Escrita
por Leonard Cohen (letra) e Phil Spector (Música), foi gravada em
junho e julho de 1977 e lançada em 13 de novembro de 1977, no disco
Death of ladie's man, o quinto disco de Cohen. Foi produzida por Phil
Spector.
A
letra:
I
left a woman waiting I met her sometime later She said, "I
see your eyes are dead"
What happened to you, lover? What
happened to you, my lover? What happened to you, lover? What
happened to you?
And since she spoke the truth to me I
tried to answer truthfully Whatever happened to my eyes
Happened to your beauty Happened to
your beauty What happened to your beauty Happened to me
We took ourselves to someone's bed And
there we fell together Quick as dogs and truly dead were we
And free as running water Free as
running water Free as running water Free as you and me
The way it's got to be The way it's
got to be, lover
Escrita
por Joni Mitchell, foi gravada em 1977 e lançada em 13 de dezembro
de 1977 no disco Don Juan's reckless daughter, o nono disco da
carreira dela. Foi produzida por Joni Mitchell, Henry Lewy e Steve
Katz. Joni Mitchell cantou e tocou violão. Jaco Pastorius tocou
baixo. John Guerin tocou bateria. Alex Acuna tocou congas.
A
letra:
I
am a poor wayfaring stranger Traveling through all these highs and
lows I heard there was no sickness And no toil or danger Just
mercy and plenty Where peaceful waters flow Where peaceful
waters flow
Come all you fair and tender school
girls Be careful now when you court young men They are like the
stars On a summer morning They sparkle up the night And
they're gone again Daybreak, gone again
If I'd only seen through the silky
veils of ardor What a killing crime this love can be I would
have locked up my heart In a golden sheath of armor And kept
its crazy beating Under strictest secrecy High security
I wish I had the wings Of Noah's
pretty little white dove So I could fly this raging river To
reach the one I love But I have no wings And the water is so
wide We'll have to row a little harder It's just in dreams we
fly In my dreams, we fly
Escrita
por Bob Marley, foi gravada entre janeiro e abril de 1977 e lançada
no disco Exodus, o nono disco do grupo, em 3 de junho de 1977. Foi
produzida pelo próprio Bob Marley and The Wailers. Fala sobre
religião e abre o disco. Bob Marley cantou, fez backing vocal e
tocou guitarra. Junior Marvin tocou guitarra. Aston Barrett tocou
baixo. Carlton Barrett tocou bateria. Tyrone Downie tocou
sintetizador, piano elétrico, orgao e fez backing vocals. Alvin
Patternon tocou percussão. Rita Marley, Marcia Griffiths e Judy
Mowatt fizeram backing vocals. David Madden tocou trumpete. Vin
Gordon tocou trombone. Glen da Costa tocou sax.
A
letra:
There's
a natural mystic blowing through the air If you listen carefully
now you will hear
This could be the first trumpet, might as
well be the last Many more will have to suffer Many more will
have to die Don't ask me why Things are not the way they used
to be I won't tell no lie
One and all got to face reality
now Though I've tried to find the answer to all the questions they
ask Though I know it's impossible to go living through the
past Don't tell no lie
There's a natural mystic blowing
through the air Can't keep them down If you listen carefully
now you will hear
Such
a natural mystic, blowing through the air
This could be the
first trumpet, might as well be the last Many more will have to
suffer Many more will have to die - don't ask me why
There's
a natural mystic blowing through the air I won't tell no lie If
you listen carefully now you will hear There's a natural mystic
blowing through the air
Such a natural mystic blowing through
the air There's a natural mystic blowing through the air Such a
natural mystic blowing through the air Such a natural mystic
blowing through the air Such a natural mystic blowing through the
air
Escrita
por Rod Stewart, foi gravada em 1977 e lançada em 7 de outubro de
1977 no compacto que tinha You got a nerve como Lado B. Sairia também
no disco Foot loose & Fancy free, em 4 de novembro de 1977. Foi
produzida por Tom Dowd. Rod Stewart cantou. Jim Cregan tocou guitarra
e fez backing vocals. Phil Chen tocou baixo. Carmine Appice tocou
bateria e fez backing vocals. David Foster tocou piano elétrico
Fender Rhodes. Fred Tackett tocou violão. Nicky Hopkins tocou
sintetizador de cordas. Richard Greene tocou violino. Chegou ao
número 1 na Austrália e Canadá. Número 2 na Irlanda e Nova
Zelandia. Número 3 no Reino Unido. Número 4 no Billboard Hot 100.
Número 8 na Irlanda e número 13 na Bélgica. E número 35 na
Noruega.
A
letra:
I
didn't know what day it was When you walked into the room I
said hello unnoticed You said goodbye too soon
Breezing through the clientele Spinning
yarns that were so lyrical I really must confess right here The
attraction was purely physical
I took all those habits of yours That
in the beginning were hard to accept Your fashion sense, Beardsley
prints I put down to experience
The big bossed lady with the Dutch
accent Who tried to change my point of view Her ad lib lines
were well rehearsed But my heart cried out for you
You're in my heart, you're in my
soul You'll be my breath should I grow old You are my lover,
you're my best friend You're in my soul
My love for you is immeasurable My
respect for you immense You're ageless, timeless, lace and
fineness You're beauty and elegance
You're a rhapsody, a comedy You're a
symphony and a play You're every love song ever written But
honey what do you see in me
You're in my heart, you're in my
soul You'll be my breath should I grow old You are my lover,
you're my best friend You're in my soul
You're an essay in glamor Please
pardon the grammar But you're every schoolboy's dream You're
Celtic, United, but baby I've decided You're the best team I've
ever seen
And there have been many affairs Many
times I've thought to leave But I bite my lip and turn
around 'Cause you're the warmest thing I've ever found
You're in my heart, you're in my
soul You'll be my breath should I grow old You are my lover,
you're my best friend You're in my soul
Escrita
por John Denver, foi gravada em 1977 e lançada em novembro de 1977,
no disco I want to live, o décimo segundo da carreira de Denver. Foi
produzida por Milton Okun e John Snyder. John Denver cantou e tocou
violão. James Burton tocou guitarra. Hal Blaine tocou bateria. Chuck
Domanico tocou baixo. Michael Lang tocou teclado. Herb Pedersen tocou
banjo e guitarra. Lee Ritenour tocou guitarra.
A
letra:
You
came looking for the answers To some questions on his mind Seeking
truth and understanding In the hope that he would find A way to
better serve his brothers And his sisters in the sun Sharing
all that he has given Giving all to everyone
Come and listen to the story Of a
journey once begun Of a people and their plenty And their
season in the sun And how they gave themselves to symbols And
things that they could hold Living lives in desperation In the
fear of letting go
It amazes me And I know the wind
will surely one day Blow it all away It amazes me And I'm so
very grateful that you made the world this way
For our plans have come together
now Where do we go from here Will our differences divide
us Must we always live in fear For there are things that we
must move through Some things to cast aside But our father
watches over us Our mother will provide
It amazes me And I know the wind
will someday surely Blow it all away It amazes me And I'm so
very grateful that you made the world this way
A
música foi escrita por Samuel L. Ward, em Newark, New Jersey, em
1883 e a letra foi escrita por Katharine Lee Baites em 1895. Os dois
nunca se encontraram. Trata-se de uma canção patriota americana.
Ela foi chamada de America The Beautiful pela primeira vez em 1910. É
uma das canção patriotas mais populares dos Estados Unidos. Ela com
33 anos viajou pra Colorado Springs pra ensinar no Colorado College e
o que ela viu na viagem foi o que a inspirou pra escrever a letra.
Quando Ward morreu em 1903, não soube do sucesso que se tornaria sua
composição. Ela no entanto foi mais feliz, pois morreu em 1929,
quando a música já era sucesso nacional. Existe inclusive uma forte
corrente tentando tornar America The Beautiful o hino nacional
ameriano. A nossa versão é a de Elvis Presley, que começou a
cantá-la ao vivo nos seus shows em 1976 e quando da sua morte, foi
lançada no compacto que tinha My way como Lado A. Foi regravada
também por Bing Crosby, Frank Sinatra, Ray Charles, Aretha Franklin,
Barbra Streisend, Mariah Carey, Whitney Houston e Jennifer Lopez,
entre outros artistas.
A
letra:
O
beautiful for spacious skies For amber waves of grain For
purple mountain majesties Above thy fruited plain
America, America God shed His grace
on thee And crown thy good with brotherhood From sea to shining
sea
For beautiful for spacious skies For
amber waves of grain For purple mountain majesties Above the
fruited plain America, America! God shed His grace on thee And
crowned thy good, with brotherhood From sea to shining sea
America, America!
God shed his grace on thee And crown
thy good with brotherhood From sea to shining sea!
Escrita
por Leonard Cohen (Letra) e Phil Spector (Música), foi gravada entre
junho e julho de 1977 e lançada em 13 de novembro de 1977, no disco
de mesmo nome, o quinto disco de Cohen. Foi produzida por Phil
Spector.
A
letra:
Ah
the man she wanted all her life was hanging by a thread "I
never even knew how much I wanted you, " she said. His
muscles they were numbered and his style was obsolete. "O
baby, I have come too late." She knelt beside his feet. "I'll
never see a face like yours in years of men to come I'll never see
such arms again in wrestling or in love." And all his virtues
burning in the smoky Holocaust She took unto herself most
everything her lover lost Now the master of this landscape he was
standing at the view With a sparrow of St. Francis that he was
preaching to She beckoned to the sentry of his high religious
mood She said, "I'll make a place between my legs, I'll
show you solitude."
He offered her an orgy in a many
mirrored room He promised her protection for the issue of her
womb She moved her body hard against a sharpened metal spoon She
stopped the bloody rituals of passage to the moon
She took his much admired oriental
frame of mind And the heart-of-darkness alibi his money hides
behind She took his blonde Madonna and his monastery wine "This
mental space is occupied and everything is mine."
He tried to make a final stand beside
the railway track She said, "The art of longing's over and
it's never coming back." She took his tavern parliament, his
cap, his cocky dance, She mocked his female fashions and his
working-class mustache.
The last time that I saw him he was
trying hard to get A woman's education but he's not a woman
yet And the last time that I saw her she was living with some
boy Who gives her soul an empty room and gives her body joy.
So the great affair is over but whoever
would have guessed It would leave us all so vacant and so deeply
unimpressed It's like our visit to the moon or to that other
star I guess you go for nothing if you really want to go that far.
It's like our visit to the moon or to
that other star I guess you go for nothing if you really want to
go that far.
It's like our visit to the moon or to
that other star I guess you go for nothing if you really want to
go that far.
Escrita
por Joni Mitchell, foi gravada ao vivo inicialmente e lançada em
1974 no disco Miles of Aisles. No entanto, a versão que escolhemos é
a de estúdio, gravada em 1977 e lançada no disco Don Juan's
reckless daughter, o nono de Joni, em 13 de dezembro de 1977. Sairia
também em compacto, com Off night backstreet como Lado A, em 1978.
Foi produzida por Joni Mitchell, Henry Lewy e Steve Katz. Joni
Mitchell cantou e tocou violão. Jaco Pastorius tocou baixo. John
Guerin tocou bateria. Wayne Shorter tocou sax soprano. Alex Acuña
tocou congas. Don Alias tocou bongô.
A
letra:
I'll try to keep myself open up to
you That's a promise that I made to love When it was new Just
like Jericho I said "Let these walls come tumbling down" I
said it like I finally found the way To keep the good feelings
alive I said it like it was something to strive for
I'll
try to keep myself open up to you And approve your self
expression I need that too I need your confidence baby And
the gift of your extra time In turn I'll give you mine Sweet
darling it's a rich exchange It seems to me It's a warm
arrangement
Anyone will tell you Just how hard it is to
make and keep a friend Maybe they'll short sell you Or maybe
it's you Judas in the end When you just can no longer
pretend That you're getting what you need Or you're giving out
anything for them to grow and feed on
I'll try to keep myself
open up to you It gets easier and easier to do Just like
Jericho Let these walls come tumbling down now Let them fall
right on the ground Let all these dogs go running free The wild
and the gentle dogs Kenneled in me
Escrita
por Bob Marley, foi gravada entre janeiro e abril de 1977 e lançada
no disco Exodus, o nono disco do grupo, em 3 de junho de 1977. Foi
produzida por Bob Marley and The Wailers. Bob cantou, tocou guitarra
e fez backing vocals. Junior Marvin tocou guitarra. Aston barrett
tocou baixo. Carlton 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 toxou sax.
A
letra:
Rise
up fallen fighters Rise and take your stance again 'Tis he who
fight and run away Live to fight another day Wit de heathen
back dey 'pon de wall! Wit de heathen back, yeah, 'pon de
wall! Wit de heathen back dey 'pon de wall! Wit de heathen
back, yeah, 'pon de wall!
As a man sow, shall he reap And I
know that talk is cheap But the hotter the battle Ah the
sweeter Jah victory Wit de heathen back dey 'pon de wall! Wit
de heathen back, yeah, 'pon de wall! Wit de heathen back dey 'pon
de wall! Wit de heathen back, yeah, 'pon de wall!
Rise up, fallen fighters Rise and
take your stance again 'Tis he who fight and run away Live to
fight another day De heathen back dey 'pon de wall! De heathen
back, yeah, 'pon de wall! De heathen back dey 'pon de wall! De
heathen back, yeah, 'pon de wall!
De heathen back dey 'pon de wall! De
heathen back, yeah, 'pon de wall! De heathen back dey 'pon de
wall! De heathen back, yeah, 'pon de wall! De heathen back dey
'pon de wall! De heathen back, yeah, 'pon de wall! De heathen
back dey 'pon de wall! De heathen back, yeah, 'pon de wall!
Escrita
por Rod Stewart e Gary Grainger, foi gravada em 1977 e lançada em 4
de novembro de 1977 no disco Foot loose & Fancy Free, o oitavo
disco da carreira de Rod Stewart. Sairia também em compacto, com
Born loose como Lado B. Foi produzida por Tom Dowd. É uma das
melhores letras de Stewart. Trata-se de um conto sobre juventude
contada de uma perspectiva mais madura. O solo é tocado por Jim
Cregan e é considerado um dos melhore solos do rock. Chegou ao
número 4 na Irlanda, número 5 no Reino Unido, número 11 no Canadá,
número 22 no Billboard Hot 100 e número 35 na Nova Zelandia.
A
letra:
Ever
since I was a kid at school I messed around with all the
rules Apologised then realised I'm not different after all
Me and the boys thought we had it
sussed Valentinos all of us My dad said we looked
ridiculous But boy, we broke some hearts
In and out of jobs, running free Waging
war with society Dumb blank faces stare back at me But nothing
ever changed
Promises made in the heat of the
night Creeping home before it got too light I wasted all that
precious time And blamed it on the wine
I was only joking my dear (my
dear) Looking for a way to hide my fear (my fear) What kind of
fool was I? (Was I) I could never win (never win)
Never found a compromise Collected
lovers like butterflies Illusions of that grand first prize Are
slowly wearing thin
Susie, baby, you were good to me Giving
love unselfishly But you took it all too seriously I guess it
had to end
I was only joking my dear (my
dear) Looking for a way to hide my fear (my fear) What kind of
fool was I? (Was I) I could never win (never win)
Yeah baby, whoa
Now you ask me if I'm sincere That's
the question that I always fear Vers e seven is never clear But
I'll tell you what you wanna hear
I try to give you all you want But
giving love is not my strongest point If that's the case it's
pointless going on I'd rather be alone
'Cause what I'm doing must be
wrong Pouring my heart out in a song Owning up for
prosperity For the whole damn world to see
Quietly now while I turn a page Act
one is over without costume change The principal would like to
leave the stage The crowd don't understand
Escrita
por John Denver, foi gravada em 1977 e lançada em compacto com
Tradewinds como Lado B, e saiu também no disco de mesmo nome, o
décimo segundo da Denver, ambos em novembro de 1977. Foi produzida
por Milton Okun e John Snyder. John Denver escreveu a canção
depois do cantor folk Harry Chapin promover para o presidente Jimmy
Carter a ideía de uma comissão pra cuidar da fome mundial. Denver
escreveu essa canção pra ser o tema dessa comissão. Como toda
idéia esquerdista é uma merda, a comissão não produziu nada.
A
letra:
There
are children raised in sorrow On a scorched and barren plain There
are children raised beneath a golden sun There are children of the
water Children of the sand And they cry out through the
universe Their voices raised as one
I want to live I want to grow I want
to see I want to know I want to share what I can give I want to
be I want to live
Have you gazed out on the ocean Seen
the breaching of a whale? Have you watched the dolphins frolic in
the foam? Have you heard the song the humpback hears five hundred
miles away Telling tales of ancient history of passages and home?
I want to live I want to grow I want
to see I want to know I want to share what I can give I want to
be I want to live
For the worker and the warrior the
lover and the liar For the native and the wanderer in kind For
the maker and the user and the mother and her son I am looking for
my family and all of you are mine
We are standing all together Face to
face and arm in arm We are standing on the threshold of s dream No
more hunger no more killing No more wasting life away It is
simply an idea And I know its time has come
I want to live I want to grow I want
to see I want to know I want to share what I can give I want to
be I want to live
Escrita
por Jacques Revaux, Gilles Thibault e Claude François, em francês,
teve letra em inglês feita por Paul Anka especialmente pra Frank
Sinatra cantar. A versão de Sinatra sairia em 1969, mas a versão
escolhida pelo site foi a de Elvis, ao vivo, de 1977. Gravada em 21
de junho de 1977, em um show em Rapid City, South Dakota. Foi
lançada no disco Elvis in concert, em 3 de outubro de 1977, quando
Elvis já havia morrido. O nome da música em francês é Comme
d'habitude. A versão de Sinatra ficou 75 semanas no TOP 40 no Reino
Unido, sendo a terceira música que mais ficou até hoje. Paul Anka
enquanto de férias na França, comprou os direitos da música. Algum
tempo depois, jantou com Sinatra na Flórida, que disse que queria
parar de cantar, que estava de saco cheio da música. Foi então que
Anka teve a idéia de escrever uma letra em inglês, como se Sinatra
tivesse no fim da carreira, no fim da vida. Por isso o começo diz:
And now, the end is near. I ate it up and spit it out era o jeito que
Sinatra falava. Quando acabou de compor, Anka ligou pra Sinatra no
Caesar's Palace, em Las Vegas e disse que tinha algo especial pra
ele. Sinattra gravou-a em um take. Mesmo sendo sua canção mais
famosa, Sinatra passou a odiá-la. Enquanto isso, Elvis passou a
cantá-la no meio dos anos 70s, mesmo Anka dizendo que a canção não
era adequada pra ele. Em 1973, Elvis cantou-a no Aloha from Hawaii.
Quando foi lançada em compacto e no concerto em 1977, chegou ao
número 22 no Billboard Hot100, melhor posição do que a de Sinatra.
Elvis gravou no entanto uma versão de estúdio em 1971. Seria
gravada também por Sid Vicious, entre outros artistas. A canção é
sempre associada à nostalgia. É a canção mais tocada em funerais
no Reino Unido.
A
letra:
And
now the end is near So I face the final curtain My friend, I'll
say it clear I'll state my case of which I'm certain
I've lived a life that's full I've
traveled each and every highway Oh, and more much more than this I
did it my way
Regrets, I've had a few But then
again too few to mention I did what I had to do And saw it
through without exception
I planned each charted course Each
careful step along the byway Oh, and more much more than this I
did it my way
Yes, there were times I'm sure you
knew When I bit off more than I could chew But through it all
when there was doubt I ate it up and spit it out I faced it all
and I stood tall And did it my way
I've loved I've laughed and cried I've
had my fill, my share of losing And now as tears subside I find
it all so amusing To think I did all that And may I say, not in
a shy way Oh, no, no not me I did it my way
For what is a man? What has he got? If
not himself then he has not To say the words he truly feels And
not the words of one who kneels The record shows I took the
blows And did it my way The record shows I took the blows And
did it my way
Escrita
por Neil Young, foi gravada em maio de 1976 e lançada em 27 de maio
de 1977, no disco American Stars n' bars, o oitavo disco de Neil
Young, Foi produzida por Neil Young, David Briggs e Tim Mulligan. Ele
gravou-a sozinho, em frente à uma lareira, tocando violão. Ele usou
equipmentos pra imitar um som de um peixe. Depois ele adicionou
percussão, baixo e vibrafone, todos tocados por ele mesmo. Ele nunca
cantou-a depois de gravar. Ele disse que não lembra da melodia, pois
os versos vieram diferentes. O narrador se imagina sendo um salmão
nadando contra a correnteza para reproduzir e tentar sobreviver. Neil
disse que essa era uma das melhores gravações que ele fez.
A
letra:
It
has often been my dream To live with one who wasn't there Like
an ocean fish who swam upstream Through nets, by hooks, and hungry
bears
When the water grew less deep My
fins were aching from the strain I'm swimming in my sleep I
know I can't go back again
Got the will to love, the will to
love I'll never lose it, never lose the will to love Never lose
the will It's like something from up above
I can be like a fire in the
night Always warm and giving off light But there comes a time
when I shine too bright Oh, I'm just a fire in the night
And now my fins are in the air And
my belly's scraping on the rocks I still think someone really
cares And I'll keep swimming 'til I stop
Got the will to love, the will to
love I'll never lose it, never lose the will to love Never lose
the will It's like something from up above
I'm like a singer on the stage With
the golden lights and liquid rage Down from the mountains to the
sea Cool running love keeps cleansing me
It keeps my gills from getting dry But
it distorts things in my eyes Sometimes I see what really isn't
there Like my true lover, and I care
Got the will to love, the will to
love I'll never lose it, never lose the will to love Never lose
the will It's like something from up above
Sometimes I ramble on and on And I
repeat myself till all my friends are gone And get lost in snow
and drown in rain And never feel the same again
I remember the ocean from where I
came Just one of millions all the same But somewhere someone
calls my name I'm a harpoon dodger, and I can't, won't be tamed
Got the will to love, the will to
love I'll never lose it, never lose the will to love Never lose
the will It's like something from up above
Baby, if I see boredom in your
eyes I'll know my river has run dry But I won't turn back with
that lonely tide I bought that ticket and I'll take that ride
If we meet along the way Please sway
beside me, let us sway together Our tails together and our fins
and mind We'll leave this water and let our scales shine In the
sun above and the sky below So all the water and earth will know
It has often been my dream To live
with one who wasn't there
Escrita
por James Taylor, foi gravada entre março e abril de 1977 e lançada
no disco JT, o oitavo da carreira de James Taylor, em 22 de junho de
1977. Foi produzida por Peter Asher. James Taylor cantou e fez
backing vocals e tocou violão. Danny Kortchamar tocou guitarra. Dr.
Clarence McDonald tocou teclados. Leland Sklar tocou baixo e Russ
Kunkel tocou bateria.
A
letra:
When
I feel as though my love is sinking down, the sun doesn't want to
shine. When it feels like she won't face another day, life is
unkind, she's frozen in time. And here comes another grey morning.
A not so good morning after all. She says "well, what am I to
do today with too much time and so much sorrow."
She
hears the baby waking up downstairs. She hears the foghorn calling
out across the sound. Repetition in the morning air is just too
much to bear, and no one seems to care. If another day goes
creeping by empty and ashamed, like an old unwanted memory that no
one will claim. The clouds with their heads on the ground, she's
gonna have to come down.
She said "move me, move me, I'm
locked up inside." Well, I didn't understand her though God
knows I tried. She said "make me angry but just make me
cry. But no more grey morning, I think I'd rather die."
Escrita
por Bob Marley, foi gravada entre janeiro e abril de 1977 e lançada
no disco Exodus, o nono disco da banda, em 3 de junho de 1977. Foi
produzida por Bob Marley and The Wailers.
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:
Guiltiness
(talking about guiltiness) Pressed on their conscience, oh yeah Oh
yeah And they live their lives (they live live) On false
pretense everyday Each and everyday yeah
These are the big fish (these are the
big fish) Who always try to eat down the small fish And just
the small fish I tell you what, they would do anything To
materialize their every wish Oh yeah yeah yeah yeah
But they woe to the down
pressers They'll eat the bread of sorrow Woe to the down
pressers They'll eat the bread of sad tomorrow Woe to the down
pressers They'll eat the bread of sorrow Oh, yeah yeah! Oh,
yeah yeah yeah yeah
Guiltiness (talking about
guiltiness) Pressed on their conscience, oh yeah, oh yeah These
are the big fish (these are the big fish) Who always try to eat
down the small fish A just the small fish
And I tell you what (they would do
anything) To materialize their every wish Oh yeah yeah yeah
yeah
But woe, woe to the down
pressers They'll eat the bread of sorrow Woe to the down
pressers They'll eat the bread of sad tomorrow Woe to the down
pressers They'll eat the bread of sad tomorrow Oh, yeah! Oh,
yeah yeah yeah yeah
Guiltiness, oh yes They'll eat the
bread of sorrow (everyday) everyday (oh yeah) And they'll eat the
bread of sad tomorrow (everyday) everyday
