Newman’s “Good Old Boys,” released in 1974, was a concept album about the South he addressed racism, politics, culture, and more. President (Have Pity On the Working Man)” (1974) Last year, Tucker showed up at a Tea Party rally, still preaching economic justice. The music she made late in the decade had a strong economic agenda, and this frankly autobiographical song gives an account of her life and the relative indifference of her employers: “They don’t worry / About the people like us / As long as we / Don’t make a fuss,” she sings. Nixon is a relic of the eighties who was really a relic of the sixties: he was defiantly counterculture in the Reagan years, taking satirical shots at everything from corporate rock to right-wing cant.Ī decade after Tucker drummed for the Velvet Underground, she moved to Georgia as a divorced mother and went to work in a Wal-Mart distribution center. But in Simone’s hands, it reveals itself as a social critique in which wealth is accompanied by a lack of responsibility. The Hall and Oates original seemed like a love song about a girl who didn’t take the narrator seriously because of her family’s wealth. Or, if you’d prefer, there’s “ Pimps,” the very next song on “Genocide & Juice,” which purports to be raps from captains of industry (Getty, Rockefeller, Trump) about their high-level schemes. This song is about business high-rollers and the people they roll over. Most of the Coup’s career has been spent worrying the seams of capitalism and then setting it to deep funk.
Reed, accompanying himself on violin, laments rising prices and the plight of the poor: “When we pay our grocery bill / We just feel like making our will.” In that regard, it’s a kind of sequel to Woody Guthrie’s “ Jolly Banker” (1940), which was later covered by Wilco.īlind Alfred Reed, “How Can A Poor Man Stand Such Times and Live” (1929)Ĭooder has covered this seminal folk song, which has also been recorded by the Del Lords and Bruce Springsteen. Vocally he can do everything Lol Creme and Eric Stewart ever did.Cooder has always been interested in folk and blues music, along with folk and blues themes this original, from earlier this year, harnesses populist rage over the failure of the justice system to hold financial institutions responsible for recent events. Instead I marvelled at the musical talents of Mick Wilson, who sings lead and backing vocals and plays guitar but is notable for his wonderful and active performance on the percussion. I would have screamed the place down if they’d played ‘Une nuit a Paris’ from the 1975 album I loved so much ‘The Original Soundtrack’ or better still, ‘Feel the benefit’ from the 1977 album ‘Deceptive Bends’. They also played some of the hit songs Graham Gouldman wrote for others in the 60s … ‘Bus stop’, ‘For your love’, ‘ No milk today’ … It would have been nice if for loyal, long-time 10cc fans they could have treated us to one or two of the epic album tracks.
They played a set of what is essentially 10cc’s greatest hits … ‘Wall street shuffle’, ‘I’m not in love’, ‘Art for art’s sake’, ‘Donna’, ‘Rubber bullets’, ‘Life is a minestrone’, ‘The dean and I’ and so on. Their musicianship is a wonder to behold. The mighty Rick Fenn and Paul Burgess have been with 10cc from virtually the beginning of the band in the early 70s. To bill this band as Graham Gouldman and friends is to overlook the permanence of this line up. And so we have 10cc:Graham Gouldman and friends. Great songs like these need hearing live. It was a great band for most of its life and should be left at that, where it had some real meaning to all of us, fans and musicians alike.” I disagree.
Original 10cc band member Eric Stewart says on his website: “10cc is well and truly finished as far as I am concerned, but I can’t guarantee that GG (Graham Gouldman) won’t try to squeeze the last drop of blood out of it. Their songs are so varied: sometimes emotional (‘I’m not in love’), sometimes nonsense (‘Life is a minestrone’), sometimes epic (‘I’m Mandy, fly me’) but always beautifully crafted with catchy tunes and riffs and with such attention to detail in, especially in their use of complex and fascinating percussion and note-perfect harmonies, that every listen reveals some new layer or musical gem. Especially as we managed to get front row tickets. Wonderful! So when we had the chance to see them again play last night at our local venue, Oxford’s New Theatre, we jumped at the chance. Last year we saw 10cc play at the Cropredy festival, billed as Graham Gouldman and friends.
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