1727 – Elvis Costello – Watching the detectives (1977)

 

Escrita por Elvis Costello, foi gravada em maio de 1977 e lançada em compacto em 14 de outubro de 1977, com Blame it on Cain como Lado B. Foi produzida por Nick Lowe. Foi inspirada no The Clash e em Bernard Herrmann, tem uma batida de reggae e uma letra cínica. Sendo seu quarto compacto, foi o primeiro dele a entrar nos charts, chegando ao número 15 no Reino Unido, número 35 na Austrália e número 60 no Canadá. Chegou ao número 108 do Billboard Hot 100. É o número 363 das 500 greatest songs of all time da revista Rolling Stone. A canção fala de um amante que prefere assistir TV do que namorar. Elvis Costello disse que essa é a música que ele mais gosta da fase que compreende os cinco primeiros anos de sua carreira. Steve Goulding tocou bateria e Andrew Bodnar tocou baixo. Steve Nason tocou teclado e órgão. Elvis Costello canto e tocou guitarra. Foi regravada por Toto e Duran Duran, entre outros artistas. Steve Nason tinha apenas 19 anos e foi a primeira vez que ele gravou algo na sua vida.

A letra:

Nice girls, not one with a defect
Cellophane shrink-wrapped, so correct
Red dogs under illegal legs
She looks so good that he gets down and begs

She is watching the detectives
"Ooh, it's so cute"
She's watching the detectives
When they shoot, shoot, shoot, shoot
They beat him up until the teardrops start
But he can't be wounded 'cause he's got no heart

Long shot of that jumping sign
Invisible shivers running down my spine
Cut to baby taking off her clothes
Close-up of the sign that says: "We never close"

You snatch a chill and you match a cigarette
She pulls the eyes out with a face like a magnet
I don't know how much more of this I can take
She's filing her nails while they're dragging the lake

She is watching the detectives
"Oh, he's so cute"
She is watching the detectives
Oh, and they shoot, shoot, shoot, shoot
They beat him up until the teardrops start
But he can't be wounded 'cause he's got no heart

You think you're alone until you realize you're in it
Now baby's here to stay, love is here for a visit
They call it instant justice when it's past the legal limit
Someone's scratching at the window, I wonder, who is it?

The detectives come to check if you belong to the parents
Who are ready to hear the worst about their daughter's disappearance
Though it nearly took a miracle to get you to stay
It only took my little fingers to blow you away

Just like watching the detectives
Don't get cute
Just like watching the detectives
I get so angry when the teardrops start
But he can't be wounded 'cause he's got no heart

Watching the detectives
It's just like watching the detectives
Watching the detectives
Watching the detectives
Watching the detectives
We're watching the detectives
They're watching the detectives
Watching the detectives
Watching the detectives

A versão de Elvis Costello:

A versão de Toto:

A versão do Duran Duran:

1726 – Neil Young – Star of Bethlehem (1977)

 

Escrita por Neil Young, foi gravada em novembro de 1974 e lançada no disco Stars'n'bars, o oitavo da carreira de Neil, em 27 de maio de 1977. Foi produzida por Elliot Mazer. Nei Young cantou, tocou violão e gaita. Ben Keith tocou dobro e fez backing vocals. Tim Drummond tocou baixo. Karl T. Himmel tocou bateria. Emmylou Harris fez harmonias vocais.

A letra:

Ain't it hard when you wake up in the morning
And you find out that those other days are gone?
All you have is memories of happiness
Lingerin' on

All your dreams and your lovers won't protect you
They're only passing through you in the end
They'll leave you stripped of all that they can get to
And wait for you to come back again

Yet still a light is shining
From that lamp on down the hall
Maybe the star of Bethlehem
Wasn't a star at all

A versão de Neil Young:

A versão de J. D. Delves and The Harvest Moon:

A versão de Jay Wilkins Band:

1725 – Bob Marley and The Wailers – So much things to say (1977)

Escrita por Bob Marley, foi gravada entre janeiro e abril de 1977 e lançada em 3 de junho de 1977, no disco Exodus, o nono disco do grupo. Foi produzida por Bob Marley and The Wailers. Nesse disco, Bob separou as músicas em duas metades. Na primeira metade, fala sobre política e religião e é nessa metade que So much things to say se enquadra. So much things to say cita Jesus Christ na sua letra. Bob Marley tinha sofrido um atentado no mês de dezembro de 1976, na Jamaica e se mudou pra Londres, onde ele gravou essa canção logo em seguida.Bob cantou, fez backing vocals e tocou guitarra. Junior Marvin tocou guitarra. Aston Barrett tocou baixo. Calrton Barrett tocou bateria. Tyrone Downie tocou sintetizador, piano elétrico, órgão e fez backing vocals. Alvin patterson tocou percussão. Rita Marley, Marcia Griffiths e Judy Mowatt fizeram backing vocals. David Madden tocou trompete. Vin Gordon tocou trombone e Glen da Costa tocou sax.

A letra:

Ooh yeah, yeah, yeah, yeah, yea-a-ah, ye-yeah, yeah, yeah
Ooh yeah, yeah

They got so much things to say right now
They got so much things to say
They got so much things to say right (now)
They got so much things to say

Hey, but I'll never forget, no way
They crucified Jessus Christ
I'll never forget, no way
They sold Marcus Garvey for rice, ooh
I'll never forget, no way
They turned their backs on Paul Bogle, hey, hey
So don't you forget, no you
Who you are and where you stand in the struggle

They got so very, so very, so very, so very, so very
So very, so very, so, so very
They sayin' everything, they sayin' so much today
They got so much things to say, so much things to say

Well, I and I and I no come to fight flesh and blood
But spiritual wickedness in high and low places
So while they fight you down
Stand firm and give Jah thanks and praises
'Cause I and I no expect to be justified
By the laws of men, by the laws of men
Whole jury found me guilty
But prove, truth shall prove my innocency

Oh, when the rain fall, fall, fall now
It won't fall on one man's housetop, remember that
When the rain fall
It won't fall on one man's housetop
They singin', so very much, so very much, oh, so
So very much, so, so very
They got so much things to say right (now)
Yeah, they got so much things to say

Hey, but I and I, I and I no come to fight flesh and blood
Spiritual wickedness in high and low places
So while, so while, so while they fight you down
Stand firm and give Jah thanks and praises
I and I no expect to be justified
By the laws of men, by the laws of men
Hey, truth got to prove my innocency
I'm told the wicked think they found me guilty
They got, well, well, well, well, we we we well, la la la la la la la
La la la la la la la la, they lubberin' all the time
So much things to (say) rumour about
They gotta rumour without humour, they don't know what they're doin', yeah

A versão de Bob Marley and The Wailers:

A versão de Rafael Cardoso:

A versão de Cosima:

1724 – ABBA – Take a chance on me (1977)

 

Escrita por Benny Andersson e Bjorn Ulvaeus, foi gravada em 15 de agosto de 1977 e lançada em 12 de dezembro de 1977, no quinto disco da banda chamado apenas de The Album. Sairia também em compacto, com I'm a marionette como Lado B, em janeiro de 1978. Foi produzida pela mesma dupla de compositores, Andersson e Ulvaeus. Agnetha Faltskog e Anii-Frid Lyngstad cantaram juntas os versos e refrão, enquanto Faltskog canta sozinha duas bridges. Foi regravada, entre outros, pela banda Erausre, em 1992. Foi uma das primeiras canções onde o manager da banda, Stig Anderson, não participou da composição, firmando assim a dupla Andersson e Ulvaeus como uma dupla compositora. Se tornou o sétimo número 1 da banda no Reino Unido. Foi também o último número 1 da banda no Reino Unido dos anos 70s. E transformou o grupo como o sendo o artista que mais teve número 1 no Reino Unido nos anos 70s. Nos Estados Unidos, chegou ao número 3 do Billboard Hot 100, assim como no Canadá, Suíça e Alemanha Ocidental. Foi número 1 também na Áustria, Bélgica e Irlanda. Número 2 na Holanda e Rodésia. Número 6 na África do Sul e número 8 na Noruega. Número 12 na Austrália, número 14 na Nova Zelandia e número 18 na Finlandia. Agnetha Faltskog e Anni-Frid Lyngstad cantaram. Bjorn Ulvaeus tocou violão, guitarra e cantou. Benny Andersson tocou teclado, sintetizadores e cantou. Rutger Gunnarsson tocou baixo, Roger Palm tocou bateria e Malando Gassama tocou percussão.

A letra:

If you change your mind, I'm the first in line
Honey, I'm still free
Take a chance on me
If you need me, let me know, gonna be around
If you've got no place to go, if you're feeling down
If you're all alone when the pretty birds have flown
Honey, I'm still free
Take a chance on me
Gonna do my very best and it ain't no lie
If you put me to the test, if you let me try

Take a chance on me
(That's all I ask of you, honey)
Take a chance on me

We can go dancing, we can go walking, as long as we're together
Listen to some music, maybe just talking, get to know you better
'Cause you know I've got
So much that I wanna do, when I dream I'm alone with you
It's magic
You want me to leave it there, afraid of a love affair
But I think you know
That I can't let go

If you change your mind, I'm the first in line
Honey, I'm still free
Take a chance on me
If you need me, let me know, gonna be around
If you've got no place to go, if you're feeling down
If you're all alone when the pretty birds have flown
Honey, I'm still free
Take a chance on me
Gonna do my very best and it ain't no lie
If you put me to the test, if you let me try

Take a chance on me
(Come on, give me a break will you?)
Take a chance on me

Oh you can take your time baby, I'm in no hurry, know I'm gonna get you
You don't wanna hurt me, baby don't worry, I ain't gonna let you
Let me tell you now
My love is strong enough to last when things are rough
It's magic
You say that I waste my time but I can't get you off my mind
No, I can't let go
'Cause I love you so

If you change your mind, I'm the first in line
Honey, I'm still free
Take a chance on me
If you need me, let me know, gonna be around
If you've got no place to go, if you're feeling down
If you're all alone when the pretty birds have flown
Honey, I'm still free
Take a chance on me
Gonna do my very best, baby can't you see
Gotta put me to the test, take a chance on me
(Take a chance, take a chance, take a chance on me)

Ba ba ba ba baa, ba ba ba ba baa
Honey, I'm still free
Take a chance on me
Gonna do my very best, baby can't you see
Gotta put me to the test, take a chance on me
(Take a chance, take a chance, take a chance on me)

Ba ba ba ba baa, ba ba ba ba baa ba-ba
Honey, I'm still free
Take a chance on me
Gonna do my very best, baby can't you see
Gotta put me to the test, take a chance on me

A versão do ABBA:

A versão de Griff:

A versão do Erasure:

1723 – Supertramp – Lover boy (1977)

 

Escrita por Rick Davies, embora creditada à dupla Davies/Hodgson, foi gravada entre novembro de 1976 e janeiro de 1977 e foi lançada em 3 de abril de 1977, no disco Even in the quietest moments, o quinto da banda. Foi produzida pela própria banda. Foi inspirada em um anúncio em revista masculina que mostrava como se pegar mulher. Que se usassem o método, era infalível. Se você não comesse pelo menos cinco mulheres em duas semanas, eles te dariam o dinheiro de volta. Roger Hodgson cantou e tocou guitarra. Rick Davies cantou e tocou piano e sintetizadores. Dougie Thomson tocou baixo. John Helliwell tocou sax e Bob Siebenberg tocou bateria e percussão.

A letra:

I'll tell you from the start
He's gonna break your heart
You can't stop the lover boy
You can't stop the lover boy

He's gonna tell you lies
But you won't realize
Because you can't stop the lover boy
You can't stop the lover boy

He's got a thing in his head
It's from a book he's read
It's got a funny title
It tells you how to be vital

He took a lot of time
Over every line
Because it's guaranteed
To satisfy

He's gonna knock 'em dead
(He treats 'em like a toy)
The boy got that book read
You can't stop the lover boy (the lover boy'll never)
You can't stop the lover boy (the lover boy'll never)

Right from the clothes he wears
The way he combs his hair
You can't stop him now
Because he knows all the tricks
He used to have a problem
But he got it fixed (got it fixed)

He took a small apartment
Above a shoe department
And he could see from his window
All the lights in the street glow

And there's a club on the corner
And tonight he will go there
To find a new affair
So all you ladies beware

Na na, na na
Na na, na na, na na, na na, na na
Na na, na na

Na na, na na
Na na, na na, na na, na na, na na

He's got to have a good time in the city
He's got to have a good time every night
He's gonna love 'em and leave 'em
And cheat and deceive 'em

He's gonna show 'em who's wrong and who's right

He's got to have a good time in the city
He's got to have a good time every night
He's gonna love 'em and leave 'em
And cheat and deceive 'em

He's gonna show 'em who's wrong and who's right

He's got to have a good time in the city
He's got to have a good time every night
He's gonna love 'em and leave 'em
And cheat and deceive 'em

He's gonna show 'em who's wrong and who's right

Na na, na na
Na na, na na, na na, na na

Na na, na na
Na na, na na, na na, na na, na na

A versão do Supertramp:

A versão de Tyna Phipps:

1722 – Eric Clapton – Wonderful tonight (1977)

 

Escrita por Eric Clapton, foi gravada em maio de 1977 e lançada em 25 de novembro de 1977, no disco Slowhand, o quinto da carreira solo de Eric Clapton. Sairia também em compacto, com Peaches and Diesel como Lado B, em 10 de março de 1978. Foi produzida por Glyn Johns. Foi escrita pra Pattie Boyd, sua então esposa, em 7 de setembro de 1976. Foi escrita enquanto ela se arrumava pra sairem pra festa anual de Buddy Holly, organizada por Paul e Linda McCartney. As harmonias vocais da gravação foram feitas por Marcy Levy e Yvonne Elliman. Foi regravada por Michael Bublé, entre outros artistas. Eric cantou e tocou guitarra. Jamie Oldaker tocou bateria e percussão. Carl Radle tocou baixo. Dick Sims tocou Fender Rhodes e órgão Hammond. George Terry tocou guitarra. Yvonne Elliman e Marcy Levy fizeram harmonias vocais e backing vocals. Chegou ao número 16 do Billboard Hot 100. Número 81 no Reino Unido. Número 1 no Japão, número 2 na Holanda, número 3 na França, número 5 na Bélgica, número 13 na Irlanda, número 15 no Canadá e número 26 na Nova Zelandia.

A letra:

It's late in the evening
She's wondering what clothes to wear
She puts on her makeup
And brushes her long blonde hair

And then she asks me
"Do I look all right?"
And I say, "Yes, you look wonderful tonight"

We go to a party
And every one turns to see
This beautiful lady
Who's walking around with me

And then she asks me
"Do you feel all right?"
And I say, "Yes, I feel wonderful tonight"

I feel wonderful because I see the love light in your eyes
Then the wonder of it all is that you just don't realize
How much I love you

It's time to go home now
And I've got an aching head
So I give her the car keys
And she helps me to bed

And then I tell her
As I turn out the light
I say, "My darling you were wonderful tonight"
"Oh, my darling, you were wonderful tonight"

A versão de Eric Clapton:

A versão de Boyce Avenue:

A versão de Michael Bublé com Ivan Lins:

1721 – Elvis Costello – (The Angels wanna wear my) Red Shoes (1977)

 

Escrita por Elvis Costello, foi gravada entre 1976 e 1977, no Pathway Studios, em Londres e lançada em 22 de julho de 1977 no disco de estréia de Elvis Costello, My aim is true. Sairia uma semana depois em compacto, com Mystery dance no Lado B. Foi produzida por Nick Lowe. Foi escrita em um trem pra de Londres pra Liverpool, em 1976 e fala de uma desilusão amorosa. Musicalmente foi inspirada nos Byrds e teve a introdução feita por John MCFee, da banda Clover. Os anjos queriam trocar a imortalidade pelos tênis do cantor.

A letra:

Oh, I used to be disgusted
And now I try to be amused
But since their wings have got rusted
You know, the angels wanna wear my red shoes
But when they told me 'bout their side of the bargain
That's when I knew that I could not refuse
And I won't get any older, now that angels wanna wear my red shoes

Oh, oh, I was watching while you're dancing away
Our love got fractured in the echo and sway
How come everybody wants to be your friend?
You know that it still hurts me just to say it

Oh, I know that she's disgusted (oh, why's that?)
Because she's feeling so abused (oh, that's too bad)
She gets tired of the lust (oh, I'm so sad)
But it's so hard to refuse
Can you say that I'm too old
When the angels have stolen my red shoes?

Oh, oh I said, "I'm so happy I could die"
She said, "Drop dead, " then left with another guy
That's what you get if you go chasing after vengeance
Ever since you got me punctured, this has been my sentence

Oh, I used to be disgusted
But now I try to be amused
But since their wings have got rusted
You know, the angels wanna wear my red shoes
But when they told me 'bout their side of the bargain
That's when I knew that I could not refuse
And I won't get any older, now that the angels wanna wear my red shoes

Oh, I won't get any older, now the angels wanna wear my red shoes
Red shoes, the angels wanna wear my red shoes
Red shoes, the angels wanna wear my red shoes
Red shoes, the angels wanna wear my red shoes
Red shoes, the angels wanna wear my red shoes
Red shoes, the angels wanna wear my red shoes
Red shoes, the angels wanna wear my red shoes
Red shoes, the angels wanna wear my red shoes
Red shoes, the angels wanna wear my red shoes
Red shoes, the angels wanna wear my red shoes
Red shoes, the angels wanna wear my red shoes

