Escrita
por Neil Young, foi gravada entre 16 de fevereiro e 7 de junho de
1976. Foi produzida por Don Gehman, Neil Young e Stephen Stills. Foi
lançada em 20 de setembro de 1976 no disco Long may you run. Stephen
Stills tocou piano acústico e guitarra. Neil Young cantou, tocou
piano acústico, sinterizador, guitarra e gaita. Jerry Aiello tocou
órgão e piano acústico. George Perry tocou baixo e fez backing
vocals. Joe Vitale tocou bateria, flauta e fez backing vocals. Joe
Lala tocou percussão e fez backing vocals.
A
letra:
It's
midnight on the bay Lights are shinin' And the sailboats
sway And that cool ocean breeze Blowin' down through the keys I
think I'll call it a day Oh, midnight on the bay Sure feels
good to me
What's this I see There's someone
comin' Walkin' right up to me She tells me, I know your
name And if it's all the same I'd like to spend some time And
midnight on the bay Sure feels good to me
And now it's midnight on the bay Lights
are shinin' on the sailboats that sway In the cool ocean
breeze Blowin' down through the keys I think I'll call it a
day Oh, midnight on the bay Sure feels good to me
Midnight, midnight, midnight,
midnight Midnight on the bay Midnight, midnight, midnight,
midnight Midnight on the bay Midnight, midnight, midnight,
midnight Midnight on the bay Midnight, midnight, midnight,
midnight Midnight on the bay
Escrita
por Bob Dylan e Jacques Levy, foi gravada em 30 de julho de 1975 e em
11 de agosto de 1975, nos estúdios da Columbia, em New York City.
Foi produzida por Don DeVito. Foi lançada em 5 de janeiro de 1976 no
disco Desire. Fala da vida e da morte do famoso mafioso americano
Joey Gallo, que foi assassinado no dia do seu aniversário, na
Umberto's Clam House, em Little Italy, em 7 de abril de 1972. Vitor
Ramil fez uma versão em Português, chamada Joquim, pro seu disco
Tango, de 1987.
A
letra:
Born
in Red Hook, Brooklyn, in the year of who knows when Opened up his
eyes to the tune of an accordion Always on the outside of whatever
side there was When they asked him why it had to be that way,
well, he answered, just because
Larry was the oldest, Joey was next to
last They called Joe Crazy, the baby they called Kid Blast Some
say they lived off gambling and runnin' numbers too It always
seemed they got caught between the mob and the men in blue
Joey, Joey King of the streets,
child of clay Joey, Joey What made them want to come and blow
you away
There was talk they killed their
rivals, but the truth was far from that No one ever knew for sure
where they were really at When they tried to strangle Larry, Joey
almost got hit the roof He went out that night to seek revenge,
thinkin' he was bulletproof
Then, the war broke out at the break of
dawn, it emptied out the streets Joey and his brothers suffered
terrible defeats Till they ventured out behind the lines and took
five prisoners They stashed them away in a basement, called them
amateurs
The hostages were tremblin' when they
heard a man exclaim Let's blow this place to kingdom come, let Con
Edison take the blame But Joey stepped up, he raised his hand,
said, we're not those kind of men It's peace and quiet that we
need to go back to work again
Joey, Joey King of the streets,
child of clay Joey, Joey What made them want to come and blow
you away
The police department hounded him, they
called him Mr. Smith They got him on conspiracy, they were never
sure who with What time is it? said the judge to Joey when they
met Five to ten, said Joey, the judge says, that's exactly what
you get
He did ten years in Attica, reading
Nietzsche and Wilhelm Reich They threw him in the hole one time
for tryin' to stop a strike His closest friends were black men
'cause they seemed to understand What it's like to be in society
with a shackle on your hand
They let him out in '71 he'd lost a
little weight But he dressed like Jimmy Cagney and I swear he did
look great He tried to find the way back into the life he left
behind To the boss he said, I have returned and now I want what's
mine
Joey, Joey King of the streets,
child of clay Joey, Joey What made them want to come and blow
you away
It was true that in his later years he
would not carry a gun I'm around too many children, he'd say, they
should never know of one Yet he walked right into the clubhouse of
his lifelong deadly foe Emptied out the register, said, tell 'em
it was Crazy Joe
One day they blew him down in a clam
bar in New York He could see it comin' through the door as he
lifted up his fork He pushed the table over to protect his
family Then he staggered out into the streets of Little Italy
Joey, Joey King of the streets,
child of clay Joey, Joey What made them want to come and blow
you away
Sister Jacqueline and Carmela and
mother Mary all did weep I heard his best friend Frankie say, he
ain't dead, he's just asleep Then I saw the old man's limousine
head back towards the grave I guess he had to say one last goodbye
to the son that he could not save
The sun turned cold over President
Street and the town of Brooklyn mourned They said a mass in the
old church near the house where he was born And someday if God's
in heaven overlookin' His preserve I know the men that shot him
down will get what they deserve
Joey, Joey King of the streets,
child of clay Joey, Joey What made them want to come and blow
you away
Escrita
por Lou Reed, foi gravada em 1976 e lançada no disco Rock and Roll
Heart, o sétimo da carreira solo dele, em outubro de 1976. Foi
produzida pelo próprio Lou Reed. Marty Fogel tocou sax, Michael
Fonfara tocou piano, órgão Hammond, clavinet e sintetizadores.
