Escrita
por Rick Davies e Roger Hodgson nos créditos, foi escrita apenas por
Hodgson. Foi gravada entre novembro de 1976 e janeiro de 1977 e
lançada em 3 de abril de 1977 no disco Even in the quietest moments,
o quinto disco da banda. Sairia também em compacto, com Downstream
como Lado B. Foi produzida pela própria banda. Foi um grande hit
internacional pra banda. Chegou ao número 15 do Billboard Hot 100 e
número 29 no Reino Unido. Chegou ao número 2 na Holanda e 4 na
África do Sul, 8 no Canadá e 9 na Noruega. Número 12 na Bélgica,
14 na Nova Zelandia e 29 na Alemanha Ocidental. Foi inspirada em All
you need is love, dos Beatles. Roger Hodgson tocou violão de 12
cordas, guitarra elétrica Rickenbacker de 12 cordas, guitarra
elétrica de 6 cordas, cantou e fez backing vocals. Dougie Thomson
tocou baixo de jazz Fender. Bob Siebenberg tocou bateria e percussão.
Rick Davies tocou piano, orgão e clavinet. John Helliwell tocou sax.
A
letra:
Ooh,
yeah Alright Here we go again Na-na, whoa, no, da-na, hey,
hey, yeah
Give a little bit Oh, give a little
bit of your love to me I'll give a little bit I'll give a
little bit of my love to you There's so much that we need to
share So send a smile and show you care (Alright)
I'll give a little bit I'll give a
little bit of my life for you So give a little bit Oh, give a
little bit of your time to me See the man with the lonely eyes Oh,
take his hand, you'll be surprised
Oh, take it Ah, yeah Come
along Yeah, yeah, yeah, yeah Yeah, yeah, yeah, yeah, yeah,
yeah, yeah
Come a- Long
Give a little bit Oh, give a little
bit of your love to me I'll give a little bit I'll give a
little bit of my life for you Now's the time that we need to
share So find yourself, we're on our way back home
Oh, going home Don't you need, don't
you need to feel at home? Oh, yeah, we gotta sing Ooh, yeah,
gotta get a feeling Ooh, yeah, come along too Woo
Come a-, come along too, yeah Come
a-, come a-, come a-, come along
Cha-ka-doom, yeah Ooh, yeah, come
along too Yeah, come along too, yeah Sing, Betty Lou Come
along too What a long ride Come a long way Oh, sing it,
tonight Ooh, yeah
Escrita
por J.J. Cale, foi lançada por ele inicialmente em 1976, no disco
Troubadour. Nossa versão no entanto é a de Eric Clapton, que foi
gravada em 1977 e lançada em 18 de novembro de 1977, no compacto que
tinha Lay down Sally como Lado A. Sairia também no disco Slowhand, o
quinto de Eric. Foi produzida por Glyn Johns. Chegou ao número 30 no
Billboard Hot100, número 3 no Canadá e número 14 na Holanda, em
1980.
A
letra:
If
you want to hang out, you've gotta take her out, cocaine If you
want to get down, down on the ground, cocaine
She don't lie, she don't lie, she don't
lie Cocaine
If you got bad news, you want to kick
them blues, cocaine When your day is done, and you want to run,
cocaine
She don't lie, she don't lie, she don't
lie Cocaine
If your day is gone, and you want to
ride on, cocaine Don't forget this fact, you can't get it back,
cocaine
She don't lie, she don't lie, she don't
lie Cocaine
She don't lie, she don't lie, she don't
lie Cocaine
Escrita
por Elvis Costello, foi gravada em 1977 e lançada em 11 de março de
1977, no compacto que tinha Radio Sweetheart como Lado B. Sairia
também no disco My aim is true, o disco de estréia de Costello, em
22 de julho de 1977. Foi produzida por Nick Lowe. Foi escrita sobre o
facista inglês Oswald Mosley. Foi escrita com raiva, depois de
Costello ver o antigo lider da Britush Union of Fascists Oswald
Mosley ser entrevistado e ter negado seu passado racista. Costello
disse que o mesmo não se arrependia de nada do que fez nos anos 30s.
A
letra:
Calling
Mister Oswald with the swastika tattoo, there is a vacancy waiting
in the English voodoo, carving "v" for vandal on the
guilty boy's head. When he's had enough of that maybe you'll take
him to bed to teach him he's alive before he wishes he was
dead.
