Escrita
por Erfic Clapton e Rick Danko, foi gravada entre dezembro de 1975 e
maio de 1976, no Shangri-La Studios, em Malibu e no Village
Recorders, em Los Angeles. Foi lançada no disco No reason to cry, o
quarto disco de Eric Clapton, em 27 de agosto de 1976. Foi produzida
por Rob Fraboni. O Shangri-La studio era de propriedade da The Band.
Rick Danko, que escreveu All our past times com Eric, dividiu com ele
os vocais da gravação dessa canção. Ron Wood tocou guitarra, Rick
Danko tocou baixo. Richard Manuel tocou teclado, Robbie Robertson
tocou guitarra e Eric tocou guitarra e cantou.
A
letra:
I
don't want to be the one to say I'm sorry. I don't want to be the
one to take the blame. I don't want to be the one to throw it
over. I don't want to be the one to feel ashamed.
I don't want to be the one who thinks
of nothing. I don't want to be the one to tell you what you have
seen. After all this time, well I thought that you were mine. I
just want to be the one who would share this dream.
All our past times should be
forgotten. All our past times should be erased. I don't care
how much it costs; Cause I don't count the loss As long as I
can see your face again.
You don't have to tell me when you're
leaving, If it's half past one, if it's maybe four. It makes no
difference where you think you're going, But please remember not
to slam the door.
Yes, I don't care how much it
costs; You know I don't count the loss As long as I can see
your face again.
Escrita
por Bob Seger, foi gravada em 1976, no Muscle Shoals Sound Studio, em
Sheffield, Alabama e lançada em 22 de outubro de 1976, no disco
Night moves, o nono da carreira de Bob. Foi produzida pelo próprio
Bob Seger, em conjunto com os membros do Muscle Shoal Rhythm Section.
Sairia também em compacto com Jody girl no Lado B, em abril de 1977.
Chegou ao número 24 do Billboard Hot 100, e número 1 no Canadá. A
rua que ele cantou nessa música era Ann Street, perto da Main
Street, em Ann Arbor, Michigan, onde ele cresceu. Tinha um bar de
sinuca onde as meninas dançavam na janela e bandas de R&B
tocavam nos finais de semana. Bob cantou, Barry Beckett tocou
teclado, Pete Carr tocou guitarra solo e violão. Roger Hawkins tocou
bateria e percussão. David Hood tocou baixo e Jimmy Johnson tocou
guitarra ritmica.
A
letra:
I
remember standin' on the corner at midnight Tryin' to get my
courage up There was this long lovely dancer in a little club
downtown Loved to watch her do her stuff
Through the long lonely nights She
filled my sleep Her body softly swayin' To that smokey
beat Down on mainstreet Down on mainstreet
And the poolhalls, the hustlers, and
the losers Used to watch 'em through the glass Well I'd stand
outside at closin' time Just to watch her walk on past
Unlike all the other ladies She
looked so young and sweet As she made her alone down that empty
street Down on mainstreet Down on mainstreet Ooh
Sometimes even now When I'm feelin'
lonely and beat I drift back in time and I find my feet Down on
mainstreet Down on mainstreet
Down on mainstreet Down on
mainstreet Down on mainstreet Down on mainstreet
Escrita
por Glenn Frey e Don Henley, foi gravada entre março e outubro de
1976 e lançada em 8 de dezembro de 1976, no disco Hotel California,
o quinto disco da banda. Foi produzida por Bill Szymczyk. Sairia
também em compacto com Life in the fast lane como Lado A, em 3 de
maio de 1977. Fala do progresso que destrói lugares maravilhosos. É
uma das canções favoritas de Don Henley. Diz que a presença do
homem destrói a natureza. Frey disse que a canção é o opus de Don
Henley. Onde ele se superou na composição da letra. Foi gravada no
Criteria Studios, em Miami, Flórida. Mas como o Black Sabbath
gravava na sala ao lado, tiveram que regravar essa canção algumas
vezes, por causa do barulho que vazava através das paredes. Ela é
uma música que segue a mesma linha de Big Yellow Taxi, de Joni
Mitchell. A revista Rolling Stone disse que ela era a número 27 da
lista das melhores canções dos Eagles. Don Henley cantou, tocou
bateria e sintetizador. Glenn Frey tocou piano, violão e fez backing
vocals. Joe Walsh tocou guitarra, sintetizador e fez backing vocals.