A versão de Elvis Costello:

A versão de Dackycat:

A versão de Susannah:

1720 – Billy Joel – Vienna (1977)

 

Escrita por Billy Joel, foi gravada entre julho e agosto de 1977, no A&R Recording Inc., em NYC e lançada em 29 de setembro de 1977, no disco The Stranger, o quinto da carreira de Billy Joel. Sairia também em compacto, com Just the way you are como Lado A. O produtor foi Phil Ramone. Billy se inspirou na cidade de Vienna e no seu pai, que o abandonou quando ele era ainda uma criança. Vienna, disse Billy, era uma metáfora pra uma idade velha. Mas no fundo ele quis dizer que ninguém precisava morrer de trabalhar aos 20, 30 trinta anos de idade, quando na verdade, se tem uma vida inteira pra se viver. Ele falou que os americanos colocam seus pais em asilos e esquecem que eles existem. E que isso não existe em lugares como Vienna, onde os velhos são valorizados e eles se sentem parte da comunidade. Nos Estados Unidos são colocados debaixo do tapete. Assim, ele diz, Vienna waits for you... como quem diz, você vai ficar velho também!!! É uma das duas canções favoritas de Billy Joel. A outra é Summer Higland falls. Foi regravda por Ariana Grande, entre outros artistas.

A letra:

Slow down you crazy child
You're so ambitious for a juvenile
But then if you're so smart tell me
Why are you still so afraid? (mmmmm)

Where's the fire, what's the hurry about?
You better cool it off before you burn it out
You got so much to do and only
So many hours in a day (Ay)

But you know that when the truth is told
That you can get what you want
Or you can just get old
You're gonna kick off before you even get halfway through (Oooh)
When will you realize, Vienna waits for you?

Slow down you're doing fine
You can't be everything you want to be before your time
Although it's so romantic on the borderline tonight (tonight)

Too bad, but it's the life you lead
You're so ahead of yourself that you forgot what you need
Though you can see when you're wrong
You know you can't always see when you're right (you're right)

You got your passion, you got your pride
But don't you know that only fools are satisfied?
Dream on, but don't imagine they'll all come true (Oooh)
When will you realize, Vienna waits for you?

Slow down you crazy child
Take the phone off the hook and disappear for a while
It's alright, you can afford to lose a day or two (oooh)
When will you realize, Vienna waits for you?

And you know that when the truth is told
That you can get what you want or you can just get old
You're gonna kick off before you even get halfway through (oooh)
Why don't you realize, Vienna waits for you?

When will you realize, Vienna waits for you?

A versão de Billy Joel:

A versão de Grace VanderWaal:

A versão de Gretta Ray:

1719 – Bob Marley and The Wailers – Waiting in vain (1977)

 

Escrita por Bob Marley, foi gravada entre janeiro de 1976 e abril de 1977 e lançada em 3 de junho de 1977, no disco Exodus, o nono disco da banda. Sairia também em compacto em 1977, com Roots no Lado B. Foi produzida pelo próprio Bob Marley and The Wailers. Chegou ao número 27 dos charts britânicos. Foi regravada por Annie Lennox, em 1995, entre outros artistas.

A letra:

I don't wanna wait in vain for your love
I don't wanna wait in vain for your love

From the very first time I placed my eyes on you, girl
My heart says follow through
But I know, now, that I'm way down on your line
But the waitin' feel is fine

So don't treat me like a puppet on a string
'Cause I know how to do my thing
Don't talk to me as if you think I'm dumb
I wanna know when you're gonna come

See, I don't wanna wait in vain for your love
I don't wanna wait in vain for your love
I don't wanna wait in vain for your love

'Cause if summer is here
I'm still waiting there
Winter is here
And I'm still waiting there

Like I said
It's been three years since I'm knockin' on your door
And I still can knock some more
Ooh girl, ooh girl, is it feasible?
I wanna know now, for I to knock some more

Ya see, in life I know there's lots of grief
But your love is my relief
Tears in my eyes burn, tears in my eyes burn
While I'm waiting, while I'm waiting for my turn
See!