Bruce Yaw tocou baixo. Michael Suchorsky tocou bateria e Lou Reed
cantou, tocou piano e guitarra.
A
letra:
All
the sailors they're all home from leave And everybody's waiting
for them to try to deceive The storekeepers have drawn their lace
curtains bare And all the women and the wee young girls all
waiting there
Oh, but how the ladies pay Oh, if
they only knew how the ladies pay Yeah now, how the ladies pay Oh,
when the men they've gone away
Nobody is standing on upon the door And
nobody is feeding any of the poor The poor sick soldier lies in
bed beside his girl Thinking of another place on the other side of
the world Ah
How the ladies pay Oh-oh, oh, how
the ladies pay When the men they've gone away Oh, I wish I knew
how the ladies pay
Day and night, night and day How the
ladies pay Day and night, night and day How the ladies pay Day
and night Night and day Day and night Day and night, night
and day, ladies pay now
Night and day, day and night How the
ladies pay Day and night, night and day How the ladies pay Day
and night now Night and day and now How the pay now Oh, how
the pay now
Ladies pay, ladies pay Ah, ladies
pay the way now Ladies pay, ah, ladies pay Ah, ladies pay Night
and day, night and day, night and day Oh, how the ladies pay Oh,
night and day, night and day, night and day Oh, how the ladies pay
Escrita
por J. J. Cale, foi gravada em 1976 e lançada no disco Troubador, o
quarto da carreira de Cale, em Setembro de 1976. Foi produzida por
Audie Ashworth. Hey baby foi a música que abriu o disco. Saiu em
compacto também com Travelin' light como Lado A. J. J. Cale catou e
tocou guitarra. Charles Dungey tocou baixo. Karl Himmel tocou
bateria. Reggie Young tocou guitarra base. Doug Bartenfeld tocou
guitarra.
A
letra:
Hey
baby, it's your time now Hey baby, you made it somehow Don't
let nobody come and bring you down
Hey baby, you've got 'em on the run You
know, you've got 'em on the run I know you, you have just begun
When you came into my life, hmm My
love, thought I would die There's never been nobody like you You
take away these blues
Hey baby, you're looking real good You
know, you're looking real good You make the day a song like I knew
you would
When you came into my life Lord, I
thought I would die I never met nobody like you For telling my
troubles to
Hey baby, you're looking real good You
know, you're looking real good You make the day a song like I knew
you would
Escrita
por Bob Marley, foi gravada entra o final de 1975 e o começo de 1976
e lançada no disco Rastaman Vibration, em 30 de abril de 1976. Foi
produzida por Bob Marley and The Wailers. Bob Marley cantou. Earl
Smith tocou guitarra e percussão. Al Anderson tocou guitarra.
Carlton barrett tocou bateria. Aston Barrett tocou baixo. Tyrone
Downie tocou teclado. I Thress fizeram backing vocals.
A
letra:
The
sun shall not smite I by day, Nor the moon by night; And
everything that I do Shall be upfull and right. And if it's all
night, It got to be all right! If it's all night, Got to be
all right!
Your mamma won't lose this one; You're the lucky
one under the sun. If you make me move, Then you know you got
the groove: All night, it's all right! All night, yeah! It's
all right!
Working on a forklift In the night
shift; Working on a night shift, With the forklift, from
A.M. (Did you say that? Why did you say that?) to P.M. (Working
all night!) Working on a night shift, yeah! (Did you say that?