Don Felder tocou Pedal steel guitar, guitarra e fez backing vocals.
Randy Meisner tocou baixo e fez backing vocals.
A
letra:
She
came from Providence One in Rhode Island Where the old world
shadows hang Heavy in the air She packed her hopes and
dreams Like a refugee Just as her father came across the sea
She heard about a place People were
smilin' They spoke about the red man's way And how they loved
the land
And they came from everywhere To the
Great Divide Seeking a place to stand Or a place to hide
Down in the crowded bars Out for a
good time Can't wait to tell you all What it's like up there
And they called it paradise I don't
know why Somebody laid the mountains low While the town got
high
Then the chilly winds blew down Across
the desert Through the canyons of the coast To the Malibu
Where the pretty people play Hungry
for power To light their neon way Give them things to do
Some rich men came and raped the
land Nobody caught 'em Put up a bunch of ugly boxes And
Jesus people bought 'em
And they called it paradise The
place to be They watched the hazy sun Sinking in the sea
You can leave it all behind Sail to
Lahaina Just like the missionaries did So many years ago
They even brought a neon sign "Jesus
is coming" Brought the white man's burden down Brought the
white man's reign
Who will provide the grand design? What
is yours and what is mine? 'Cause there is no more new frontier We
have got to make it here
We satisfy our endless needs And
justify our bloody deeds In the name of destiny And in the name
of God
And you can see them there On Sunday
morning Stand up and sing about What it's like up there
They call it paradise I don't know
why You call someplace paradise Kiss it goodbye
Escrita
por Tommy Ramone, foi gravada em janeiro de 1976 e lançada em 23 de
abril de 1976, no disco Ramones, o primeiro disco da banda. Sairia
depois em compacto, com California Sun como Lado B, em setembro de
1976. Foi produzida por Craig Leon e Tommy Ramone.
A
letra:
Hey,
little girl, I want to be your boyfriend Sweet little girl, I want
to be your boyfriend Do you love me, babe? What do you say? Do
you love me, babe? What can I say? Because I want to be your
boyfriend
Hey, little girl, I want to be your
boyfriend Sweet little girl, I want to be your boyfriend Uuu
uuu uuu uuu-au Because I want to be your boyfriend
Hey, little girl, I want to be your
boyfriend Sweet little girl, I want to be your boyfriend Do you
love me, babe? What do you say? Do you love me, babe? What
can I say? Because I want to be your boyfriend
Hey, little girl, I want to be your
boyfriend Sweet little girl, I want to be your boyfriend Hey,
little girl, I want to be your boyfriend
Escrita
por Freddie Mercury, foi gravada em 1976 e lançada no compacto que
tinha White man como Lado B, em 12 de novembro de 1976. Sairia também
no LP A day at the races, o quinto da banda, em 10 de dezembro de
1976. Foi produzida pelo Queen. Possui similaridades com Bohemian
Rhapsody, com harmonias complexas e solos de guitarra. No entanto, ao
invés de imitarem um coral inglês, a banda fez um coral gospel.
Chegou ao número 2 no Reino Unido e número 13 no Billboard Hot 100.
Número 1 na Holanda, número 2 na bëlgica, número 5 no Canadá,
número 6 na Irlanda, número 7 na África do Sul, número 10 na
Itália, número 15 na Áustralia, número 19 na Dinamarca, número
21 na Finlandia e Alemanha. Questiona o papel de Deus em uma vida sem
amor. Com técnicas de gravação, foram criadas camadas de 100 vozes
no couro, com Freddie Mercury, Brian May e Roger Taylor. John Deacon
não gravou pois alegou não ter voz boa o suficiente. A principal
inspiração pra Freddie compor essa canção foi Aretha Franklin.
Freddie Mercury cantou, tocou piano e fez backing vocals. Brian May
tocou guitarra e fez backing vocals. Roger Taylor tocou bateria e fez
backing vocals. John Deacon tocou baixo. Foi regravada por George
Michael com os outros integrantes do Queen em 1993.
A
letra:
Can
anybody find me somebody to love?
Ooh, each morning I get up I die a
little Can barely stand on my feet (Take a look at yourself)
Take a look in the mirror and cry (and cry) Lord, what you're
doing to me? (Yeah, yeah) I have spent all my years in believing
you But I just can't get no relief, Lord Somebody (somebody),
ooh, somebody (somebody) Can anybody find me somebody to love?
Yeah
I work hard (he works hard) every day
of my life I work 'til I ache my bones At the end (at the end
of the day) I take home my hard earned pay (goes home) All on
my own (goes home on his own) I get down (down) on my knees
(knees) And I start to pray (praise the Lord) 'Til the tears
run down from my eyes Lord, somebody (somebody), ooh,
somebody (Please) can anybody find me somebody to love?
Every day (every day), I try and I try
and I try But everybody wants to put me down They say I'm going
crazy They say I got a lot of water in my brain I got no common
sense (He's got) I got nobody left to believe in Yeah, yeah,
yeah, yeah
Ooh, Lord Ooh, somebody, ooh
(somebody) Anybody find me somebody to love? (Can anybody find
me someone to love)
Got no feel, I got no rhythm I just
keep losing my beat (you just keep losing and losing) I'm OK, I'm
alright (he's alright, he's alright) I ain't gonna face no defeat
(yeah, yeah) I just gotta get out of this prison cell One day
(someday) I'm gonna be free, Lord
Find me somebody to love Find me
somebody to love Find me somebody to love Find me somebody to
love Find me somebody to love (find me) Find me somebody to
love (find me, find) Find me somebody to love Find me somebody
to love, love, love (ooh, find me, find me) Find me somebody to
love (somebody to love) Find me somebody to love (ooh) Somebody,
somebody, somebody, somebody Somebody find me Somebody find me
somebody to love Can anybody find me somebody to love? (Find me
somebody to love) Ooh (Find me somebody to love) Find me
somebody, somebody (find me) Somebody, somebody to love (somebody
to love) Find me, find me, find me, find me, find me Ooh,
somebody to love (find me somebody to love) Ooh (find me somebody
to love) Find me, find me, find me somebody to love Anybody,
anywhere (find me) Anybody, find me somebody to love, love, love,
love, love (somebody to love) Find me, find me, find me love
Escrita
por Claude Lemesle, Pierre Delonoe, Joe Dassin e Jean Baudlot, foi
gravada em outubro de 1976 e lançada no disco Le jardin du
Luxemburg, no final de 1976. Sairia também em compacto em 1977 com
Le café des trois colombes como Lado B. Chegou ao número 1 na
França e número 50 na Bélgica.
A
letra:
À
toi À la façon que tu as d'être belle À la façon que tu as
d'être à moi À tes mots tendres un peu artificiels,
quelquefois À toi À la petite fille que tu étais À celle
que tu es encore souvent À ton passé, à tes secrets À tes
anciens princes charmants
À la vie, à l'amour À nos nuits,
à nos jours À l'éternel retour de la chance À l'enfant qui
viendra Qui nous ressemblera Qui sera à la fois toi et moi
À moi À la folie dont tu es la
raison À mes colères sans savoir pourquoi À mes silences et
à mes trahisons, quelquefois À moi Au temps que j'ai passé à
te chercher Aux qualités dont tu te moques bien Aux défauts
que je t'ai cachés À mes idées de baladin
À la vie, à l'amour À nos nuits,
à nos jours À l'éternel retour de la chance À l'enfant qui
viendra Qui nous ressemblera Qui sera à la fois toi et moi
À nous Aux souvenirs que nous
allons nous faire À l'avenir et au présent surtout À la
santé de cette vieille Terre Qui s'en fout À nous À nos
espoirs et à nos illusions À notre prochain premier
rendez-vous À la santé de ces millions d'amoureux qui sont comme
nous
À toi À la façon que tu as d'être
belle À la façon que tu as d'être à moi À tes mots tendres
un peu artificiels, quelquefois À toi À la petite fille que
tu étais À celle que tu es encore souvent À ton passé, à
tes secrets À tes anciens princes charmants À toi
Escrita
por Eric Clapton, foi gravada entre dezembro de 1975 e maio de 1976,
no Shangri-La Studios em Malibu e no Village Recorders, em Los
Angeles. Foi lançada em 27 de agosto de 1976 no disco No reason to
cry e sairia também em compacto, em outubro de 1976 com All our past
times como Lado B. Chegou ao número 24 no Billboard Hot 100, número
37 no Canadá e número 54 na Austrália.
A
letra:
As
I am strolling down the garden path, I saw a flower glowing in the
dark. It looked so pretty and it was unique; I had to bend down
just to have a peek.
Hello old friend, It's really good
to see you once again. Hello old friend, It's really good to
see you once again.
I saw you walking underneath the
stars; I couldn't stop 'cause I was in a car. I'm sure the
distance wouldn't be too far If I got out and walked to where you
are.
Hello old friend, It's really good
to see you once again. Hello old friend, It's really good to
see you once again.
An old man passed me on the street
today; I thought I knew him but I couldn't say. I stopped to
think if I could place his frame. When he tipped his hat I knew
his name.
Hello old friend, It's really good
to see you once again. Hello old friend, It's really good to
see you once again.
Hello old friend, It's really good
to see you once again. Hello old friend, It's really good to
see you once again.
Escrita
por Neil Young, foi gravada entre fevereiro e junho de 1976, no
Criteria Studios, em Miami e lançada em 20 de setembro de 1976 no
disco de mesmo nome. Foi produzida por Don Gehman, Neil Young e
Stephen Stills. Chegou ao número 71 no Reino Unido. Se trata de uma
eulogia de Neil para o seu primeiro carro, que ele apelidou de
“Mort”. Era um Buick Roadmasters Hearse 1948, que bateu as botas
em 1962, quando a transmissão estourou em Blind River, Ontario.
Stephen Stills tocou violão e piano acústico. Neil cantou, tocou
piano, sintetizador, guitarras e gaita. Jerry Aiello tocou orgao e
piano acustico. 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:
We've
been through some things together With trunks of memories still to
come We found things to do in stormy weather Long may you run
Long may you run Long may you
run Although these changes have come With your chrome heart
shining in the sun Long may you run
Well, it was back in blind river in
1962 When I last saw you alive But we missed that shift on the
long decline Long may you run
Long may you run Long may you
run Although these changes have come With your chrome heart
shining in the sun Long may you run (long may you run)
Maybe The Beach Boys have got you
now With those waves singing, "Caroline, no" Rollin'
down that empty ocean road Gettin' to the surf on time
Long may you run Long may you
run Although these changes have come With your chrome heart
shining in the sun Long may you run (long may you run)
Long may you run Long may you
run Although these changes have come With your chrome heart
shining in the sun Long may you run
Escrita
por Don Felder, Don Henley e Glenn Frey, foi gravada em 1976 e
lançada no disco Hotel California, em 8 de dezembro de 1976. Sairia
também em compacto em 22 de fevereiro de 1977, com Pretty maids all
in a row como Lado B. A revista Guitarist disse que o solo de Hote
California era o melhor solo de guitarra de todos os tenpos. Já na
Guitar Magazine foi a número 8 dos TOP 100 guitar solos. A Guitar
World disse que era a número 1 na lista das Best 12-string guitar
solos of all times. Ganhou o Grammy for the record of the year em
1978. Henley falou que a letra significava a vida de luxo em Los
Angeles e uma viagem da inocencia pra experiencia. Chegou ao número
1 no Billboard Hot 100 e número 1 no Canadá. Número 2 na França e
Suíça. Nümero 3 na Espanha. Número 5 na Nova Zelandia e Noruega.
Número 6 na Alemanha e Holanda. Número 8 no Reino Unido. Número 13
na Áustria e número 24 na Bélgica. A canção foi escrita como um
filme. Um cara que tá cansado de dirigir e entra em um hotel pra
passar a noite mas logo percebe que caiu em uma armadilha e que
jamais sairá dali. É o número 49 da lista da revista Rolling Stone
das 500 greatest songs of all time. É uma das 500 songs that shaped
rock and roll, do Rock and Roll Hall of Fame. Foi regravada pelos
Gipsy Kings, entre outros artistas. Don Felder tocou violão de 12
cordas, guitarra elétrica e fez backing vocals. Don Henley cantou,
tocou bateria e percussão. Glenn Frey tocou violão de 12 cordas e
fez backing vocals. Joe Walsh tocou guitarra e fez backing vocals.
Randy Meisner tocou baixo e fez backing vocals.
A
letra:
On
a dark desert highway Cool wind in my hair Warm smell of
colitas Rising up through the air Up ahead in the distance I
saw a shimmering light My head grew heavy and my sight grew dim I
had to stop for the night
There she stood in the doorway I
heard the mission bell And I was thinking to myself "This
could be Heaven or this could be Hell" Then she lit up a
candle And she showed me the way There were voices down the
corridor I thought I heard them say
Welcome to the Hotel California Such
a lovely place (such a lovely place) Such a lovely face Plenty
of room at the Hotel California Any time of year (any time of
year) You can find it here
Her mind is Tiffany-twisted She got
the Mercedes Benz She got a lot of pretty, pretty boys That she
calls friends How they dance in the courtyard Sweet summer
sweat Some dance to remember Some dance to forget
So I called up the Captain "Please
bring me my wine" He said, 'We haven't had that spirit
here Since 1969" And still those voices are calling from
far away Wake you up in the middle of the night Just to hear
them say
Welcome to the Hotel California Such
a lovely place (such a lovely place) Such a lovely face They
livin' it up at the Hotel California What a nice surprise (what a
nice surprise) Bring your alibis
Mirrors on the ceiling The pink
champagne on ice And she said, 'We are all just prisoners here Of
our own device" And in the master's chambers They gathered
for the feast They stab it with their steely knives But they
just can't kill the beast
Last thing I remember, I was Running
for the door I had to find the passage back To the place I was
before "Relax, " said the night man "We are
programmed to receive You can check out any time you like But
you can never leave"
Escrita
por Bob Seger, foi gravada em 1976 com a Silver Bullet Band em
Detroit e lançada no disco Night moves, o nono da carreira dele, em
22 de outubro de 1976. Bob Seger cantou e tocou guitarra. Drew Abbott
tocou guitarra. Robyn Robbins tocou piano e órgão. Alto Reed tocou
sax tenor, sax alto, sax barítono e flauta. Chris Campbell tocou
baixo. Charlie Allen Martin tocou bateria, pandeiro e maracas.
A
letra:
The
crowd without a face Begins to fill the space In the
arena Flashlights at his feet The lion from the street Awaits
the Christians A single strobe ignites the night
The smoke
begins to rise A sea of staring eyes Gaze on the sunburst His
weapon at his side He flashes it with pride Before his
legions Fires begin to rage And they engulf the stage All
right Bring on the night
He's in complete control He's
stepping proud and bold And everything he touches Turns to
gold He's got girls by the score He's got 'em screaming for
more But when they get too close He bars the door
He
makes his great escape Leaves them in his wake Without a
warning The ritual is done A night no longer young Fades
into morning The sun begins to rise As he begins to close his
eyes
Escrita
por J. J. Cale, foi gravada em 1976 e produzida por Audie Ashworth.
Foi lançada em Setembro de 1976 no disco Troubador, o quarto disco
da carreira de Cale. J. J. Cale cantou, tocou piano, orgão e
guitarra. Joe Osborn tocou baixo. Kenny Buttrey tocou bateria. Audie
Ashworth tocou percussão e Don Tweedy tocou ARP (Eletronic Wind
Instrument).
A
letra:
You
don't look like my baby And you don't feel quite the same You
don't touch quite like my woman But you got something I can't
explain
The way you wear your clothes drives me
crazy The way you walk around, just hanging 'round I can't
stand it, what you're doing You got something I can't live
without
The way you wear your clothes drives me
crazy The way you walk around, just hanging out I can't stand
it, what you're doing You got something I can't live without
Escrita
por Bob Marley mas creditada à Carlton Barrett (baterista dos
Wailers) e Allan Cole (jogador de futebol), ambos amigos de Bob, foi
gravada em 1976 e lançada no disco Rastaman Vibration, em 20 de
abril de 1976. A letra foi quase toda copiada de um discurso feito
pelo Imperador da Etiópia Haile Selassie I, na Assembleia Geral das
Nações Unidas em 4 de outubro de 1963. A música é um exemplo do
estilo “one-drop drumming”, que Barrett ajudou a desenvolver e
refinar, se não foi o inventor. Os dois acordes simples de guitarra
e melodia semi improvisada deu estilo de Marley às palavras de
Selassie. Bob Marley não achava que Selassie era apenas imperador da
Etiópia. Bob marley achava que Selassie era a reincarnação de
Deus, de Jah. Foi gravada no estudio Harry J. Em Kingston, Jamaica.
Aston Barrett tocou baixo Fender. Carlton Barrett tocou bateria. Earl
Smith tocou guitarra. Alvin Patterson tocou percussão. Tyrone Downie
tocou teclado. Marcia Griffiths, Judy Mowatt e Rita Marley ,
juntamente com o I Three fizeram os backing vocals. Foi produzida por
Bob Marley and The Wailers e foi mixada em Miami, no Criteria Studio.
Foi regravada por Sinead O'Connor em 1992, entre outros artistas.
A
letra:
Until
the philosophy which hold one race superior And another
inferior Is finally and permanently Discredited and
abandoned Everywhere is war Me say war
That until there no longer first class
and second class citizens of any nation Until the colour of a
man's skin is of no more significance than the colour of his eyes Me
say war
That until the basic human rights are
equally guaranteed to all Without regard to race Dis a war
That until that day, dream of lasting
peace, world citizenship Rule of international morality Will
remain in but a fleeting illusion to be pursued, but never
attained Now everywhere is war War
And until the ignoble and unhappy
regimes that hold our brothers in Angola In Mozambique, South
Africa Sub-human bondage have been toppled, utterly
destroyed Well, everywhere is war Me say war
War in the east War in the west War
up north War down south War, war
Rumours of war And until that day
the African continent will not know peace We Africans will fight,
we find it necessary And we know we shall win, as we are
confident In the victory
Of good over evil Good over evil,
yeah Good over evil Good over evil, yeah Good over evil Good
over evil, yeah
Escrita
por Al Stewart, foi gravada em janeiro de 1976. Foi produzida por
Alan Parsons e lançada em julho de 1976, no disco Year of the cat, o
sétimo disco da carreira de Al Stewart. Al cantou, tocou guitarra e
teclado. Tim Renwick tocou guitarra. Peter Wood tocou teclado. Don
Lobster tocou teclado. George Ford tocou baixo. Stuart Elliott tocou
bateria e percussão. Bobby Bruce tocou violino. Marion Driscoll
tocou triangulo. Phil Kenzie tocou sax alto. David Pack, John Perry,
Tony Rivers e Stuart Calver fizeram backing vocals. Graham Smith
tocou gaita.
A
letra:
You
always were a city kid though you were country raised And back in
some forgotten time we shared the cold north days But the simple
life was not your style, and you just had to escape So it's
goodbye to my lady of the islands
On Remembrance Day the bands all
played, the bells pealed through the park And you lay there by the
Do Not signs, and shamed them with your spark Now winter moans in
old men's bones as the day falls into dark So it's goodbye to my
lady of the islands
It was just like this behind the kisses
you so soon swept away I always knew that some day yo'd be bound
to just get pulled away
The summer sun beats on and on, the
shops swim in the heat And you're standing by the traffic signs
with taxis at your feet I know that in your city skin you're
feeling more complete So it's goodbye to my lady of the islands
No I never got the letters that you
said you'd send me So it's goodbye to my lady of the islands