I don't wanna wait in vain for your love
I don't wanna wait in vain for your love
I don't wanna wait in vain for your love
I don't wanna wait in vain for your love

I don't wanna wait in vain for your love, oh!
I don't wanna, I don't wanna, I don't wanna, I don't wanna
I don't wanna wait in vain, no
I don't wanna, I don't wanna, I don't wanna, I don't wanna
I don't wanna wait in vain, no
I don't wanna, I don't wanna, I don't wanna, I don't wanna
I don't wanna wait in vain

No no no, I, no I (I don't wanna wait in vain)
It's your love that I'm waiting on
It's my love that you're running from
It's your love that I'm waiting on
It's my love that you're running from

A versão de Bob Marley and The Wailers:

A versão de Morgan Heritage:

A versão de Annie Lennox:

1718 – Bee Gees – Stayin' alive (1977)

 

Escrita por Barry, Robin and Maurice Gibb, foi gravada em 1977 e lançada em 15 de novembro de 1977, na trilha sonora do filme Saturday night fever. Saiu em compacto em dezembro de 1977, com If I can't have you como Lado B. Foi produzida por Albhy Galuten, Karl Richardson e a própria banda Bee Gees. É o número 99 da lista da revista Rolling Stone das 500 greatest songs of all time. AFI colocou-a como número 9 da lista 100 years, 100 songs, das melhores músicas do cinema americano. Foi número 1 no Billboard Hot 100 por 4 semanas. Chegou ao número 4 no Reino Unido. Foi número 1 também na Austrália, Canadá, Itália, México, Holanda e Nova Zelândia. Número 2 na Áustria, Bélgica, Finlandia França, Alemanha, Portugal, Espanha e Suíça. Número 3 na Suécia e número 4 na Irlanda e Noruega e número 15 no Japão. Foi gravada na França, no Chatêau D'Hérouville, como muitos artistas fizeram, por causa dos altos impostos cobrados na Inglaterra. O baterista da banda teve que sair por causa da morte de sua mãe e então fizeram um loop de bateria, que virou padrão. Barry Gibb co-escreveu quatro número 1 consecutivos no Billboard Hot 100, sendo a única pessoa a ter conseguido esse feito. Foram elas: Stayin' alive, dos Bee Gees, Love is ticker than water, de Andy Gibb, o irmão mais novo da família, Night fever, dos Bee Gees e If I can't have you, de Yvonne Elliman. George Martin, produtor dos Beatles, disse que essa era uma grande canção, que tinha um guitarra que deu o tema da musica, a batida pulsante. E disse que não era coincidencia que a batida disco era de 120 batidas por minuto, o mesmo que o coração humano quando está excitado, vibrando. E quando os vocais entram, empurram a música ainda mais pra cima. Você escuta e começa a dançar. Barry Gibb cantou e fez harmonias vocais e tocou guitarra base. Robin Gibb cantou e fez harmonias vocais. Maurice Gibb fez harmonias vocais e backing vocals e tocou baixo. Alan Kendall tocou guitarra solo. Blue Weaver tocou teclado. Joe Lala tocou timbal.

A letra:

Well, you can tell by the way I use my walk
I'm a woman's man, no time to talk
Music loud and women warm, I've been kicked around
Since I was born
And now it's alright, it's okay
And you may look the other way
We can try to understand
The New York Times' effect on man

Whether you're a brother or whether you're a mother
You're stayin' alive, stayin' alive
Feel the city breakin' and everybody shakin'
And we're stayin' alive, stayin' alive
Ah, ha, ha, ha, stayin' alive, stayin' alive
Ah, ha, ha, ha, stayin' alive
Oh, when you walk

Well now, I get low and I get high
And if I can't get either, I really try
Got the wings of Heaven on my shoes
I'm a dancin' man and I just can't lose
You know it's alright, it's okay
I'll live to see another day
We can try to understand
The New York Times' effect on man

Whether you're a brother or whether you're a mother
You're stayin' alive, stayin' alive
Feel the city breakin' and everybody shakin'
And we're stayin' alive, stayin' alive
Ah, ha, ha, ha, stayin' alive, stayin' alive (oh)
Ah, ha, ha, ha, stayin' alive (oh)

Life goin' nowhere, somebody help me
Somebody help me, yeah
Life goin' nowhere, somebody help me, yeah
I'm stayin' alive

Well, you can tell by the way I use my walk
I'm a woman's man, no time to talk
Music loud and women warm
I've been kicked around since I was born
And now it's all right, it's okay
And you may look the other way
We can try to understand
The New York Times' effect on man

Whether you're a brother or whether you're a mother
You're stayin' alive, stayin' alive
Feel the city breakin' and everybody shakin'
And we're stayin' alive, stayin' alive
Ah, ha, ha, ha, stayin' alive, stayin' alive
Ah, ha, ha, ha, stayin' alive (hey)

Life goin' nowhere, somebody help me
Somebody help me, yeah
Life goin' nowhere, somebody help me, yeah
I'm stayin' alive

Life goin' nowhere, somebody help me
Somebody help me, yeah (ah, ah, ah)
Life goin' nowhere, somebody help me, yeah
I'm stayin' alive

Life goin' nowhere, somebody help me
Somebody help me, yeah (ah, ah, ah, ay)
Life goin' nowhere, somebody help me, yeah
I'm stayin' alive

Life goin' nowhere, somebody help me
Somebody help me, yeah (oh)
Life goin' nowhere, somebody help me, yeah
I'm stayin' alive

A versão dos Bee Gees:

A versão de Lizzy McAlpine:

A versão de Bruce Springsteen:

1717 – Supertramp – Even in the quietest moments (1977)

 

Escrita por Roger Hodgson, mas creditada à dupla Hodgson/Davies, foi gravada entre novembro de 1976 e janeiro de 1977, no Caribou Ranch, no Colorado e no Record Pant Studios, em Los Angeles. Foi lançada em 3 de abril de 1977 no disco de mesmo nome, o quinto da banda. Foi produzida pela própria banda. Roger Hodgson cantou e tocou violão de 12 cordas. Rick Davies tocou orgão e Sintetizador. Dougie Thomson tocou baixo. John Helliwell tocou clarinete. Bob Siebenberg tocou bateria.

A letra:

Even in the quietest moments
I wish I knew what I had to do
And even though the sun is shining
Well I feel the rain, here it comes again, dear
And even when you showed me
My heart was out of tune
For there's a shadow of doubt that's not letting me find you too soon
The music that you gave me
The language of my soul
Oh Lord, I want to be with you.
Won't you let me come in from the cold?

Don't you let the sun fade away
Don't you let the sun fade away
Don't you let the sun be leaving
Won't you come to me soon

And even though the stars are listening
And the ocean's deep, I just go to sleep
And then I create a silent movie
You become the star, is that what you are, dear?
Your whisper tells a secret
Your laughter brings me joy
And a wonder of feeling I'm nature's own little boy
But still the tears keep falling
They're raining from the sky
Well there's a lot of me got to go under before I get high

Don't you let the sun disappear
Don't you let the sun disappear
Don't you let the sun be leaving
No, you can't be leaving my life
Say that you won't be leaving my life
Say that you won't be leaving my life
Say won't you please, stay won't you please
Say won't you please, stay won't you please
Lord, won't you come and get into my life
Lord, won't you come and get into my life
Say won't you please, stay won't you please
Say won't you please, stay won't you please
Lord, don't go

And even when the song is over
Where have I been, was it just a dream?
And though your door is always open
Where do I begin, may I please come in, dear?

A versão do Supertramp:

A versão de Victor Fraymaltes:

A versão de Kenneth Link:

1716 – Eric Clapton – Lay down Sally (1977)

Escrita por Eric Clapton, Marcy Levy e George Terry, foi gravada no Olympic Studio em Barnes, Londres, em maio de 1977 e lançada em 25 de novembro de 1977, no disco Slowhand, o quinto da carreira do artista. Saiu também em compacto, com Cocaine como Lado B, também em novembro de 1977. Glyn Johns foi o produtor. Chegou ao número 3 dos charts Billboard Hot 100. Chegou ao número 1 no Canadá, número 2 na Hungria, número 5 no Japão, número 8 na Suécia, número 12 na França, número 16 na Nova Zelandia, número 38 na Itália, número 39 no Reino Unido e número 57 na Austrália. Trata-se de um country-blues no estilo de J.J. Cale. Chegou também ao número 26 do Billboard Country Singles. Foi regravada por Jerry Garcia, entre outros artistas. Eric Clapton tocou guitarra e cantou. Marcy Levy e Yvonne Elliman fizeram backing vocals. George Terry tocou guitarra. Carl Radle tocou baixo. Dick Sims tocou piano elétrico. Jamie Oldaker tocou bateria.

A letra:

There is nothing that is wrong
In wanting you to stay here with me
I know you've got somewhere to go
But won't you make yourself at home and stay with me?
And don't you ever leave

Lay down, Sally, and rest here in my arms
Don't you think you want someone to talk to?
Lay down, Sally, no need to leave so soon
I've been trying all night long just to talk to you

Sun ain't nearly on the rise
We still got the moon and stars above
Underneath the velvet skies, love is all that matters
Won't you stay with me? Don't you ever leave

Lay down, Sally, and rest here in my arms
Don't you think you want someone to talk to?
Lay down, Sally, and no need to leave so soon
I've been trying all night long just to talk to you

I long to see the morning light
Color in your face so dreamily
So don't you go and say goodbye
You can lay your worries down and stay with me
And don't you ever leave

Lay down, Sally, and rest here in my arms
Don't you think you want someone to talk to?
Lay down, Sally, there's no need to leave so soon
I've been trying all night long just to talk to you
Lay down, Sally, and rest here in my arms
Don't you think you want someone to talk to?
Lay down, Sally, there's no need to leave so soon
I've been trying all night long just to talk to you

A versão de Eric Clapton:

A versão de Josh Turner:

A versão de Morgan James:

 

1715 – Elvis Costello – Radio sweetheart (1977)

 

Escrita por Elvis Costello, foi gravada em 17 de setembro de 1976, no Pathway Studios, em Londres. Foi lançada apenas em compacto em 1977, com Less than zero como Lado A. Foi produzida por Nick Lowe. Elvis Costello cantou, fez backing vocals e tocou guitarra. John McFee tocou pedal steel guitar. Nick Lowe tocou baixo e fez backing vocals e Mickey Shine tocou bateria.

A letra:

My head is spinning and my legs are weak
Goose step dancing, can`t hear myself speak
Hope in the eyes of the ugly girls
That settle for the lies of the last chancers
When slow motion drunks pick wallflower dancers

You come here looking for the ride to glory
Go back home with a hard luck story
I can hardly wait around until the weekend comes to town

Play one more for my radio sweetheart
Hide your love, hide your love
Though we are so far apart
You've got to hide your love
`Cause that`s the way the whole thing started
I wish we had never parted

When it`s late and the night gets colder
Don`t lay your head on any other shoulder
Some hire themselves out for a good time
But you and I, we have been sold
So I keep on saying...

Play one more for my radio sweetheart
Hide your love, hide your love
Though we are so far apart
You've got to hide your love
`Cause that`s the way the whole thing started
I wish we had never parted

Play one more for my radio sweetheart

A versão de Elvis Costello:

1714 – Billy Joel – The Stranger (1977)

 

Escrita por Billy Joel, foi gravada em 1977, no A & R Recording Inc., em New York City e lançada em 29 de setembro de 1977 no disco de mesmo nome. Sairia em compacto no Japão em 21 de maio de 1978 com Moving out (Anthony's song) como Lado B. Foi produzida por Phil Ramone. Chegou ao número 2 no Japão, vendendo quase 500 mil cópias. Chegou ao número 8 na Nova Zelandia e número 59 na França e Austrália. É a homenagem de Billy Joel ao arquetipo A sombra, de Carl Jung.

A letra:

Well, we all have a face
That we hide away forever
And we take them out and show ourselves
When everyone has gone
Some are satin, some are steel
Some are silk and some are leather
They're the faces of the stranger
But we love to try them on

Well, we all fall in love
But we disregard the danger
Though we share so many secrets
There are some we never tell
Why were you so surprised
That you never saw the stranger?
Did you ever let your lover see
The stranger in yourself?

Don't be afraid to try again
Everyone goes south
Every now and then
Ooh, ooh
You've done it, why can't someone else?
You should know by now
You've been there yourself

Once I used to believe
I was such a great romancer
Then I came home to a woman
That I could not recognize
When I pressed her for a reason
She refused to even answer
It was then I felt the stranger
Kick me right between the eyes

Well, we all fall in love
But we disregard the danger
Though we share so many secrets
There are some we never tell
Why were you so surprised
That you never saw the stranger?
Did you ever let your lover see
The stranger in yourself?

Don't be afraid to try again
Everyone goes south
Every now and then
Ooh, ooh
You've done it, why can't someone else?
You should know by now
You've been there yourself

You may never understand
How the stranger is inspired
But he isn't always evil
And he is not always wrong
Though you drown in good intentions
You will never quench the fire
You'll give in to your desire
When the stranger comes along

Ooh, ooh
Ooh, ooh

A versão de Billy Joel:

A versão de I like it here:

A versão de Nevie Sticks: