1779 – Chicago – Baby, what a big surprise (1977)

 

Escrita por Peter Cetera, foi gravada entre abril e junho de 1977 e lançada em 12 de setembro de 1977, no disco Chicago XI, o nono disco da banda. Sairia também em compacto na mesma data, com Takin' it on uptown como Lado B. Foi produzida por James William Guercio. Chegou ao número 4 do Billboard Hot100. Foi o último top 10 deles antes da morte do guitarrista Terry Kath e também o último top 10 deles sob a produção de Guercio. Chegou também ao número 3 no Canadá, número 4 na Holanda, número 9 na Áustria, número 12 na Suécia, número 14 na Austrália, número 19 na Suíça e Nova Zelândia, número 38 na França e número 41 no Reino Unido. Foi regravada pelo próprio Cetera, anos depois. Robert Lamm tocou piano e fez backing vocals. Terry Kath tocou guitarra e percussão. Peter Cetera cantou e tocou baixo. James Pankow tocou trombone, teclado, percussão e fez backing vocals. Walt Parazaider tocou sax, flaura e clarinete. Danny Seraphine tocou bateria e percussão. Jimmy Guercio tocou violão e baixo. Carl Wilson (dos Beach Boys) e Tim Cetera fizeram backing vocals.

A letra:

Right before my very eyes
I thought that you were only fakin' it
And like before my heart was takin' it

Baby what a big surprise
Right before my very eyes
Oh, oh, oh, woah, oh

Yesterday it seemed to me
My life was nothing more than wasted time
But here today you've softly changed my mind

Baby, what a big surprise
Right before my very eyes, oh, oh
Oh, woah, oh, oh

Just to be alone
Was a little more than I could take
Then you came to stay, oh
Hold me in the morning
Love me in the afternoon
Help me find my way, hey yeah

Now and then just like before
I think about the love I've thrown away
But now it doesn't matter anyway

Baby what a big surprise
Right before my very eyes
Oh, oh, oh, woah, oh
Baby what a big surprise
Right before my very eyes
Oh, oh, oh, woah, oh
Baby what a big surprise
Right before my very eyes
Oh, oh, oh, woah, oh
Baby what a big surprise
Right before my very eyes
Oh, oh, oh, woah, oh
Baby what a big surprise

A versão do Chicago:

A versão de Peter Cetera:

1778 – Bill Withers – Lovely day (1977)

 

Escrita por Bill Withers e Skip Scarborough, foi gravada em 1977 e lançada em 29 de outubro de 1977 no disco Menagerie, o sexto disco de Bill Withers. Sairia também em compacto em 21 de dezembro de 1977, com It ain't because of me baby como Lado B. Foi produzida por Bill Withers e Clarence McDonalds. Withers segurou uma nota que durou 18 segundos, uma das mais longas já gravadas por um cantor americano pop. É o númeo 402 da lista das 500 greatest songs of all time, da revista Rolling Stone. Chegou ao número 6 do Billboard R&B e número 30 no Billboard Hot 100. E ao número 7 no Reino Unido. Também número 1 na França, número 11 na Bélgica, número 18 na Áustria, número 23 no Canadá e número 24 na Holanda. Bill Withers cantou, Clarence McDonald tocou teclado, Ray Parker Jr. Tocou guitarra, Jerry Knight tocou baixo, Russ Kinkel tocou bateria, Ralph MacDonald tocou percussão.

A letra:

When I wake up in the morning, love
And the sunlight hurts my eyes
And something without warning, love
Bears heavy on my mind

Then I look at you
And the world's alright with me
Just one look at you
And I know it's gonna be
A lovely day (lovely day, lovely day, lovely day, lovely day)
(Lovely day, lovely day, lovely day, lovely day)
A lovely day (lovely day, lovely day, lovely day, lovely day)
(Lovely day, lovely day, lovely day, lovely day)

When the day that lies ahead of me
Seems impossible to face
When someone else instead of me
Always seems to know the way

Then I look at you
And the world's alright with me
Just one look at you
And I know it's gonna be
A lovely day (lovely day, lovely day, lovely day, lovely day)
(Lovely day, lovely day, lovely day, lovely day)
A lovely day (lovely day, lovely day, lovely day, lovely day)
(Lovely day, lovely day, lovely day, lovely day)

When the day that lies ahead of me
Seems impossible to face
And when someone else instead of me
Always seems to know the way

Then I look at you
And the world's alright with me
Just one look at you
And I know it's gonna be
A lovely day (lovely day, lovely day, lovely day, lovely day)
(Lovely day, lovely day, lovely day, lovely day)
A lovely day (lovely day, lovely day, lovely day, lovely day)
(Lovely day, lovely day, lovely day, lovely day)
(Lovely day, lovely day, lovely day, lovely day)
(Lovely day, lovely day, lovely day, lovely day)

A lovely day (lovely day, lovely day, lovely day, lovely day)
(Lovely day, lovely day, lovely day, lovely day)
A lovely day (lovely day, lovely day, lovely day, lovely day)
(Lovely day, lovely day, lovely day, lovely day)
A lovely day (lovely day, lovely day, lovely day, lovely day)
(Lovely day, lovely day, lovely day, lovely day)
A lovely day (lovely day, lovely day, lovely day, lovely day)
(Lovely day, lovely day, lovely day, lovely day)
(Lovely day, lovely day, lovely day, lovely day)
(Lovely day, lovely day, lovely day)

A versão de Bill Withers:

A versão de HSCC:

A versão de Sting and Shaggy:

1777 – The Jam – In the city (1977)

Escrita por Paul Weller, foi gravada em março de 1977 no Stratford Place, em Londres e lançada em 20 de março de 1977 no disco de mesmo nome e que foi o de estréia da banda. Sairia em compacto com Takin' my love como Lado B, em 29 de abril de 1977. Foi produzida por Vic Smith e Chris Parry. Chegou ao número 40 dos charts do Reino Unido. A letra é a celebração da juventude em uma grande cidade e de um otimismo do movimento punk. Fala também em brutalidade policial.

A letra:

In the city there's a thousand things I want to say to you
But whenever I approach you, you make me look a fool
I wanna say, I wanna tell you
About the young ideas
But you turn them into fears
In the city there's a thousand faces, all shining bright
And those golden faces are under twenty-five
They wanna say, they gonna tell ya
About the young idea
You better listen now you've said your bit-a, go!

And I know what you're thinking
You still think I am crap
But you'd better listen, man
Because the kids know where it's at

In the city there's a thousand men in uniforms
And I've heard they now have the right to kill a man
We wanna say, we gonna tell ya
About the young idea
And if it don't work, at least we said we've tried

In the city, in the city
In the city, in the city
In the city there's a thousand things I want to say to you

A versão do The Jam:

1776 – Van Morrison – The eternal Kansas City (1977)

 

Escrita por Van Morrison, foi gravada em entre o outono de 1976 e o começo do inverno de 1977 e lancada no disco A period of transition, o nono da carreira de Morrison, em abril de 1977. Foi produzida por ele mesmo. Sairia depois em compacto, com Joyous sound como Lado B. Van Morrison cantou, Ollie. Brown tocou bateria Marlo Henderson tocou guitarra, Jerry Jumonville tocou sax alto, Reggie McBride tocou baixo, Joel Peskin tocou sax barítono, Mac Rebennack (Dr. John) tocou piano, Mark Underwood tocou trompete e Carlena Williams, Paulette Parker, Candy Nash e Toni McVey fizeram backing vocals.

A letra:

[Chorus (Choir singing):]
Excuse me do you know the way to Kansas City?
Excuse me do you know the way to Kansas City?
Excuse me do you know the way to Kansas City?
Excuse me do you know the way to Kansas City? (Do you know the way to Kansas City?)
Excuse me do you know the way to Kansas City? (Do you know the way to Kansas City?)
Excuse me do you know the way to Kansas City? (Do you know the way to Kansas City?)
Excuse me do you know the way to Kansas City? (Do you know the way to Kansas City?)
Excuse me do you know the way to Kansas City? (Do you know the way to Kansas City)?
[Van singing:]
Excuse me do you know the way to Kansas City?
Excuse me do you know the way to Kansas City?
Excuse me do you know the way to Kansas City?
Excuse me do you know the way to Kansas City?

Train down to St. Louis in Missouri
Over to the city there, you know that one
Where the farmer's daughter digs the farmer's son
Dig your Charlie Parker
Basie and Young
Witherspoon and Jay McShann
They will come
Oooowoooowoooo

[Chorus (Van and choir in background):]
Excuse me do you know the way to Kansas City?
Excuse me do you know the way to Kansas City?
Excuse me do you know the way to Kansas City?
Excuse me do you know the way to Kansas City?

Lady Liberty in waiting
You know she lights the way
Her name is Billie, she's a Holiday
And the city is eternal -- hey, can't you see?
It's inside of you and it's inside of me
Oooowoooowoooo

[Chorus (Van and choir in background):]
You know, you know the way to Kansas City?
You know, you know the way to Kansas City?
You know, you know the way to Kansas City?
You know, you know the way to Kansas City ?
You know...the way to Kansas City
You know...the way to Kansas City
Wild Thing

You know the way to Kansas City [Choir only]
Thank you Man [Van]
You know the way to Kansas City
Sing it [Van]
You know the way to Kansas City [Van and choir]
Hit it [Van]
You know...the way to Kansas City
You know...the way to Kansas City
You know...the way to Kansas City
You know...the way to Kansas City
Baby can't you sing it one time [Van]

[Choir:]
You know the way to Kansas City
You know the way to Kansas City
You know the way to Kansas City
You know the way to Kansas City
You know the way to Kansas City
You know the way to Kansas City
You know the way to Kansas City
You know the way to Kansas City

A versão de Van Morrison:

1775 – Eric Clapton – May you never (1977)

 

Escrita por John Martyn, foi gravada em maio de 1977, em Londres e lançada em 25 de novembro de 1977 no disco Slowhand, o quinto da carreira de Clapton. Foi produzida por Glyn Johns. Eric Clapton tocou guitarra e cantou. Dick Sims tocou teclado. George Terry tocou guitarra. Carl Radle tocou baixo. Jamie Oldaker tocou bateria e percussão. Mel Collins tocou sax. Yvonne Elliman e Marcy Levy fizeram backing vocals e harmonias vocais.

A letra:

May you never lay your head down without a hand to hold
May you never make your bed out in the cold
May you never lose your temper if you get hit in a barroom fight
May you never lose your woman overnight

Well, you're just like a great strong sister to me
And I know that your love is true
And you hold no blade for to stab me in my back
I know that there's some that do

So please, won't you please, won't you bear it in mind
Love is a lesson to learn in our time
Please, won't you please, bear it in mind for me

And may you never lay your head down without a hand to hold
May you just never make your bed out in the cold
May you never lose your temper if you get hit in a barroom fight
May you never lose your woman overnight

Well, you're just like a great strong brother to me
And I know that your love is true
And you never talk dirty behind my back
I know that there's some that do

So please, won't you please, won't you bear it in mind
Love is a lesson to learn in our time
Please, won't you please, bear it in mind for me

May you never lay your head down without a hand to hold
May you never make your bed out in the cold
May you never lose your temper if you get hit in a barroom fight
May you never lose your woman overnight

May you never lose your woman overnight
May you never lose your woman overnight

A versão de Eric Clapton:

A versão de Josh Turner:

A versão de John Martyn, o compositor:

1774 – Queen – We are the champions (1977)

 

Escrita por Freddie Mercury, foi gravada em 1977 e lançada em 7 de outubro de 1977, no compacto com We will rock you como Lado B. E sairia também em 28 de outubro de 1977, no disco News of the world, o sexto disco da banda. Foi produzida pelo Queen e Mike Clay Stone. É um dos hinos mais conhecidos da história do rock. Chegou ao número 2 no Reino Unido, número 4 no Billboard Hot 100 e número 3 no Canadá. Chegou também ao número 2 na Holanda, número 3 Irlanda, número 6 na Noruega, número 8 na Austrália, Bélgica e Nova Zelandia. Número 12 na Áustria, número 13 na Alemanha e número 14 na Suécia. Em 2009 entrou no Grammy Hall of Fame. Tem Mercury no piano e Taylor e Deacon na bateria e baixo. Freddie Mercury tocou piano, cantou e fez backing vocals. Brian May tocou guitarra e fez backing vocals. Roger Tailor tocou bateria e fez backing vocals. John Deacon tocou baixo.

A letra:

I've paid my dues
Time after time
I've done my sentence
But committed no crime
And bad mistakes
I've made a few
I've had my share of sand
Kicked in my face
But I've come through

And we mean to go on and on and on and on

We are the champions, my friends
And we'll keep on fighting till the end
We are the champions
We are the champions
No time for losers
'Cause we are the champions of the World

I've taken my bows
And my curtain calls
You brought me fame and fortune
And everything that goes with it
I thank you all
But it's been no bed of roses
No pleasure cruise
I consider it a challenge before
The human race
And I ain't gonna lose

And we mean to go on and on and on and on

We are the champions, my friends
And we'll keep on fighting till the end
We are the champions
We are the champions
No time for losers
'Cause we are the champions of the World

We are the champions, my friends
And we'll keep on fighting till the end
We are the champions
We are the champions
No time for losers
'Cause we are the champions of the World

A versão do Queen:

A versão de Marc Martel:

A versão de Yoni Schlesinger:

1773 – Art Garfunkel – Watermark (1977)

Escrita por Jimmy Webb, foi gravada em 1977 e lançada em 25 de outubro de 1977, no disco de mesmo nome, o terceiro disco da carreira solo de Art Garfunkel. Foi produzida por Art Garfunkel. Watermark havia sido gravada anteriormente por Richard Harris. Art Garfunkel cantou. Stephen Bishop tocou guitarra e fez backing vocals. Derek Bell tocou gaita. Paul Desmond tocou sax. Peter Carr, Jimmy Johnson e Hugh McCracken tocaram guitarra. Jimmy Webb tocou teclados. Barry Beckett tocou piano.

A letra:

How delicate the tracery of her fine lines
Like the moonlight lacetops of the evening pines
Like a song half heard through a closed door
Like an old book when you cannot read the writing anymore

How innocent her visage as my child lover lies
Pressed against the rainswept windy windows of my eyes
Like an antique etching glass design
That somehow turned out wrong
I keep looking through old varnish
At my late lover's body
Caught on ancient canvas
And decaying...disappearing
Even as I sing this song

How secretly and silently my sorrow disappears
You can't see it with your eyes or hear it with your ears
It's like a Watermark that's never there and never really gone
I keep looking through old varnish
At my late lover's body
Caught on ancient canvas
And decaying...disappearing
Even as I sing this song
Even as I sing this song
Even as I sing this song

A versão de Art Garfunkel:

A versão de Richard Harris:

1772 – America – Don't cry baby (1977)

 

Escrita por Dan Peek, foi gravada em 1976 em Kauai, Hawaii, e lançada em 15 de fevereiro de 1977, no disco Harbor, o sétimo disco da banda America. Foi produzida por George Martin. Dewey Bunnell cantou e fez backing vocals e tocou guitarra. Gerry Beckley cantou e fez backing vocals, tocou guitarra, piano e sintetizador. Dan Peek cantou e fez backing vocals, tocou guitarra, piano e sintetizador. David Dickey tocou baixo. Willie Leacox tocou bateria e percussão. Jim Calire tocou sax. Tom Walsh tocou percussão. Larry Carlton tocou sítara elétrica.

A letra:

Starlight falling through your hair
Sometimes I wonder if you know I'm there
Awake in the morning, a smile on your face
The same old feeling that I just can't place
And you say, "Don't cry, baby
You know I'll always be the one who cares
Don't cry, baby
Come closer, let me wipe away your tears"
A man came in with a violin
He played for me like I've never been
Courted before and forevermore
As the bow touched the strings
He made the whole world sing
Don't cry, baby
(Baby, don't you cry)
You know there'll always be someone who cares
Don't cry, baby
(Baby, don't you cry)
Closer let me wipe away your tears
I know I've been wrong
You've had to be strong
I guess I belong to you, my baby
(Baby, don't you cry)
You know I'll always be the one who cares
Don't cry baby
(Baby, don't you cry)
Closer let me wipe away your tears
The sound of your voice singing songs in the night
Have taken me far away and mystified
The songs of the lovers brought tears to my eyes
The words that you'd spoken made me realize

A versão do America:

A versão de Larry L:

1771 – Alice Cooper – You and me (1977)

 

Escrita por Alice Cooper e Dick Wagner, foi lançada em 9 de março de 1977, no compacto que tinha It's hot tonight como Lado B. Sairia também no disco Lace and Whiskey, o terceiro disco solo dele, em 29 de abril de 1977. Foi produzida por Bob Ezrin. Chegou ao número 9 do Billboard Hot 100. Chegou ao número 3 no Canadá e número 2 da Austrália.

A letra:

When I get home from work
I want to wrap myself around you
I want to take you and squeeze you
'Til the passion starts to rise

I want to take you to heaven
That would make my day complete

But you and me ain't no movie stars
What we are is what we are
We share a bed
Some lovin'
And TV, yeah
And that's enough for a workin' man
What I am is what I am
And I tell you, babe
Well that's enough for me

Sometimes when you're asleep
And I'm just starin' at the ceiling
I want to reach out and touch you
But you just go on dreamin'

If I could take you to heaven
That would make my day complete

But you and me ain't no movie stars
What we are is what we are
We share a bed
Some lovin'
And TV, yeah
That's enough for a workin' man
What I am is what I am
And I tell you, sweetheart
That's just enough for me

You and me ain't no super stars
What we are is what we are
We share a bed
Some popcorn
And TV, yeah
And that's enough for a workin' man
What I am is what I am
And I tell you, babe
You're just enough for me

When I get home from work
I want to wrap myself around you
I like to hold you squeeze you
'Til the passion starts to rise

I want to take you to heaven
That would make my day complete

You and me ain't no movie stars
What we are is what we are
We share a bed
Of lovin'
And TV, yeah
And that's enough for a workin' man
What I am well that's what I am
I tell you, baby
That's just enough for me

A versão de Alice Cooper:

A versão de Fab Bagnato:

1770 – Van Morrison – Cold wind in August (1977)

 

Escrita por Van Morrison, foi gravada entre o outono de 1976 e o inverno de 1977 e lançada em abril de 1977, no disco A period of transition, o nono da carreira de Van Morrison. Foi produzida por Dr. John e Van Morrison. Van Morrison tocou violão, guitarra, gaita e cantou. Ollie E. Brown tocou bateria e percussão. Marlo Henderson tocou guitarra. Jerry Jummonville tocou sax alto e tenor. Reggie McBride tocou baixo. Joel Peskin tocou sax barítono. Dr. John tocou piano e piano elétrico. Mark Underwood tocou trompete. Robbie Montgomery Roger Kennerly-Saint, Gregory Wright, Carlena Williams, Paulette Parker, Candy Nash, Toni McVey, Gary Garrett e Joe Powell fizeram backing vocals.

A letra:

I waited for you
You waited for me
That it seemed like, seemed like a mighty long time

Baby I had to have you
Oh, I had to have you
Come rain, rain or shine

It was a cold wind in August
Shivers up and down my spine
I was standin' in your garden
In the California pine

I was standing shivering
I've got the fever in the rain
But I can't come on back to see you
Again and again and again

I said I, I had to have you
Baby, I had to have you
Come rain, come rain or shine

It was a cold wind in August
Shivers up and down my spine
And I was standing in your garden
In the California pine
California pine

It was a cold wind in August
Shivers up and down my spine
I was standin' in your garden
In the California pine
In the California pine

It was a cold wind in August
I was pushed on through September
And I was pushin' through September
In the rain
Pushin' through, pushin' through September
In the rain

It was a cold wind in August
Shivers up and down my spine
I was standin', standin' in your garden
In the California pine

A versão de Van Morrison:

1769 – Television – Venus (1977)

 

Escrita por Tom Verlaine, foi gravada em setembro de 1976 e lançada em 8 de fevereiro de 1977, no disco Marquee moon, o disco de estréia da banda Television. Foi produzida por Andy Johns e Tom Verlaine. Billy Ficca tocou bateria. Richard Lloyd tocou guitarra e fez backing vocals. Fred Smith tocou baixo e fez backing vocals. Tom Verlaine tocou guitarra solo, teclado e cantou.

A letra:

Was a tight toy night, streets are bright
The world looked so thin between my bones and skin
There stood another person who was a little surprised
To be face to face with a world so alive
How I fell

Did ya feel low? No, not at all, Huh?
I fell right into the arms of Venus De Milo

You know it's all like some new kind of drug
My senses are sharp and my hands are like gloves
Broadway looked so medieval
It seemed to flap, like little pages
And I fell sideways laughing with a friend from many stages
How we felt

Did ya feel low? No, not at all, Huh?
I fell right into the arms of Venus De Milo

Suddenly my eyes were so soft and shaky
I knew there was pain but pain is not aching
Then Richie, Richie said
"Hey man let's dress up like cops
Think of what we could do!"
But something, something said "you better not"
And I fell

Did ya feel low? No, not at all, Huh?
I stood up, walked out of the Arms of Venus de Milo

A versão do Television:

1768 – Rick Danko – Sweet romance (1977)

 

Escrita por Rick Danko e Emmett Grogan, foi lançada em 1977 no disco Rick Dando, o de estréia do artista. Foi produzida por Rick Danko e Rob Fraboni. Rick Danko tocou baixo, guitarra solo e cantou. Michel de Temple, Doug Sahm e James Atkinson tocaram guitarra. Walt Richmond tocou piano. James Gordon tocou órgão. Dennys Seiwell e Terry Danko tocaram bateria. Gerry Beckley, Blondie Chaplin, Rob Frabonie Wayne Neuendorf fizeram backing vocals. Ken Lauber tocou piano. George Weber tocou órgão.

A letra:

Alone in the shadows, of a willow tree

I watched from the dark

As you crossed through the park

Coming closer to me

Those brief moments return of the day we first met

The time we shared with that special care

Free from all jealousy

There must be a distant place

Far from every wrong face

Tears won't fall by chance

On this sweet romance ...

Where the light of the moon, and the lay of the land

Brightened the way of so many nights

Helping us understand

The line that we crossed, to climb those hills

Gave us the strength to never fear

The hurting talk folks want to hear

There must be a different place

Far from every wrong face

Tears won't fall by chance

On this sweet romance ...

When they hear, of our last goodbye

They'll have to seek another dream to surprise

With desperate lies

As we parade, far from these streets

We'll be side by side, livin life in pride

With love's lullabye

There must be a distant place

Far from every wrong face

Tears won't fall by chance

On this sweet romance ...

A versão de Rick Danko:

1767 – Randy Newman – Short people (1977)

 

Escrita por Randy Newman, foi gravada em 1977 e lançada em 23 de setembro de 1977 no disco Little Criminals, o quinto disco de Newman. Foi produzida por Lenny Waronker e Russ Titelman. Sairia também em compacto em novembro de 1977, com Old man on the farm como Lado B. É um ataque de preconceito contra as pessoas baixas nos versos, mas no refrão dizem que as pessoas baixas são iguais a todas. Newman no entanto disse que escreveu a música somente pra demonstrar como o preconceito, seja ele qual for, é insano. Chegou ao número 2 do Billboard Hot 100, apesar de Newman nunca ter tido um compacto que fosse hit antes desse. C hegou também ao número 1 no Canadá, número 12 na Austrália, número 21 na Nova Zelandia e número 22 na Bélgica. Se transformou em disco de ouro. Ele disse que passou a odiar a canção depois que recebeu várias ameaças, de pessoas que não entenderam sua intenção. Randy Newman cantou, tocou piano e sintetizador. Glenn Frey e J. D. Souther fizeram backing vocals. Jim Keltner tocou bateria. Klaus Voorman tocou baixo. Milt Holland tocou congas. Timothy B. Schmit fez backing vocals. Waddy Wachtel tocou guitarra e Mike Boddicker tocou sintetizador.

A letra:

Short people got no reason
Short people got no reason
Short people got no reason
To live

They got little hands
And little eyes
And they walk around
Tellin' great big lies
They got little noses
And tiny little teeth
They wear platform shoes
On their nasty little feet

Well, I don't want no short people
Don't want no short people
Don't want no short people
'Round here

Short people are just the same
As you and I
(A fool such as I)
All men are brothers
Until the day they die
(It's a wonderful world)

Short people got nobody
Short people got nobody
Short people got nobody
To love

They got little baby legs
And they stand so low
You got to pick 'em up
Just to say hello
They got little cars
That got beep, beep, beep
They got little voices
Goin' peep, peep, peep
They got grubby little fingers
And dirty little minds
They're gonna get you every time

Well, I don't want no short people
Don't want no short people
Don't want no short people
'Round here

A versão de Randy Newman:

A versão de Mark Vitale:

A versão de Wellington International Ukelele Orchestra:

1766 – Queen – My melancholy blues (1977)

Escrita por Freddie Mercury, foi gravada entre julho e setembro de 1977 e lançada no disco News of the world, o sexto disco da banda, em 28 de outubro de 1977. Foi produzida pelo Queen e por Mike Stone. Não possui back vocal ou guitarras. John Deacon tocou seu baixo normal na gravação, apesar de tocar seu fretless ao vivo. A canção imita um jazz. Freddie Mercury cantou e tocou piano. Roger Taylor tocou bateria e John Deacon tocou baixo.

A letra:

Another party's over
And I'm left cold sober
My baby left me for somebody new

I don't wanna talk about it
Want to forget about it
Wanna be intoxicated with that special brew

Come and get me
Let me
Get in that sinking feeling
That says my heart is on an all-time low

So, don't expect me
To behave perfectly
And wear that sunny smile
My guess is I'm in for a cloudy and overcast

Don't try and stop me
'Cause I'm heading for that stormy weather soon

I'm causing a mild sensation
With this new occupation
I'm permanently glued
With this extraordinary mood

So, now move over
Let me take over
With my melancholy blues

I'm causing a mild sensation
With this new occupation
I'm in the news
I'm just getting used
To my new exposure

Come into my enclosure
And meet my... ha-ha-ha-ha-ha

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1765 – Pink Floyd – Dogs (1977)

Escrita por Roger Waters e David Gilmour, foi gravada entre abril e novembro de 1976 e lançada em 23 de janeiro de 1977, no disco Animals, o décimo disco da banda. Foi produzida pela própria banda. Foi escrita ainda em 1974 pro disco Wish you were here, mas teve a letra modificada e foi lançada no Animals, sendo preterida do Wish you were here. É a única canção do disco que Gilmour canta e recebe crédito de composição. É também a última contribuição vocal de Richard Wright, antes dele deixar a banda em 1979. É baseada no conceito de George Orwell de comportamento humano baseado nos animais, Dogs fala de um homem de negócios sem escrúpulos. Um sujeito que se veste bem, aperta mão firme, mas que no fundo é um caçador implacável. David Gilmour cantou a primeira parte, tocou violão e guitarra. Roger tocou baixo, cantou a segunda parte e fez harmonias vocais na segunda parte e tocou vocoder. Richard Wright tocou piano elétrico Fender Rhodes, órgão Hammond, Minimoog e fez harmonias vocais na primeira parte. Nick Mason tocou bateria e percussão.

A letra:

You gotta be crazy, you gotta have a real need
You gotta sleep on your toes, and when you're on the street
You gotta be able to pick out the easy meat with your eyes closed
And then moving in silently, down wind and out of sight
You gotta strike when the moment is right without thinking

And after a while, you can work on points for style
Like the club tie, and the firm handshake
A certain look in the eye and an easy smile
You have to be trusted by the people that you lie to
So that when they turn their backs on you,
You'll get the chance to put the knife in

You gotta keep one eye looking over your shoulder
You know it's going to get harder, and harder, and harder as you get older
And in the end you'll pack up and fly down south
Hide your head in the sand,
Just another sad old man
All alone and dying of cancer

And when you loose control, you'll reap the harvest you have sown
And as the fear grows, the bad blood slows and turns to stone
And it's too late to lose the weight you used to need to throw around
So have a good drown, as you go down, all alone
Dragged down by the stone (stone, stone, stone, stone, stone)

I gotta admit that I'm a little bit confused
Sometimes it seems to me as if I'm just being used
Gotta stay awake, gotta try and shake off this creeping malaise
If I don't stand my own ground, how can I find my way out of this maze?

Deaf, dumb, and blind, you just keep on pretending
That everyone's expendable and no-one has a real friend
And it seems to you the thing to do would be to isolate the winner
And everything's done under the sun
And you believe at heart, everyone's a killer

Who was born in a house full of pain
Who was trained not to spit in the fan
Who was told what to do by the man
Who was broken by trained personnel

Who was fitted with collar and chain
Who was given a pat on the back
Who was breaking away from the pack
Who was only a stranger at home

Who was ground down in the end
Who was found dead on the phone
Who was dragged down by the stone

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