Why did you say that? Upfull and right!) Well, if it's (all
night!) - if it's (all right!) all night (all night!) -
Warehouse
(all right!), You're empty, yeah! Go around the corner, Bring
your goods! Go around the other corner, Bring your suitcases.
(All night!) By the sweat of my brow, (All right!) Eat your
bread! (All night!) By the sweat of my brow, (All right!) Eat
your bread!
All night (all night)! All right (all right)! All
night (all night)! All right (all right)! Oh, yeah! (moon by
night) Why did you say that? Oh, yeah! (Upfull and right!) Working
on a night shift With the forklift. (Moon by night!) Working on
the night shift, Oh, yeah! (Upfull and right!) [fadeout]
Escrita
por Al Stewart, foi gravada em janeiro de 1976 e lançada no disco
Year of the cat, o sétimo dele, em 17 de julho de 1976. Foi
produzida por Alan Parsons. Fala sobre um marinheiro do período
Elizabetiano, que viveu entre 1542 e 1591. Al Stewart cantou, tocou
guitarra e teclados. Tim Renwick tocou guitarra. Peter Wood tocou
teclado. Don Lobster tocou teclados. George Ford tocou baixo. Stuart
Elliott tocou bateria e percussão. Bobby Bruce tocou violino. Marion
Driscoll tocou triangulo. Phil Kenzie tocou sax alto. Graham Smith
tocou gaita. David Pack, John Perry, Tony Rivers e Stuart Calver
fizeram backing vocals.
A
letra:
Go
and tell Lord Grenville that the tide is on the turn It's time to
haul the anchor up and leave the land astern We'll be gone before
the dawn returns Like voices on the wind.
Go and tell Lord Grenville that our
dreams have run aground There's nothing here to keep us in this
shanty town None of us are caring where we're bound Like voices
on the wind
And come the day you'll hear them
saying "They're throwing it all away" Nothing more to
say Just throwing it all away
Go and fetch the captain's log and tear
the pages out We're on our way to nowhere now, can't bring the
helm about None of us are left in any doubt We won't be back
again
Send a message to the fleet, they'll
search for us in vain We won't be there among the reaches of the
Spanish Main Tell the ones we left home not to wait
We won't be back again. (Won't be
back again...)
And come the day you'll hear them
saying "They're throwing it all away" Nothing more to
say Just throwing it all away
Our time is just a point along a
line That runs forever with no end I never thought that we
would come to find Ourselves upon these rocks again Oh no...
Go and tell Lord Grenville that the
tide is on the turn
Escrita
por Neil Young, foi gravada entre 16 de feverero e 7 de junho de 1976
, no Criteria Studios em Miami, Flórida. Foi lançada no disco Long
may you run, em 20 de setembro de 1976. Foi produzida por Don Gehman,
Neil Young e Stephen Stills. Stephen Stills cantou, tocou piano
acústico e guitarra. Neil Young cantou, tocou piano acustico,
sintetizador, guitarra e gaita. Jerry Aiello tocou órgão e piano
acústico. George Perry tocou baixo e fez backing vocals. Joe Vitale
tocou bateria, flauta e fez backing vocals. Joe Lala tocou percussão
e fez backing vocals.
A
letra:
There's
a light on over my head, my Lord There's a light on over my head,
my Lord Let it shine, let it shine, although it may not be the
only one Let it shine, shine, shine, although it may not be the
only one
There's a moon roof over my head, my
Lord And my Lincoln is still the best thing built by Ford Let
it roll, let it roll, although it may not be the only one Let me
ride, ride, ride, ride, although I may not be the only one
I got religion in the airport, my
Lord They caught me waiting on my baggage when I was bored Let
them chant, let them chant, although they may not be the only one Let
them dance, dance, dance, although they may not be the only one
There's a light on over my head, my
Lord There's a light on over my head, let it shine Let it
shine, let it shine, although it may not be the only one Let me
shine, shine, shine, shine although I may not be the only one Oh
Lord, let me shine, shine, shine, although I may not be the only one
Escrita
por Bob Dylan e Jaques Levy, fo gravada em 30 de julho de 1975 e
lançada em 5 de janeiro de 1976 no disco Desire. Também foi lançada
em compacto, com Oh Sister como Lado B em 17 de fevereiro de 1976.
Foi produzida por Don DeVito. Chegou ao número 54 do Billboard Hot
100. em 1976, depois de uma guerra de dez anos com Portugal, o país
Moçambique finalmente conseguiu sua independencia, em 25 de junho de
1975. Um mês antes da canção ser gravada, mais ou menos. Queriam
letras de apoio à independencia, no entando a letra de Mozambique
saiu apenas como sendo um lugar de sol, bom pra uma fuga romantica,
ao invés de falar sobre um lugar onde o povo vivia livre, essas
coisas. A crítica gostou da melodia, como esperado por parte desses
esquerdistas de merda e não gostaram da letra.
A
letra:
I
like to spend some time in Mozambique The sunny sky is aqua
blue And all the couples dancing cheek to cheek It's very nice
to stay a week or two And maybe fall in love, just me and you
There's lots of pretty girls in
Mozambique And plenty time for good romance And everybody likes
to stop and speak To give the special one you seek a chance And
maybe say hello with just a glance
Lying next to her by the ocean Reaching
out and touching her hand Whispering your secret emotion Magic
in a magical land
And when it's time for leaving
Mozambique To say goodbye to sand and sea You turn around to
take a final peek And you see why it's so unique to be Among
the lovely people living free Upon the beach of sunny Mozambique
Escrita
por Waylon Jennings, foi gravada em março e abril de 1976, no Sound
Labs, em Hollywood, California e lançada em junho de 1976, no disco
Are you ready for the country? , o primeiro LP da carreira de Waylon
Jennings. Foi produzida pelo próprio Waylon Jennings e por Ken
Mansfield. Chegou ao número 7 dos charts Billboard country. Waylon
cantou e tocou guitarra. Carter Robertson, Gordon Payne e Rance Wasson
fizeram backing vocals. Duke Goff tocou baixo. Richie Albright tocou
bateria. Billy Graham tocou rabeca. Ralph Mooney tocou dobro e pedal
steel.
A
letra:
You're so good woman Lord you're just too good for me
The way I am is the way I'll always be
You know I'll run around all of my life
You could've done better cause you been a good wife
You're so good woman Lord you're just too good for me.
You're so good lookin' Lord you could've done better than me
You're so good lookin' no you could've done better than me
Look at them men lookin' you too while you're lookin' at me and I'm happy you do
You're so good lookin' Lord you could've done better than me, yeah.
Look at the man lookin' at you too
But you're lookin' at me Lord, I'm happy you do
You're so good lookin' Lord you could've done better than me
And you're so good woman you're just too good for me...
Escrita
por J.J. Cale, foi gravada em 1976 e lançada em setembro de 1976, no
disco Troubador, o quarto de sua carreira. Foi produzida por Audie
Ashworth. J.J. Cale tocou guitarra e cantou. Kenny Malone tocou
bateria. Doug Boatman tocou guitarra. Farrell Morris tocou percussão
e Vibraphone.
A
letra:
Cherry,
I'd like to love you Cherry, will you love me too Someday I
will take you away, That's all I want to do I'll love you
forever, Cherry Will you love me too Sweet as a morning
sunrise Fresh as a mountain dew
Someday I will love you Cherry, will
you love me too I need you forever, Cherry Will you need me
too I'll love you forever Cherry, Will you love me too Cherry,
will you love me too
Escrita
por Bob Marley mas creditada ao seu amigo de infância Vincent Ford
devido à brigas de Bob com gravadoras, foi gravada no final de 1975
até o começo de 1976 e lançada em 30 de abril de 1976 no disco
Rastaman vibration, o oitavo disco do artista. Foi produzida por Bob
Marley and The Wailers. Bob Marley cantou. Earl Smith tocou guitarra
e percussão. Al Anderson tocou guitarra. Carlton Barrett tocou
bateria. Aston Barrett tocou baixo. Jean Alain Roussel tocou órgão
Hammond. Tyrone Downie tocou teclado. I Threes fizeram backing
vocals.
A
letra:
Live
if you want to live
That's what we got to give! (I'n'I
vibration, yeah! Positive)
Got to have a good vibe! (Iyaman
Iration, yeah! Irie ites!) Wo-wo-ooh! (Positive vibration,
yeah! Positive!)
If you get down and you quarrel
everyday You're saying prayers to the devils, I say Wo-oh-ooh! Why
not help one another on the way? Make it much easier, yeah,
yeah (Just a little bit easier)
Say you just can't live that negative
way If you know what I mean Make way for the positive
day 'Cause it's news (new day) News and days
New time (new time), and if it's a new
feelin' (New feelin'), yeah! Said it's a new sign (new
sign) Oh, what a new day!
Jah love, Jah love (protect us) Jah
love, Jah love (protect us) Jah love, Jah love (protect us)
Pickin' up? Are you pickin' up
now? Pickin' up? Are you pickin' up now? Pickin' up? (Jah
love, Jah love) Are you pickin' (protect us!) up now? Pickin'
up? (Jah love, Jah love) Are you pickin' (protect us!) up
now? Pickin' up? (Jah love, Jah love) Are you pickin' (protect
us!) up now? Pickin' up? Are you pickin' up now? Pickin' up?
Escrita
por Al Stewart e Peter Wood, foi gravada em janeiro de 1976, nos
estúdios da Abbey Road, o mesmo dos Beatles. Foi lançada em julho
de 1976, no disco Year of the cat, assim como saiu em compacto com
Broadway Hotel como Lado B, também em julho de 1976. Foi produzida
por Alan Parsons. Chegou ao número 8 do Billboard Hot 100, número 3
no Canadá, número 6 na Holanda, número 9 na Bélgica, número 13
na Austrália, número 15 na Nova Zelândia e número 31 no Reino
Unido. E apesar de seu lugar mais alto no Billboard Hot 100 ser Time
passages, de 1978, Year of the cat continua a ser a canção mais
importante da carreira do artista, ainda hoje tocando bastante nas
rádios de clássic rock mundo afora. Trata-se de uma barrativa em
segunda pessoa, onde o protagonista, que é um turista, visita um
mercado exótico quando uma mulher vestida em seda o leva pra uma
aventura romantica. No dia seguinte, ele percebe que o onibus que ele
estava foi embora e ele resolve ficar onde está. O ano do gato no
Vietnam foi entre 11 de fevereiro de 1975 e janeiro de 1976, enquanto
na China era o ano do coelho nesse mesmo perído. Assim, a canção
foi escrita e gravada no ano do gato vietnamita. A canção é
conhecida por seus longos momentos apenas instrumentais. Dos 6
minutos e quarenta segundos, um pouco mais de 4 minutos é so
instrumental, com solos de cello, violino, piano, violão, guitarra,
sintetizador e sax. Tim Renwick toca os violões e guitarras e George
Ford toca baixo. Phil Kenzie toca o sax alto. Al Stewart canta, toca
guitarra base e teclado. Peter Wood toca teclados. Don Lobster toca
teclados. Stuart Elliott toca bateria e percussão. Bobby Bruce toca
violino. Marion Driscoll toca triangulo.
A
letra:
On
a morning from a Bogart movie In a country where they turn back
time You go strolling through the crowd like Peter
Lorre Contemplating a crime She comes out of the sun in a silk
dress running Like a watercolor in the rain Don't bother asking
for explanations She'll just tell you that she came In the year
of the cat
She doesn't give you time for
questions As she locks up your arm in hers And you follow 'till
your sense of which direction Completely disappears By the blue
tiled walls near the market stalls There's a hidden door she leads
you to These days, she says, I feel my life Just like a river
running through The year of the cat
While she looks at you so cooly And
her eyes shine like the moon in the sea She comes in incense and
patchouli So you take her, to find what's waiting inside The
year of the cat
Well morning comes and you're still
with her And the bus and the tourists are gone And you've
thrown away your choice you've lost your ticket So you have to
stay on But the drum-beat strains of the night remain In the
rhythm of the newborn day You know sometime you're bound to leave
her But for now you're going to stay In the year of the cat
Escrita
por Neil Young, foi gravada entre 6 de fevereiro de 1976 e 7 de junho
de 1976, no dia que eu completei um ano de idade. Foi lançada no
disco Long may you run, em 20 de setembro de 1976. Foi produzida por
Din Gehman, Stephen Stills e Neil Young. Stephen Stills tocou piano e
guitarra. Neil Young cantou, tocou piano, sintetizador, guitarra e
gaita. Jerry Aiello tocou orgao e piano. George Perry tocou baixo e
fez backing vocals. Joe Vitale tocou bateria, flauta e fez backing
vocals. Joe Lala tocou percussão e fez backing vocals.
A
letra:
Who
put the palm over my blond? Who put all the tar on the morning
sand? Who took everything from where it once was And put it
where it last was seen?
Fontainebleau, they painted it
green Fontainebleau, for the well-to-do At the Fontainebleau
There's a palace in the gravy That's
holding on and on and on Even after all the blue-haired ladies And
the wheelchairs are gone
I guess the reason I'm so scared of
it Is I stayed there once and I almost fit I left before I got
out of it People were drownin' in their own
Fontainebleau, was that
me? Fontainebleau, well, I guess I'll see Fontainebleau
Fontainebleau, where the surfer
works Fontainebleau, 'til the break of day Fontainebleau,
'cause it takes a shark Fontainebleau, to catch a wave at the
Fontainebleau
Escrita
por Bob Dylan, e Jacques Levy, foi gravada em 31 de julho de 1975 e
lançada em 5 de janeiro de 1976, no disco Desire. Foi produzida por
Don De Vito. Faz alusões ao Egito Antigo, inclusive Isis sendo o
nome de uma deusa egipcia. Bob Dylan disse se tratar de uma canção
sobre o casamento. Isis fala a lenda de um que casou com uma mulher
enigmatica (uma criança mística) chamada Isis. Fala da separação
do narrador com ela, sua aventura e seu retorno. O casamento
aconteceu em cinco de maio, mas pouco tempo depois do casamento, ele
não aguentou e foi embora. Cortou o cabelo e saiu pelo país
desconhecido. Entrou em uma lavanderia pra se lavar do passado.
Encontra um personagem escabroso que promete mundos e fundos e saem
em busca de um tesouro. O sujeito morre e não encontram nada. E
então ele decide voltar pra Isis. Ela pergunta se ele vai ficar
dessa vez, ele diz que se ela quiser, ele fica. Foi essa parceria
entre Bob Dylan e Jacques Levy que se desenvolveu em outras canções
e no disco Desire. Isis foi a primeira. Bob cantou e tocou piano e
gaita. Scarlet Rivera tocou violino. Rob Stoner tocou baixo. Howie
Wyeth tocou bateria. Foi regravada pelos White Stripes, entre outros
artistas.
A
letra:
I
married Isis on the fifth day of May But I could not hold on to
her very long So I cut off my hair and I rode straight away For
the wild unknown country where I could not go wrong
I came to a high place of darkness and
light The dividing line ran through the center of town I
hitched up my pony to a post on the right Went in to the laundry
to wash my clothes down
A man in the corner approached me for a
match I knew right away he was not ordinary He said, "Are
you lookin' for somethin' easy to catch?" I said, "I got
no money." He said, "That ain't necessary"
We set out that night for the cold in
the North I gave him my blanket, and he gave me his word I
said, "Where are we goin'?" He said we'd be back by the
fourth I said, "That's the best news that I've ever heard"
I was thinkin' about turquoise, I was
thinkin' about gold I was thinkin' about diamonds and the world's
biggest necklace As we rode through the canyons, through the
devilish cold I was thinkin' about Isis, how she thought I was so
reckless
How she told me that one day we would
meet up again And things would be different the next time we
wed If I only could hang on and just be her friend I still
can't remember all the best things she said
We came to the pyramids all embedded in
ice He said, "There's a body I'm tryin' to find If I carry
it out it'll bring a good price" 'Twas-a then that I knew
what he had on his mind
The wind it was howlin' and the snow
was outrageous We chopped through the night and we chopped through
the dawn When he died I was hopin' that it wasn't contagious But
I made up my mind that I had to go on
I broke into the tomb, but the casket
was empty There was no jewels, no nothin', I felt I'd been
had When I saw that my partner was just bein' friendly When I
took up his offer I must-a been mad
I picked up his body and I dragged him
inside Threw him down in the hole and I put back the cover I
said a quick prayer then I felt satisfied Then I rode back to find
Isis just to tell her I love her
She was there in the meadow where the
creek used to rise Blinded by sleep and in need of a bed I came
in from the East with the sun in my eyes I cursed her one time
then I rode on ahead
She said, "Where ya been?" I
said, "No place special" She said, "You look
different." I said, "Well, I guess" She said, "You
been gone." I said, "That's only natural" She said,
"You gonna stay?" I said, "If you want me to, yes"
Isis, oh, Isis, you're a mystical
child What drives me to you is what drives me insane I still
can remember the way that you smiled On the fifth day of May in
the drizzlin' rain
