Escrita
por Rick Davis, foi gravada entre novembro de 1976 e janeiro de 1977,
no Caribou Ranch, em Nederland, Colorado e no Record Plant Studios,
em Los Angeles, California. Foi lançada em 3 de abril de 1977, no
disco Even in the quietest moments...o quinto disco da banda. Foi
produzida pela própria banda. Foi gravada somente por Rick Davis no
piano e voz. Foi gravada em apenas um take.
A
letra:
Took
a boat sunday, down by the sea It just felt so nice, you and me We
didn't have a problem or a care on earth And all around was
silence, everywhere
You are the reason I was born To be
with you through all seasons I'll always hear you when you call
We'll keep the love light
shining Through each night and day A lonely life behind me Oh,
what a change you've made
So down here, on the ocean We will
stay, we will stay, we will stay Been through a lot of
changes Turned a lot of pages When I took a boat on sunday
To know you as I know you now That
is all I need And we will get along somehow If we both believe
So down here, on the ocean We will
stay, we will stay, we will stay Been through a lot of
changes Turned a lot of pages When I took a boat on sunday
A
versão do Supertramp:
A
versão de Jorge Duhalde, Martina Perez e Javier Perez:
Escrita
por Eric Clapton, foi gravada em maio de 1977, no Olympic Studios, em
Londres e lançada no disco Slowhand, o quinto da carreira de
Clapton, em 27 de novembro de 1977. Foi produzida por Glyn Johns.
Eric queria gravar com Glyn Johns, pois o mesmo era o produtos dos
Stones e dos Eagles e ele gostava do trabalho dele. Eric Clapton
cantou, fez backing vocals e tocou guitarra solo. George Terry tocou
guitarra solo e guitarra ritmica. Carl Radle tocou baixo. Dick Sims
tocou orgão. Jamie Oldaker tocou bateria e percussão. Yvonne
Elliman e Marcy Levy fizeram backing vocals.
A
letra:
She's
got everything a man could ever ask for She is lovely, brighter
than a morning star She is so beautiful, portrait of a sunset She
got everything, including my old car
Next time you see her, tell her that I
love her Next time you see her, tell her that I care Next time
you see her, tell her that I love her Next time I see you, boy
you'd better beware
I'm just trying to warn you that you're
bound to get hurt I couldn't be her last love, so how could you be
her first? I want to tell you, buddy, things are bound to get
rough I know that she's only flirting, but I think that I've had
enough
Next time you see her, tell her that I
love her Next time you see her, tell her that I care Next time
you see her, tell her that I love her Next time I see you, boy
you'd better beware
If you see her again, I will surely
kill you And if you see her again, I will surely kill you Next
time you see her, tell her that I love her Next time you see her,
tell her that I care Next time you see her, tell her that I love
her Next time I see you, boy you'd better beware
If you see her again, I will surely
kill you And if you see her again, I will surely kill you Next
time you see her, tell her that I love her Next time you see her,
tell her that I care Next time you see her, tell her that I love
her Next time I see you, boy you'd better beware
Escrita
por Elvis Costello, foi gravada em 1977 e lançada em 21 de maio de
1977 no compacto que tinha Welcome to the working week como Lado B.
Sairia também no disco My aim is true, o disco de estréia de Elvis
Costello. Foi produzida por Nick Lowe. Costello disse que foi escrita
pra uma garota que ele viu trabalhando em um supermercado. Nunca
entrou em nenhum chart mas se tornou uma das canções mais
conhecidas dele. Linda Ronstadt gravou uma versão em 1979. Foi
gravada antes da banda The Attractions ser formada. Ela foi gravada
com uma banda chamada Clover. Costello disse também que a canção
era sobre desapontar alguém. Costello e Billie Joe Armstrong, do
Green Day, tocaram Alison ao vivo em 2006, na VH1. A revista Rolling
Stone colocou-a como número 318 da sua lista das 500 greatest songs
of all time.
A
letra:
Oh
it's so funny to be seeing you after so long, girl. And with the
way you look I understand That you are not impressed. But I
heard you let that little friend of mine Take off your party
dress. I'm not going to get too sentimental Like those other
sticky valentines, Cause I don't know if you've been loving
somebody. I only know it isn't mine.
Alison, I know this world is killing
you. Oh, Alison, my aim is true.
Well I see you've got a husband
now. Did he leave your pretty fingers lying In the wedding
cake? You used to hold him right in your hand. I'll bet he took
all he could take. Sometimes I wish that I could stop you from
talking When I hear the silly things that you say. I think
somebody better put out the big light, Cause I can't stand to see
you this way.
Alison, I know this world is killing
you. Oh, Alison, my aim is true. My aim is true.
A
versão de Elvis Costello:
A
versão de Billie Joe Armstrong e Elvis Costello:
Escrita
por Billy Joel, foi gravada entre julho e agosto de 1977, no A&R
Recordings, em New York City. Foi lançada em 29 de setembro de 1977,
no disco The Stranger, o quinto disco da carreira de Billy Joel. Foi
produzida por Phil Ramone. Apesar de nunca ter saído em compacto, é
uma das canções mais populares de Billy. É a canção de número
324 da lista da revista Rolling Stone das 500 greatest songs of all
time. A canção é uma junção de três partes. A primeira, começa
com um piano com uma balada melódica, em primeira pessoa, descreve a
cena de dois antigos colegas de classe se reunindo em um restaurate
italiano. Aí entra uma parte rápida de jazz e os colegas de classe
começam a falar de outras pessoas. Temos solos de clarinete,
trombone, tuba e sax e chegamos então na parte de rock and roll.
Essa parte fala, em terceira pessoa, de um casal do high school que
eram considerado “O casal mais top”, e que casaram e logo logo se
divorciaram. A canção começa a ficar devagar novamente e um
personagem fala pro outro “I'll meet anytime you want, at our
italian restaurant”. Essa é a canção preferida do próprio Billy
Joel. Billy Joel cantou, fez backing vocals e tocou piano. Dominic
Cortese tocou sanfona. Steve Burgh tocou guitarra solo. Hugh
McCracken tocou violão. Doug Stegmeyer tocou baixo. Liberty De Vitto
tocou bateria e Richie Cannata tocou sax, flauta e clarinete.
A
letra:
A
bottle of white, a bottle of red Perhaps a bottle of rose
instead We'll get a table near the street In our old familiar
place You and I, face to face
A bottle of red, a bottle of white It
all depends upon your appetite I'll meet you any time you want In
our Italian Restaurant
Things are okay with me these days Got
a good job, got a good office Got a new wife, got a new life And
the family's fine We lost touch long ago You lost weight I did
not know You could ever look so nice after So much time
Do you remember those days hanging
out At the village green Engineer boots, leather jackets And
tight blue jeans Drop a dime in the box play the Song about New
Orleans Cold beer, hot lights My sweet romantic teenage nights
Brenda and Eddie were the Popular
steadys And the king and the queen Of the prom Riding around
with the car top Down and the radio on Nobody looked any
finer Or was more of a hit at the Parkway Diner We never
knew we could want more Than that out of life Surely Brenda and
Eddie would Always know how to survive
Brenda and Eddie were still
going Steady in the summer of '75 When they decided the
marriage would Be at the end of July Everyone said they were
crazy Brenda you know you're much too lazy Eddie could never
afford to live that Kind of life But there we were wavin'
Brenda and Eddie goodbye
They got an apartment with deep Pile
carpet And a couple of paintings from Sears A big waterbed that
they bought With the bread They had saved for a couple Of
years They started to fight when the Money got tight And
they just didn't count on The tears
They lived for a while in a Very
nice style But it's always the same in the end They got a
divorce as a matter Of course And they parted the closest Of
friends Then the king and the queen went Back to the green But
you can never go back There again
Brenda and Eddie had had it Already
by the summer of '75 From the high to the low to The end of the
show For the rest of their lives They couldn't go back to The
greasers The best they could do was Pick up the pieces We
always knew they would both Find a way to get by That's all I
heard about Brenda and Eddie Can't tell you more than I Told
you already And here we are wavin' Brenda And Eddie goodbye
A bottle of red, a bottle of
white Whatever kind of mood you're in tonight I'll meet you
anytime you want In our Italian Restaurant
Escrita
por Bob Marley, foi gravada em 1977 e lançada no disco Exodus, em 3
de junho de 1977. Foi produzida por Bob Marley and The Wailers. Foi
regravada por Lauryn Hill em dueto com Bob Marley, além de Colbie
Caillat, entre outros artistas.
A
letra:
Uh,
turn your lights down low And pull your window curtain (yeah) Oh,
let Jah moon come shining in Into our life again Sayin', "Ooh,
it's been a long, long time" (Long, long time) I got this
message for you, girl But it seems I was never on time Still I
wanna get through to you, girly On time, on time (word) I want
to give you some love I want to give you some good, good
lovin' (Uh, uh, uh) Oh I, oh I, oh I Yeah, I want to give
you some good, good lovin' (uh)
Turn your lights down low (Word,
w-word, uh) Never ever try to resist, oh no (Na, na, na) Oh,
let your love come shinin' in (Na, na, na) Into our lives
again (Na, na, na) Saying ooh, I love you (I love you, I
love you) And I want you to know right now (Know right
now) Ooh, I love you (Uh-uh, yeah, uh) And I want you to
know right now (uh) That I, that I (na, na, na) I wanna give
you some love (uh, yeah, I) I wanna give you some good, good
lovin' (good, good) Oh I, oh I, oh I I wanna give you some
good, good lovin' (yeah uh-uh)
Loving you is a like a song I replay
(loving you is easy 'cause you're beautiful) Every three minutes
and thirty seconds of every day (uh, uh) And every chorus was
written for us to recite (right) Every beautiful melody of
devotion every night This potion might, this ocean might, carry
me In a wave of emotion to ask you to marry me And every word,
every second, and every third Expresses the happiness more clearly
than ever heard (uh) And when I play 'em, every chord is a
poem Tellin' the Lord how grateful I am because I know him (what?
word) The harmonies possess a sensation similar to your caress
(uh) If you askin' then I'm tellin' you it's yes (yes, yes) Stand
in love, take my hand in love, Jah bless (right)
I want to give you some good, good
lovin' (yeah)
Turn your lights down low (right, right
now) And pull your window curtain (I said, right, right now) And
let Jah love come tumbling in (right, right now) Into our lives
again (uh, uh, said, right, right now) Sayin' (sayin' ooh) Ooh,
it's been a long, long time (yeah) I got this message for you,
boy But it seems I was never on time Still I wanna get through
to you, boy On time (right, right now), on time (said right, right
now, uh) I want to give you some love (wha-what, yeah,
wha-what?) Oh, how I I want to give you some good, good lovin'
(can you hear me?) Oh I, oh I, oh I (uh, uh, yeah, it's like) I
want to give you some good, good lovin' (uh)
Yeah, it's like You, you, you, you,
you (yeah, yeah, yeah) I want to give you some good, good lovin'
(good, good) Oh I, oh I (uh, yeah-yeah, right, right now) I
wanna give you some good, good lovin' (yo, yo, uh, right right now)
I wanna, I wanna, I wanna, I wanna, I
wanna Ooh, ooh, ooh, ooh Ooh, ooh yeah What, what, what
(feels so good)
Please, don't forget passionate Babies
in the bassinet You call, we be ready Ha ha, Ma steady (feels
so good) Yes, yes Baby love (it feels so)
Escrita
por Geddy Lee, foi gravada em fevereiro de 1976 e lançada em 1 de
abril de 1976 no disco 2112, o quarto da banda. Foi produzida pela
banda e Terry Brown. É a primeira música do Rush a ter um
Melllotron, que foi tocado po Hugh Syne. Foi regravada pelo Alice in
The Chains.
A
letra:
All
of the seasons And all of the days All of the reasons Why
I've felt this way
So long So long
Then lost in that feeling I looked
in your eyes I noticed emotion And that you had cried
For me I can see
What would touch me deeper Tears
that fall from eyes That only cry? Would it touch you
deeper Than tears that fall from eyes That know why?
A lifetime of questions Tears on
your cheek I tasted the answers And my body was weak
For you The truth
What would touch me deeper Tears
that fall from eyes That only cry? Would it touch you
deeper Than tears that fall from eyes That know why?
Escrita
por Beasley Smith e Haven Gillispie, foi lançada por Frankie Laine
inicialmente em 1946. A nossa versão no entanto é a versão do bom
e velho Willie Nelson, que foi gravada em 1975 no Autumn Golden
Studios, em Garland, Texas e foi lançada no seu disco The sound in
your mind, o décimo nono de sua carreira, em fevereiro de 1976. Foi
produzida pelo próprio Willie Nelson. Serie regravada também por
Frank Sinatra, Louis Armstrong, Pat Boone, Jerry Lee Lewis, Bobby
Darin, Sam Cooke, Ray Charles, Aretha Franklin, Tom Jones, Righteous
Brothers, George Benson, Big Mama Thornton, Jerry Garcia, Johnny
Cash, K.D. Lang, Brian Wilson, Chris Isaak, Bob Dylan, Solomon Burke,
entre outros artistas.
A
letra:
Up
in the morning out on my job work like a devil for my pay And that
lucky old sun ain't got nothing to do but roll around heaven all
day Fuss with my woman toil with my kids sweat till I'm wrinkled
and gray But that lucky old sun ain't got nothing to do but roll
around heaven all day Lord above can't you see I'm cryin' tears
are in my eyes Sendin' down my cloud with that silvery linin' take
me to paradise Show me that river lead me across take all my
troubles away Like that lucky old sun I have nothing to do but
roll around heaven all day Like that lucky old sun I have nothing
to do but roll around heaven all day
Escrita
por George Harrison, foi inicialmente gravada por Ringo no Cherokee
Studios, em Los Angeles e lançada por ele em 17 de setembro de 1976,
no disco Ringo's Rotogravure, o seu primeiro disco pela Atlantic
Records. Arif Mardin foi o produtor. Foi escrita em 1970 e George
queria dar pra cantora gaulesa Shirley Bassey. George também chegou
a gravar pro disco Allthings must pass, mas decidiu não incluí-la.
George também tentou gravar cm Ronnie Spector e com Cilla Black, mas
não ficou satisfeito. Ringo cantou e tocou bateria. Lon Van Eaton
tocou guitarra. Jane Getz tocou piano. Arif Mardin tocou Sintetizador
ARP de cordas. Klaus Voorman tocou baixo. Jim Keltner tocou a outra
bateria. David Lasley fez backing vocals.
A
letra:
When
ev'ry song is sung, When ev'ry bell's been rung, When ev'ry
picture's hung, I'll still love you.
When ev'ry wind has
blown, When ev'ry seed is sown, When ev'rything is known, Then
i'll still love you.
You know that i'll love you, Yes, i
will. You know i'll love you, love you, love you, Always will,
until
When ev'ry soul is free, When ev'ry eye can see, When
people all agree, Then i'll still love you.
You know i'll
love you, Yes, i do. When times gets so hard, you know, I'll
be there loving you.
You know i'll love you, Yes, i
will. Yes i'm gonna hold you, need you, love you, Always will,
love you still.
When ev'ry note's been sung, When ev'ry
bell's been rung, When ev'ry picture's hung, I'll still love
you.
Escrita
por Townes Van Zandt, foi gravada por ele e lançada em 1972. Mas a
nossa versão não é a dele e sim a de Emmylou Harris, que foi
gravada em 1976 e lançada no quarto disco dela, chamado Luxury
Liner, em 28 de dezembro de 1976. O cover que ela fez foi o primeiro
cover dessa canção, que é a mais conhecida de Townes Van Zandt.
Foi produzida por Brian Ahern. Seria regravada também em dueto por
Willie Nelson e Merle Haggard, em 1983. Essa versão da dupla foi a
versão mais vendida e que chegou ao número 1 do Billboard Country.
Willie Nelson conheceu a música através da gravação de Emmylou e
não de Townes. Lefty é um jovem inquieto que vai buscar sua fortuna
no México, deixando sua mãe pra trás. Pancho era um bandido
mexicano, que foi morto pela polícia, traído por seu amigo Lefty.
Ele então usa o dinheiro pra voltar pra Ohio e encontrar seus amigos
e família, mas eles não estão mais lá e ele fica velho vivendo em
hotéis baratos. Western Writers of America escolheram-a como a
décima sétima melhor canção de country de todos os tempos. A
revista Rolling Stone colocou-a como número 41 da lista das 100
greatest country songs of all time. E a mesma revista disse que a
canção era a número 498 da revista Rolling Stone das 500 greatest
songs of all time.
A
letra:
Livin'
on the road my friend Was gonna keep you free and clean Now
you wear skin like iron And your breath's as hard as kerosene
You weren't your mama's only boy But her favorite one it
seems She began to cry when you said goodbye And sank into
your dreams
Pancho was a bandit, boys His horse
was fast as polished steel Wore his gun outside his pants For
all the honest world to feel Well, Pancho met his match you know
On the deserts down in Mexico And nobody heard his dyin'
words Ah but that's the way it goes
All the Federales say Could of had
him any day Only let him any day Hang around Out of
kindness I suppose
Lefty, he can't sing the blues All
night long like he used to The dust that Pancho bit down south
Ended up in Lefty's mouth The day they laid poor Pancho low
Lefty split for Ohio Where he got the bread to gop There
ain't nobody knows
Well, the poets tell how Pancho fell
And Lefty's livin' in a cheap hotel The dessert's quiet and
Cleveland's cold So the story end's, we're told Pancho needs
your prayer's it's true But save a few for Lefty too He just
did what he had to do And now he's growin' old A few gray
Federales say Could have had him any day Only let him go so
long Out of kindness I suppose
Escrita
por Billy Joel, foi gravada entre o verão de 1975 e janeiro de 1976
e foi lançada em 19 de maio de 1976 no disco Turnstiles, o quarto
disco da carreira de Billy. Foi produzida pelo próprio Billy Joel.
James é referente à varios tipos de pessoas que ele conheceu na
vida real e o personagem James é um conjunto dessas pessoas. Billy
Joel cantou e tocou piano acústico, piano elétrico, sintetizador
Moog, clavinet e orgão. Howie Emerson tocou guitarra e violão.
Russel Javors tocou guitarra e violão. James Smith tocou violão.
Doug Stegmeyer tocou baixo. Liberty DeVitto tocou bateria. Mingo
Lewis tocou percussão e Richie Cannata tocou sax e clarinete.
A
letra:
James,
we were always friends, From our childhood days And we made our
plans, And we had to go our separate ways. I went on the
road- You pursued an education.
James, do you like your life, Can
you find release, And will you ever change- Will you ever write
your masterpiece. Are you still in school- Living up to
expectations, James
You were so relied upon, everybody
knows how hard you tried- Hey, just look at what a job you've
done, Carrying the weight of family pride. James, you've been
well behaved, You've been working so hard But will you always
stay, Someone else's dream of who you are. Do what's good for
you, or you're not good for anybody, James.
I went on the road, You pursued an
education, James How you gonna know for sure, everything was so
well organized. Hey, now everything is so secure, And everybody
else is satisfied.
James, do you like your life, Can
you find release And will you ever change, When will you write
your masterpiece. Do what's good for you, or you're not good for
anybody, James.
Escrita
por Allen Collins e Ronnie Van Zant, foi gravada em novembro de 1975,
no Capricorn Studios, em Maicon, Georgia. Foi lançada no disco Gimme
back my bullets, o quarto disco da banda, em 2 de fevereiro de 1976.
Foi produzida por Tom Dowd. Ronnie Van Zant cantou, Gary Rossington
tocou gitarra, Allen Collins tocou guitarra, Leon Wilkeson tocou
baixo e fez backing vocals, Artimus Pyle tocou bateria e percussão e
Billy Powell tocou teclado e Barry Lee Harwood tocou dobro e
bandolim.
A
letra:
Well
this life that I live took me everywhere There ain't no place I
ain't never gone Well it's kind of like the sayin That you
heard so many times Well there just ain't no place like home
Did you ever see a she-gator protect
her youngin' Or fish in a river swimmin' free Did you ever see
the beauty of the hills of Carolina Or the sweetness of the grass
in Tennessee
And Lord I can't make any changes All
I can do is write 'em in a song 'Cause if I can seen the concrete
a slowly creepin' Lord take me and mine before that comes
Like to see a mountain stream a
flowin' Do ya like to see a youngin' with his dog Did ya ever
stop and think about Well the air your breathin' Well ya better
listen to my song
And Lord I can't make any changes All
I can do is write 'em in a song 'Cause when I can see the concrete
a slowly creepin' Lord take me and mine before that comes
I'm not tryin' to put down no big
city But the things they write about us is just a bore Well you
can take a boy out of ole' Dixieland, Lord But you'll never take
ole' Dixie from a boy
And Lord I can't make any changes All
I can do is write 'em in a song 'Cause when I can see the concrete
a slowly creepin' Lord take me and mine before that comes
If I can see the concrete a slowly
creepin' Lord take me and mine before that comes
Escrita
por Bob Ezrin, Stan Penridge e Peter Criss, foi gravada em 1976, no
Record Plant, em New York City e lançada em 15 de março de 1976 no
disco Destroyer, o quarto disco da banda. Sairia também em compacto,
com Detroit rock city como Lado B. Foi produzida por Bob Ezrin. Beth
foi o maior sucesso comercial do Kiss nos Estados Unidos, chegando ao
número 7 do Billboard Hot 100. VH1, em 2003, colocou Beth como
número 3 das 25 greatest power ballads. Foi escrita pra tirar onda
com Becky, a esposa de outro membro da banda Chelsea, Mike Brand.
Chelsea era a banda que Stan e Peter estavam antes do Kiss. A
história é que ela vivia ligando pra saber que horas o marido iria
embora e virou piada. Ezrin trouxe a Filarmonica de Nova York pra
gravação de Beth. O guitrrista Ace Frehley não participou da
gravação pois estava em um campeonato de poker com os amigos. Ezrin
então trouxe Dick Wagner pra tocar em seu lugar, Chegou ao número 5
no Canadá e número 79 na Austrália. Peter Criss cantou. Bob Ezrin
tocou piano. Dick Wagner tocou violão, além da New York
Phillarmonic que foi a orquestra.
A
letra:
Beth,
I hear you calling But I can't come home right now Me and the
boys are playing And we just can't find the sound
Just a few more hours And I'll be
right home to you I think I hear them calling
Oh, Beth, what can I do? Beth, what
can I do?
You say you feel so empty That our
house just ain't a home That I'm always somewhere else And
you're always there alone
Just a few more hours And I'll be
right home to you I think I hear them calling
Oh, Beth, what can I do? Beth, what
can I do?
Beth, I know you're lonely And I
hope you'll be alright 'Cause me and the boys will be playing All
night... Ah-aah...
Escrita
por Joni Mitchell, foi gravada em 1976 e lançada em novembro de
1976, no disco Hejira. Sairia depois em 1977 em compacto, com Blue
Motel room como Lado B. Foi produzida por Henry Lewi e Joni Mitchell.
Foi inspirada em Sham Shepard, que era casado e que Joni teve uma
rápida ligação durante a turnê de Bob Dylan de 1975-1976 chamada
Rolling Thunder Revue. No documentário de Martin Scorcese sobre essa
turnê tem uma filmagem de Joni tocando essa música na casa de
Gordon Lightfoot, com Bob Dylan e Roger McGuinn acompanhando-a nos
violões. McGuinn antes dela cantar disse: “Joni compôs essa
música sobre essa turnê, durante esse turnê e para essa turnê”.
É uma canção sobre uma trepada. Bay of Fundy era um cottage que
Sam Shepard tinha em West Advocate, Nova Scotia, Canadá. Baljennie é
em Saskatchewan, onde Joni Mitchell cresceu. Chegou ao número 79 no
Canadá. Joni Mitchell tocou violão e guitarra e cantou. Jaco
Pastorius tocou baixo e Bobbye Hall tocou percussão.
A
letra:
No
regrets, coyote We just come from such different sets of
circumstance I'm up all night in the studios And you're up
early on your ranch You'll be brushing out a brood mare's
tail While the sun is ascending And I'll just be getting home
with my reel to reel There's no comprehending Just how close to
the bone and the skin and the eyes And the lips you can get And
still feel so alone And still feel related Like stations in
some relay You're not a hit and run driver, no, no Racing
away You just picked up a hitcher A prisoner of the white lines
on the freeway
We saw a farmhouse burning down In
the middle of nowhere In the middle of the night And we rolled
right past that tragedy 'Til we turned down to some road house
lights Where a local band was playing Locals were up kicking
and shaking on the floor And the next thing I know That
coyote's at my door He pins me in a corner and he won't take no He
drags me out on the dance floor And we're dancing close and
slow Now he's got a woman at home He's got another woman down
the hall He seems to want me anyway Why'd you have to get so
drunk And lead me on that way You just picked up a hitcher A
prisoner of the white lines on the freeway
I looked a coyote right in the face On
the road to Baljennie, near my old home town He went running thru
the whisker wheat Chasing some prize down And a hawk was
playing with him Coyote was jumping straight up and making
passes He had those same eyes just like yours Under your dark
glasses Privately probing the public rooms And peeking through
keyholes in numbered doors Where the players lick their wounds And
take their temporary lovers And their pills and powders To get
them through this passion play No regrets, coyote I just get
off up aways You just picked up a hitcher A prisoner of the
white lines on the freeway
Coyote's in the coffee shop He's
staring a hole in his scrambled eggs He picks up my scent on his
fingers While he's watching the waitresses' legs He's too far
from the Bay of Fundy From appaloosas and eagles and tides And
the air conditioned cubicles And the carbon ribbon rides Are
spelling it out so clear Either he's going to have to stand and
fight Or take off out of here I tried to run away myself To
run away and wrestle with my ego With this, this flame You put
here in this Eskimo In this hitcher In this prisoner Of the
fine white lines Of the white lines on the free, freeway
Escrita
por John Sebastian, foi gravada em 1976 e lançada em compacto em
março de 1976, com Warm baby como Lado B. Sairia também no disco de
mesmo nome, em 19 de abril de 1976. Foi produzida por Steve Barri e
John Sebastian. Foi o tema de uma série de TV americana dos anos
70s, o sitcom Welcome back, Kotter, que tinha John Travolta como
estrela que estava em alta. A gravação de Welcome back chegou ao
número 1 do Billboard Hot 100. Foi encomendada pelo produtor da
série Alan Sachs para John Sebastian escrever uma canção do tipo
da sua ex-banda The Lovin' Spoonful e assim foi feita. Chegou também
ao número 1 no Canadá e número 24 na Austrália.
A
letra:
Welcome
back Your dreams were your ticket out Welcome back To that
same old place that you laughed about
Well, the names have all changed Since
you hung around But those dreams have remained And they've
turned around
Who'd have thought they'd lead
you (Who'd have thought they'd lead you) Back here where we
need you? (Back here where we need you?)
Yeah, we tease him a lot 'Cause we
got him on the spot Welcome back
Welcome back, welcome back, welcome
back Welcome back, welcome back
Welcome back We always could spot a
friend Welcome back And I smile when I think how you must have
been
And I know what a scene You were
learnin' in Was there somethin' that Made you come back again?
And what could ever lead you (What
could ever lead you) Back here where we need you? (Back here
where we need you?)
Yeah, we tease him a lot 'Cause we
got him on the spot Welcome back
Welcome back, welcome back, welcome
back Welcome back, welcome back
And I know what a scene You were
learnin' in Was there somethin' that Made you come back again?
And what could ever lead you (What
could ever lead you) Back here where we need you? (Back here
where we need you?)
Yeah, we tease him a lot 'Cause we
got him on the spot Welcome back
Welcome back, welcome back, welcome
back Welcome back, welcome back
Yeah, we tease him a lot (Welcome
back, welcome back) 'Cause we got him on the spot (Welcome
back, welcome back)
Yeah, we tease him a lot 'Cause we
got him on the spot Welcome back
Welcome back, welcome back, welcome
back Welcome back, welcome back, welcome back Welcome back,
welcome back, welcome back
Escrita
por John Denver, foi gravada em 1976 e lançada em agosto de 1976 no
disco Spirit, o décimo primeiro disco de John Denver. Saiu também
em compacto, no mesmo mês, com Pegasus como Lado B. Foi produzida
por Milton Okun. Chegou ao número 36 no Billboard Hot 100 e número
34 no Billboard Hot Country Singles.
A
letra:
Usually
in the morning I'm filled with sweet belonging And everything is
beautiful to see Even when it's raining, the sound of heaven
singing Is simply joyful music to me
Sometimes I feel like a sad song Like
I'm all alone without you
So many different places, a million
smiling faces Life is so incredible to me Especially to be near
you and how it is to touch you Oh, paradise was made for you and
me
I know that life goes on just
perfectly And everything is just the way that it should be Still
there are times when my heart feels like breaking Anywhere is
where I'd rather be
Oh, and in the night time I know that
it's the right time To hold you close and say I love you so To
have someone to share with And someone I can care with And that
is why I wanted you to know
Sometimes I feel like a sad song Like
I'm all alone without you, without you
Sometimes I feel like a sad song Like
I'm all alone without you, without you