1788 – Kansas – Dust in the wind (1977)

 

Escrita por Kerry Livgren, foi gravada em julho de 1977, em Nashville e lançada em 11 de outubro de 1977, no disco Point of know return, o quinto disco da banda Kansas. Sairia também em compacto em 16 de janeiro de 1978, com Paradox no Lado B. Foi produzida por Jeff Glixman e a banda Kansas. Chegou ao número 6 do Billboard Hot 100, sendo a única vez que a banda chegou ao Top 10 nos Estados Unidos. Chegou também ao número 1 no Canadá, número 19 na Holanda, número 22 na França, número 29 na Bélgica, número 36 na Nova Zelandia e número 52 na Austrália. A inspiração do título veio da Bíblia, mais precisamente do Eclesiastes 3:20 (Do pó viestes e ao pó retornarás) e Gênesis 3:19 (Tudo veio de um lugar. Tudo veio do pó e ao pó retornará). A frase Dust in the wind ta no Salmo 18:42 (I ground my enemies like dust on the face of the wind). A linha de guitarra foi descoberta enquanto Kerry fazia exercício pra violão. Sua esposa escutou e disse que aquilo parecia uma música. E deu certo. A banda gostou de imediato e já sabiam que seria um estouro. Kerry tocou um violão Martin D-28 emprestado de Rich Williams. Robby Steinhardt tocou um violino elétrico, viola e fez backing vocals. Steve Walsh cantou. Rich Williams tocou violão. Phil Ehart tocou bateria de mão. Foi regravada por Sarah Brightman, Scorpions e Will Ferrell, entre outros artistas.

A letra:

I close my eyes
Only for a moment, and the moment's gone
All my dreams
Pass before my eyes, a curiosity

Dust in the wind
All they are is dust in the wind

Same old song
Just a drop of water in an endless sea
All we do
Crumbles to the ground, though we refuse to see

Dust in the wind
All we are is dust in the wind

Now don't hang on
Nothing lasts forever but the earth and sky
It slips away
And all your money won't another minute buy

Dust in the wind
All we are is dust in the wind
(All we are is dust in the wind)
Dust in the wind
(Everything is dust in the wind)
Everything is dust in the wind
(In the wind)

A versão do Kansas:

A versão do Scorpions:

A versão de Sarah Brightman:

1787 – John Paul Young – Love is in the air (1977)

 

Escrita por Harry Vanda e George Young, foi gravada em 1977 e lançada em dezembro de 1977, em um compacto com Where the action is como Lado B. Sairia também no disco de mesmo nome, o quarto dico de Young, em outubro de 1978. Foi produzida por Harry Vanda e George Young. Se transformou em um hit mundial em 1978. Chegou ao número 7 no Billboard Hot 100, número 5 no Reino Unido, número 2 na Suécia, Noruega e África do Sul, número 3 na Austrália, Alemanha Ocidental, Áustria e Bélgica, número 5 na Irlanda e Suíça, número 8 na Nova Zelandia, número 9 na Holanda, número 19 na Finlandia, número 26 no Canadá e número 31 na França. John Paul Young tocou-a na cerimônia de encerramento das Olimpiadas de Sydney de 2000.

A letra:

Love Is In The Air
Everywhere I look around (I look around...)
Love Is In The Air
Every sight and every sound (and every sound...)

And I don't know if I'm being foolish
Don't know if I'm being wise
But it's something that I must believe in
And it's there when I look in your eyes (your eyes...)

Love Is In The Air
In the whisper of the trees (whisper of the trees...)
Love Is In The Air
In the thunder of the sea (thunder of the sea...)

And I don't know if I'm just dreaming
Don't know if I feel sane
But it's something that I must believe in
And it's there when you call out my name (call out my name...)

Love Is In The Air
Love Is In The Air
Oh oh oh

Love Is In The Air
In the rising of the sun (of the sun...)
Love Is In The Air
When the day is nearly done (is nearly done...)

And I don't know if you're an illusion
Don't know if I see it true
But you're something that I must believe in
And you're there when I reach out for you (reach out for you...)

Love Is In The Air
Everywhere I look around (I look around...)
Love Is In The Air
Every sight and every sound (and every sound...)

And I don't know if I'm being foolish
Don't know if I'm being wise
But it's something that I must believe in
And it's there when I look in your eyes (in your eyes...)

Love Is In The Air
Love Is In The Air
Oh oh oh, oh oh oh, oh oh oh

Love Is In The Air
Love Is In The Air
Love Is In The Air
Love Is In The Air
Oh Love Is In The Air
Oh Love Is In The Air

A versão de John Paul Young:

A versão de Stella Donnelly:

A versão de Daniel Boaventura:

1786 – Joan Baez – Altar Boy and the thief (1977)

 

Escrita por Joan Baez, foi gravada em 1977 e lançada em junho de 1977 no disco Blowin' away, o décimo oitavo disco de Baez. Foi produzida por David Kershenbaum e Bernard Gelb. Essa canção foi escrita como um tributo aos gays. Baez cantou e tocou violão. Mike Botts e Rick Shlosser tocaram bateria. Duck Dunn e Wilton Felder tocaram baixo. Elliott Randall e Dean Parks tocaram guitarra. Larry Knechtel e Joe Sample tocaram teclado. Elliott Randall tocou também violão. Mike Botts tocou percussão. Jeff Baxter toou steel guitar e David Mansfield tocou violino, bandolim e steel guitar.

A letra:

At night in the safety of shadows and numbers
Seeking some turf on which nothing encumbers
The buying and selling of casual looks
Stuff that gets printed in x-rated books
Your mother might have tried to understand
When you were hardly your daddy's little man
And you gave up saluting the chief
To find yourself some relief

Finely plucked eyebrows and skin of satin
Smiling seductive and endlessly Latin
Olympic body on dancing feet
Perfume thickening the air like heat
A transient star of gay bar fame
You quit your job and changed your name
And you're nearly beyond belief
As you hunt down a little relief

The seven foot black with the emerald ring
Broke up a fight without saying a thing
As the cops cruised by wanting one more chance
To send Jimmy Baldwin back over to France
And a trucker with kids and a wife
Prefers to spend half of his life
In early Bohemian motif
Playing pool and getting relief

My favorite couple was looking so fine
Dancing in rhythm and laughing in rhyme
In the light of the jukebox all yellow and blue
Holding each other as young lovers do
To me they will always remain
Unshamed, untamed, and unblamed
The altar boy and the thief
Grabbing themselves some relief

The altar boy and the thief
Catching a little relief

A versão de Joan Baez:

1785 – Jimmy Buffett – Margaritaville (1977)

 

Escrita por Jimmy Buffett, foi gravada em novembro de 1976, no Criteria studio em Miami e no Quadrafonic Sound em Nashville e lançada em 20 de janeiro de 1977, no disco Changes in latitudes, changes in attitudes, o sétimo de sua carreira. Sairia também em compacto, com Miss you so badly como Lado B. Foi produzida por Norbert Putnam. Foi feita quando Buffett descobriu esse drink no restaurante Lung's Cocina del Sur, n 2700 West Anderson Lane, em Austin, Texas. Hoje é o restaurante High 5. Chegou ao número 8 do Billboard Hot 100, número 1 no Canadá, número 33 na Nova Zelandia e número 98 na Austrália. A canção fala do cocktail margarita e de um estilo de vida relaxado em um clima tropical. Entrou no Grammy Hall of Fame em 2016 e em 2023 entrou pro National Recording Registry, da Library of Congress. Jimmy Buffett tem uma cadeia de resorts chamado Margaritaville. A canção é sobre um homem se hospesando uma temporada inteira em um resort na praia. Fala das atividades do dia a dia por lá. Buffett queria que a canção fosse gravada por Elvis, mas ele morreu antes de saber. Foi regravada por Alan Jackson em 1999.

A letra:

Nibblin' on sponge cake
Watchin' the sun bake
All of those tourists covered with oil
Strummin' my six string on my front porch swing
Smell those shrimp
They're beginnin' to boil

Wasted away again in Margaritaville
Searchin' for my lost shaker of salt
Some people claim that there's a woman to blame
But I know it's nobody's fault

Don't know the reason
Stayed here all season
With nothing to show but this brand new tattoo
But it's a real beauty
A Mexican cutie, how it got here
I haven't a clue

Wasted away again in Margaritaville
Searchin' for my lost shaker of salt
Some people claim that there's a woman to blame
Now I think, - hell it could be my fault

I blew out my flip flop
Stepped on a pop top
Cut my heel, had to cruise on back home
But there's booze in the blender
And soon it will render
That frozen concoction that helps me hang on

Wasted away again in Margaritaville
Searchin' for my lost shaker of salt
Some people claim that there's a woman to blame
But I know, it's my own damn fault
Yes, and some people claim that there's a woman to blame
And I know it's my own damn fault

A versão de Jimmy Buffett:

A versão de Barry Leef Band:

A versão de Alan Jackson:

1784 – Jethro Tull – Songs from the wood (1977)

 

Escrita por Ian Anderson, foi gravada em 1976 e lançada em 11 de fevereiro de 1977, no disco de mesmo nome, o décimo disco da banda. Sairia também em compacto, em 19 de maio de 1977, com Jack-in-the green como Lado B. Foi produzida por Ian Anderson. É uma das preferidas de Anderson. Foi inspirada em um livro de estórias inglês, de folclore e tradições rurais da Inglaterra. Fala das virtudes de se viver no campo e dos valores das pessoas de lá.

A letra:

Let me bring you songs from the wood
To make you feel much better than you could know
Dust you down from tip to toe
Show you how the garden grows

Hold you steady as you go
Join the chorus if you can
It'll make of you an honest man

Let me bring you love from the field
Poppies red and roses filled with summer rain
To heal the wound and still the pain
That threatens again and again

As you drag down every lovers' lane
Life's long celebration's here
I'll toast you all in penny cheer

Let me bring you all things refined
Galliards and lute songs served in chilling ale
Greeting well-met fellow, hail
I am the wind to fill your sail

I am the cross to take your nail
A singer of these ageless times
With kitchen prose and gutter rhymes

Songs from the wood make you feel much better
Songs from the wood make you feel much better
Songs from the wood

Let me bring you love from the field
Poppies red and roses filled with summer rain
To heal the wound and still the pain
That threatens again and again

As you drag down every lovers' lane
Life's long celebration's here
I'll toast you all in penny cheer

Songs from the wood make you feel much better
Songs from the wood make you feel much better

A versão do Jethro Tull:

A versão de Rea Meir:

1783 – Iggy Pop – The Passenger (1977)

Escrita por Iggy Pop e Ricky Gardiner, foi gravada entre maio e junho de 1977 e lançada em 9 de setembro de 1977, no disco Lust for life, o segundo disco de Iggy Pop. Sairia também em compacto em outubro de 1977, com Success como Lado A. Foi produzida pelos Bewlay Brothers. Iggy fez a letra e o guitarrista Ricky Gardiner fez a música. Foi gravada no mesmo estúdio que David Bowie gravou Heroes, o Hansa Studio, perto do Muro de Berlin, do lado Ocidental. Os Bewlay Brothers na verdade eram David Bowie, Iggy Pop e Colin Thurston. A letra foi inspirada no poema The lords, the Jim Morrison, que via a vida moderna como uma jornada em um carro. Iggy disse que fez a letra baseado nas inúmeras viagens que fez com David Bowie pela Europa, sempre de carona. A revista Uncut colocou-a como número 95 da lista das 100 greatest singles of the post-punk era. Billboard disse que era número 78 da lista das 100 greatest car songs of all time. Pitchfork disse que era a 95 da lista das best songs of the 1970s. Entrou também no livro The Pitchfork 500. Acclamied Music disse que era a 13 da lista das most acclaimed song of 1977, 125 da lista most acclaimed song of the 1970s e número 590 da lista das most acclaimed songs da história. Iggy Pop cantou, David Bowie tocou piano e fez backing vocals, Ricky Gardiner tocou guitarra solo, Carlos Alomar tocou guitarra base, Tony Sales tocou baixo e fex backing vocals e Hunt Sales tocou bateria, percussão e fez backing vocals. A banda Capital Inicial gravou uma versão “O passageiro”.

A letra:

I am a passenger
And I ride, and I ride
I ride through the city's backsides
I see the stars come out of the sky
Yeah, they're bright in a hollow sky
You know it looks so good tonight

I am the passenger
I stay under glass
I look through my window so bright
I see the stars come out tonight
I see the bright and hollow sky
Over the city's ripped back sky
And everything looks good tonight

Singin' la la la la la la la la
La la la la la la la la
La la la la la la la la, la la

Get into the car
We'll be the passenger
We'll ride through the city tonight
See the city's ripped backsides
We'll see the bright and hollow sky
We'll see the stars that shine so bright
Oh, stars made for us tonight

Oh, the passenger
How, how he rides
Oh, the passenger
He rides and he rides
He looks through his window
What does he see?
He sees the silent hollow sky
He sees the stars come out tonight
He sees the city's ripped backsides
He sees the winding ocean drive
And everything was made for you and me
All of it was made for you and me
'Cause it just belongs to you and me
So let's take a ride and see what's mine

Singin' la la la la la la la la
La la la la la la la la
La la la la la la la la, la la

Oh, the passenger
He rides and he rides
He sees things from under glass
He looks through his window's eye
He sees the things that he knows are his
He sees the bright and hollow sky
He sees the city asleep at night
He sees the stars are out tonight
And all of it is yours and mine
And all of it is yours and mine
So let's ride and ride and ride and ride

Singin' la la la la la la la la
La la la la la la la la
La la la la la la la la, la la

Singin' la la la la la la la la
La la la la la la la la
La la la la la la la la, la la

A versão de Iggy Pop:

A versão de Hyde Family Jam:

A versão do Capital Inicial, O passageiro:

1782 – Foreigner – Cold as Ice (1977)

 

Escrita por Lou Gramm e Mick Jones, foi gravada em 1976 e lançada em 8 de março de 1977, no disco Foreigner, o primeiro da banda. Sairia também em compacto, com I need you como Lado B. Foi produzida por Gary Lyons e John Sinclair.É uma das canções mais conhecidas da banda na América, chegando ao número 6 do Billboard Hot 100, número 9 no Canadá, número 13 na Holanda, número 20 na Bélgica e número 32 na Austrália. Quando eles saíram do estúdio, tinha havido uma nevasca em New York City e o rádio disse que tinha sido a noite mais fria da história da cidade. Combinou com o título da música. Embora o título falasse de uma garota com o coração frio. Lou Gramm cantou, Mick Jones tocou guitarra solo, fez backing vocals e tocou piano. Ian McDonald tocou guitarra base, mellotron e fez backing vocals. Al Greenwood tocou orgão e sintetizador. Ed Gagliardi tocou baixo e fez backing vocals. Dennis Elliott tocou bateria e fez backing vocals. Ian Lloyd fez backing vocals.

A letra:

You're as cold as ice
You're willing to sacrifice our love

You never take advice
Someday you'll pay the price, I know

I've seen it before, it happens all the time
You're closing the door, you leave the world behind
You're digging for gold, you're throwing away
A fortune in feelings, but someday you'll pay

You're as cold as ice
You're willing to sacrifice our love

You want paradise
But someday you'll pay the price, I know

I've seen it before, it happens all the time
You're closing the door, you leave the world behind
You're digging for gold, you're throwing away
A fortune in feelings, but someday you'll pay

You know that you are
(Cold as ice) As cold as ice to me
(Cold as ice)

You're as cold as ice
Cold as ice, I know (you're as cold as ice)
Yes, I know
(You're as cold as ice) You're as cold as ice
Cold as ice, I know (you're as cold as ice)
Oh, yes I know

You're as cold as ice
Cold as ice, I know (You're as cold as ice)
Oh, yes I know
(You're as cold as ice) You're as cold as ice
You're so cold as ice

A versão do Foreigner:

A versão da Lexington Lab Band:

A versão do Singitlive:

1781 – Dennis Wilson – River song (1977)

Escrita por Dennis Wilson e Carl Wilson, foi gravada entre 1974 e 1977 e lançada em 22 de agosto de 1977, no disco Pacific Ocean Blue, o primeiro e único disco solo da vida de Dennis Wilson. Sairia também em compacto, com Farewell my friend como Lado B. Foi produzida por Dennis Wilson e Greg Jakobson. O riff de piano, feito por Dennis, representa a correnteza de um rio. Os Beach Boys tentaram gravá-la antes, mas acho que não passou no controle de qualidade de Brian. Dennis Wilson cantou, fez backing vocals, harmonias vocais e tocou piano e sintetizador. Carl Wilson tocou guitarra base e cantou backing vocals e harmonias vocais. Billy Hinsche tocou guitarra base e guitarra solo e fez backing vocals e harmonias vocais. Ed Carter tocou baixo. Ricky Fataar tocou bateria. Ed Tuleja, Alxander Hamilton e Gregg Jakobson fizeram baixos vocais. The Double Rock Baptist Church Voices of Inspiration fizeram coro vocal.

A letra:

Walkin' down by the river
Water running through my knees
(Ahhh)
River, oh river moves so free
(Ahhh)
Oh mighty river endlessly

Oo mighty river
I would love to be like you
Oo lonely river
Has not got the time to say

I was born into the city life
It's all that I've ever known
You know it's rough gettin' round this place
So crowded I can hardly breathe

You can only see about a block or two
In L. A. that's the truth
I'm lookin' for some country life
Some kickin' room no more city life
I want the river

Rollin' rollin' rollin' on river
(I got to get away I got to get away I got to get away)
Rollin' rollin' rollin' on river
(I got to get away I got to get away I got to get away)
Rollin' rollin' rollin' on river
(I got to get away I got to get away I got to get away)
Rollin' rollin' rollin' on river
(I got to get away I got to get away I got to get away)
Rollin' rollin' rollin' on

It breaks my heart to see the city
I wonder why it ain't pretty
Oh I want to cry, want to cry
Come on you've got to do it do it do it

You got to run away you got to run away
You got to do it do it do it
You got to run away
You got to run away

You got to do it do it do it
You got to run away
You got to run away

You got to do it do it do it
You got to run away
You got to run away

You got to do it do it do it
You got to run away
You got to run away

A versão de Dennis Wilson:

A versão de Felipe Duarte:

A versão de Tim Kubart:

1780 – David Bowie – Heroes (1977)

Escrita por David Bowie e Brian Eno, foi gravada entre julho e agosto de 1977, no Hansa Studio 2, em Berlim Ocidental e lançada em 23 de setembro de 1977 no compacto com V-2 Schneider como Lado B. O estúdio havia sido usado pelos oficiais da Gestapo como salão de dança e ficava à poucos metros do muro de Berlim. Sairia também no disco de mesmo nome, o décimo segundo de Bowie, em 14 de outubro de 1977. Foi produzida por Tony Visconti e David Bowie. A música foi gravada antes e Bowie foi improvisando a letra enquanto cantava. Fala de dois amantes, um do lado ocidental e outro do lado oriental, da Alemanha. Vivem com medo de morrer, eles sonham que são livres, nadando com golfinhos. Chegou ao número 24 no Reino Unido, número 8 na Irlanda, número 9 na Holanda, número 11 na Austrália, número 17 na Bélgica, número 19 na Áustria e número 34 na Nova Zelandia. Foi regravada pelos Wallflowers, Oasis, Smashing Pumpkins, Blondie, Peter Gabriel, Coldplay, Lady Gaga, Prince e Motorhead, entre outros artistas. Eu vi The Pretenders ao vivo em Charleston, Carolina do Sul e eles cantaram Heroes também. A revista Rolling Stone colocou-a como número 21 da sua lista das 500 greatest songs of all time. Em lista similar a NMW colocou-a como número 15. David Bowie cantou, fez backing vocals e tocou piano. Robert Fripp tocou guitarra solo. Carlos Alomar tocou guitarra. George Murray tocou baixo. Dennis Davis tocou bateria. Brian Eno tocou sintetizador e Tony Visconti fez backing vocals e tocou pandeiro.

A letra:

I, I wish you could swim

Like the dolphins

Like dolphins can swim

Though nothing, nothing will keep us together

We can beat them, forever and ever

Oh, we can be heroes just for one day

I, I will be King

And you, you will be Queen

Though nothing will drive them away

We can be heroes just for one day

We can be us just for one day

I, I can remember

(I remember)

Standing by the wall

(By the wall)

And the guns, shot above our heads

(Over our heads)

And we kissed, as though nothing could fall

(Nothing could fall)

And the shame, was on the other side

Oh, we can beat them, forever and ever

Then we could be heroes just for one day

We can be heroes

We can be heroes

We can be heroes just for one day

We can be heroes

A versão de David Bowie:

A versão dos Wallflowers:

A versão de Neil Finn:

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: