Never been known to fail

Wishing you, wishing that sometimes
(Sometimes)
Doing it, doing it right, till one time
(One time)
Gets you when you're down
(Nobody, nobody, do it again, get off)
Ahh, sometimes
(Doing)
Wishing sometimes
(Give it back)

Up there, up there
(Giving it)
Oh, my darling
(No)
Ah, my darling
(Giving it)
Ah
(Up there)

Why?
(Gimme, gimme)
Up there
(Yeah)
Gimme
(Doing)

Taking with me
(Sometimes)
Loving it, doing it
(Right)
Till
(Take it)
One time, gimme
(Doing it)
Giving it
(Giving it back)

Taking it all the right way
(Taking it)
Keeping it in the back
(Hey, hey)
Taking it all the right way
Never no turning back
(Never, never, never, never)
Never need no, never no turning back

Taking it all the right way
Keeping it in the back
Taking it all the right way
Never no turning back
Never need no, never no turning back

Taking it all the right way
(Yeah)
Keeping it in the back
(Taking it)
Taking it all the right way
Never no turning back
(Never, never, never, never)
Never need no, never no turning back

Flying just a sweet place
Coming inside and safe
Flying just a sweet place
Never been known to fail
Never been no, never been known to fail

Taking it all the right way
(Taking it all the right way)
Keeping it in the back
(Keeping it in the back)
Taking it all the right way
(Taking it all the right way)
Never no turning back
(Never)
Never need no
(Never)
Never no turning back
(Never need no)
Never no turning back
(Never need no)

Never no turning back
(Never need no)
Never no turning back
(Never need no)
Never, never, never
(Never, never, never)
Never, never, never
(Never need no)
Never, never, never
(Never, never, never)

Never no turning back
(Never, never, never)
Never no turning back
(Oh no no)
Never no turning back
(Never, never, never)
Never no turning back
I never, I never, I never, I never
I never, I never, I never, I never
I never no turning back
(Never need no)
Never no turning back
(Never, never, never)

A versão de David Bowie:

1593 – Rainbow – The temple of the king (1975)

 

Escrita por Ritchie Blackmore e Ronnie James Dio, foi gravada entre fevereiro e março de 1975 e lançada no disco Ritchie Blackmore's Rainbow, o disco de estréia da banda, em 4 de agosto de 1975. Foi regravada pelos Scorpions, entre outros artistas. Ronnie James Dio cantou. Ritchie Blackmore tocou guitarra. Micky Lee Soule tocou piano, mellotron, clavinet e orgao. Craig Gruber tocou baixo e Gary Driscoll tocou bateria.

A letra:

One day in the year of the fox
Came a time remembered well
When the strong young man of the rising sun
Heard the tolling of the great black bell

One day in the year of the fox
When the bell began to ring
Meant the time had come for one to go
To the temple of the king

There in the middle of the circle he stands
Searching, seeking
With just one touch of his trembling hand
The answer will be found

Daylight waits while the old man sings
"Heaven, help me"
And then like the rush of a thousand wings
It shines upon the one
And the day had just begun

One day in the year of the fox
Came a time remembered well
When the strong young man of the rising sun
Heard the tolling of the great black bell

One day in the year of the fox
When the bell began to sing
It meant the time had come for the one to go
To the temple of the king

There in the middle of the people he stands
Seeing, feeling
With just a wave of a strong right hand he's gone
To the temple of the king

Far from the circle at the edge of the world
He's hoping, wondering
Thinking back from the stories he's heard
Of what he's gonna see

There in middle of the circle it lies
Heaven, help me
Then all could see by the shine in his eyes
The answer had been found

Back with the people in the circle he stands
Giving, feeling
With just one touch of a strong right hand, they know
Of the temple and the king

A versão do Rainbow:

A versão do Scorpions:

A versão de Axel Rudi Pell:

1592 – Emmylou Harris – Boulder to Birmingham (1975)

 

Escrita por Emmylou Harris e Bill Danoff, foi gravada em 1974 e lançada no segundo disco dela, chamado Pieces of the sky, em 7 de fevereiro de 1975. Fala do momento de luto que ela passava após a morte de seu mentor e estrela do country, Gram Parsons. Foi regravada pelos Hollies, Dolly Parton e Joan Baez, entre outros artistas.

A letra:

I don't want to hear a love song
I got on this airplane just to fly
And I know there's life below me
But all that you can show me is the prairie and the sky

And I don't want to hear a sad story
Full of heartbreak and desire
The last time I felt like this
I was in the wilderness and the canyon was on fire

And I stood on the mountain
In the night and I watched it burn
I watched it burn, I watched it burn

I would rock my soul in the bosom of Abraham
I would hold my life in his saving grace
I would walk all the way from Boulder to Birmingham
If I thought I could see, I could see your face

Well, you really got me this time
And the hardest part is knowing I'll survive
And I come to listen for the sound
Of the trucks as they move down out on 95

And pretend that it's the ocean
Coming down to wash me clean, to wash me clean
Baby, do you know what I mean?

I would rock my soul in the bosom of Abraham
I would hold my life in his saving grace
I would walk all the way from Boulder to Birmingham
If I thought I could see, I could see your face
If I thought I could see, I could see your face

Thank you

A versão de Emmylou Harris:

A versão de Dolly Parton:

A versão de Joan Baez: