Although their next album was too experimental for its own good (Godley and Creme approached music as art), it did contain one perfect song, “I’m Not In Love.” How Dare You was a return to the inspired form of Sheet Music, and featured “Art For Art’s Sake” and “I’m Mandy, Fly Me.” The followup, Sheet Music, was even smarter.
The following summer, the band released their self-titled debut, featuring the #1 single “Rubber Bullets” and the #10 hit “The Dean And I.” The record was remarkably clever, immaculately produced and packed with more ideas per square inch than just about anything else in 1972. In the fall of 1972, 10cc released the doowop send-up, “Donna,” which soared to #2 in the UK.
While Hotlegs’ career was over, 10cc was just getting started, as the trio had now teamed with songwriter Graham Gouldman to record as a quartet. An album followed but didn’t repeat the success of the single. During the sessions, the trio happened upon a neat drum track that became the basis for a new song, “ Neanderthal Man,” and the boys (now called Hotlegs) had their first international hit. The origins of 10cc date back to the songwriting partnership of Lol Creme and Kevin Godley, who were re-christened Frabjoy and Runcible Spoon by producer Giorgio Gomelsky and brought to Eric Stewart’s studio to record their songs. From 1972 through 1978, 10cc was a top 10 hit machine: “Rubber Bullets,” “I’m Not In Love,” “The Things We Do For Love,” “Dreadlock Holiday.” The machine began to wind down in the Eighties, but that was a pretty crappy decade for everyone. Along with Electric Light Orchestra and Harry Nilsson, 10cc set the standard for ambitious studio pop in the post-Beatles landscape. This working-class anthem makes its appeal to the government rather than the business community: “I know it may sound funny / But people everywhere are running out of money.In the Seventies, they didn’t come any better than 10cc. 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. 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.
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