Turn up the TV. No one listening will suspect, even
your mother won't detect it, so your father won't know. they
think that I've got no respect but everything means less than
zero. Hey, ooh hey, hey, ooh hey.
Oswald and his sister are
doing it again. They've got the finest home movies that you have
ever seen. They've got a thousand variations: every service with a
smile. They're gonna take a little break, and they'll be back
after a while. well I hear that South America is coming into
style.
Turn up the TV. No one listening will suspect, even
your mother won't detect it, so your father won't know. they
think that I've got no respect but everything means less than
zero. Hey, ooh hey, hey, ooh hey.
A pistol was still
smoking, a man lay on the floor. Mister Oswald said he had an
understanding with the law. He said he heard about a couple living
in the USA. He said they traded in their baby for a
Chevrolet. Let's talk about the future now we've put the past
away.
Turn up the TV. No one listening will suspect, even
your mother won't detect it, so your father won't know. they
think that I've got no respect but everything means less than
zero. Hey, ooh hey, hey, ooh hey.
Escrita
por Billy Joel, foi gravada em 1976 e lançada em 29 de setembro de
1977 no disco The Stranger, o quinto de Billy Joel. Saiu também na
mesma época em compacto, com Get it right the first time/Vienna como
Lado B. Foi produzida por Phil Ramone. Foi o primeiro Top 10 da
carreira de Joel nos Estados Unidos, chegndo ao número 3 do
Billboard Hot 100 e também o primeiro top 20 no Reino Unido,
chegando ao número 19 por lá. Chegou também ao número 1 no
Canadá, 6 na Austrália, Nova Zelandia e África do Sul. Número 7
na Irlanda e 14 na Rodésia. Foi também o primeiro disco de ouro de
Billy Joel nos Estados Unidos. Ganhou dois Grammies em 1979: Record
of the year e Song of the year. Billy disse que a melodia e acordes
dessa canção veio em um sonho e que o título foi inspirado na
canção Rag Doll, de Frankie Valli and The Four Seasons. Ele disse
também que escreveu essa canção pra sua primeira esposa, Elizabeth
Weber. Ninguém gostou da canção, nem Billy nem a banda, e não
iriam incluir no disco. Mas Linda Ronstadt e Phoebe Snow, que
gravavam no estúdio ao lado, pediram pra ele incluí-la no disco e
ele o fez. Depois que Billy Joel se separou em 1982 de Elizabeth, ele
não quis mais tocar essa canção nos shows, principalmente porque o
baterista Liberty DeVitto ficava trocando a letra pra “She got the
house, she got the car”, tirando onda com a cara dele. Phil Woods
tocou o sax alto. Ele era muito conhecido no mundo do jazz, ganhador
de Grammy, mas com essa performance aqui, ele aumentou seu público,
ganhando também o público de rock. Billy Joel cantou e tocou piano
elétrico Fender Rhodes. Hugh McCracken tocou violão. Steve Burgh
tocou violão. Doug Stegmeyer tocou baixo. Liberty DeVitto tocou
bateria. Ralph McDonald tocou percussão.
A
letra:
Don't
go changing to try and please me You never let me down before,
mmm Don't imagine you're too familiar And I don't see you
anymore
I would not leave you in times of
trouble We never could have come this far, mmm I took the good
times, I'll take the bad times I'll take you just the way you are
Don't go trying some new fashion Don't
change the color of your hair, mmm You always have my unspoken
passion Although I might not seem to care
I don't want clever conversation I
never want to work that hard, mmm I just want someone that I can
talk to I want you just the way you are
I need to know that you will always
be The same old someone that I knew Oh, but what will it take
till you believe in me The way that I believe in you?
I said I love you, that's forever And
this I promise from the heart, mmm I couldn't love you any
better I love you just the way you are, right
I don't want clever conversation I
never want to work that hard, mmm I just want someone that I can
talk to I want you just the way you are
Escrita
por Bob Marley, foi gravada em 1977 e lançada no disco Exodus, em 3
de junho de 1977. Foi lançada depois em compacto, com Every need got
an ego to feed como Lado B, em 12 de setembro de 1980. Foi produzida
por Bob Marley and TheWailers. Chegou ao número 17 no Reino Unido,
número 3 na Espanha e número 49 na Alemanha. Trata-se de uma das
mais populares canções de Bob Mrley e foi bastante regravada, entre
elas por Ziggy Marley com Sean Paul e pelo Maroon 5.
A
letra:
Don't
worry about a thing 'Cause every little thing gonna be
alright Singing' don't worry about a thing 'Cause every little
thing gonna be alright
Rise up this mornin' Smiled with the
risin' sun Three little birds Pitch by my doorstep Singin'
sweet songs Of melodies pure and true Saying', (this is my
message to you)
Singing' don't worry 'bout a
thing 'Cause every little thing gonna be alright Singing' don't
worry (don't worry) 'bout a thing 'Cause every little thing gonna
be alright
Rise up this mornin' Smiled with the
risin' sun Three little birds Pitch by my doorstep Singin'
sweet songs Of melodies pure and true Sayin', this is my
message to you
Singin' don't worry about a thing,
worry about a thing, oh Every little thing gonna be alright, don't
worry Singin' don't worry about a thing, I won't worry 'Cause
every little thing gonna be alright
Singin' don't worry about a
thing 'Cause every little thing gonna be alright, I won't
worry Singin', don't worry about a thing 'Cause every little
thing gonna be alright Singin' don't worry (worry) about a thing,
oh no 'Cause every little thing gonna be alright
Escrita
por Barry, Robin e Mauric Gibb, foi gravada em 1977 e lançada em
compacto em setembro de 1977, com Can't keep a good man down como
Lado B. Sairia depois no disco Saturday night fever, a trilha sonora
do fime de mesmo nome, estrelado por John Travolta. Foi produzida por
Karl Richardson, Albhy Galuten e pelos próprios irmãos Gibb.
Chegou ao número 1 no Billboard Hot 100 (ficando nessa posição por
1 semanas), número 3 no Reino Unido e Austrália. É o número 375
da lista da revista Rolling Stone das 500 greatest songs of all time.
Barry Gibb disse que essa era sua canção favorita dos Bee Gees.
Chegar ao número 3 no Reino Unido com essa balada romântica foi um
feito incrível, pois naquela época, o Reino Unido respirava Punk e
New Wave. Ganhou o Grammy de Best Pop Performance by a group, em
1978. Essa música é também uma das favoritas de Brian Wilson.
Barry Gibb cantou os vocais principais, harmonias vocais, backing
vocals e guitarra base. Robin Gibb fez vocais principais, harmonias
vocais e backing vocals. Maurice Gibb tocou baixo, e fez harmonias
vocais e backing vocals. Alan Kendall tocou guitarra. Dennys Bryon
tocou bateria e percussão. Blue Weaver tocou teclado, sintetizador e
piano elétrico Fender Rhodes. Joe Lala tocou percussão. Foi número
1 também no Brasil, Canadá, Chile, Finlandia e França. Número 2
na Irlanda, Itália e África do Sul. Número 4 na Suécia e 5 na
Noruega. Foi número 6 na Bélgica e Nova Zelandia. Número 7 na
Espanha e número 8 na Holanda. Número 13 na Áustria e número 21
na Alemanha Ocidental.
A
letra:
I
know your eyes in the morning sun I feel you touch me in the
pouring rain And the moment that you wander far from me I wanna
feel you in my arms again And you come to me on a summer
breeze Keep me warm in your love, then you softly leave And
it's me you need to show
How deep is your love? How deep is
your love? How deep is your love? I really mean to learn 'Cause
we're living in a world of fools Breaking us down when they all
should let us be We belong to you and me
I believe in you You know the door
to my very soul You're the light in my deepest, darkest
hour You're my savior when I fall And you may not think I care
for you When you know down inside that I really do And it's me
you need to show
How deep is your love? How deep is
your love? How deep is your love? I really mean to learn 'Cause
we're living in a world of fools Breaking us down when they all
should let us be We belong to you and me
And you come to me on a summer
breeze Keep me warm in your love, then you softly leave And
it's me you need to show
How deep is your love? How deep is
your love? How deep is your love? I really mean to learn 'Cause
we're living in a world of fools Breaking us down when they all
should let us be We belong to you and me (na-na-na-na-na)
How deep is your love? How deep is
your love? I really mean to learn 'Cause we're living in a
world of fools Breaking us down when they all should let us be We
belong to you and me (na-na-na-na-na)
How deep is your love? How deep is
your love? I really mean to learn 'Cause we're living in a
world of fools Breaking us down when they all should let us be We
belong to you and me
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
