‘Ole Man Trouble’: the most potently political anthem, according to Ray Davies
The political leanings of popular music are not always the most obvious. After all, pop music is created in order to appeal to the general population, not specific sides of the political spectrum. Nevertheless, a lot of the popular music that has soundtracked the past century has been inherently political, whether you have realised it or not. Someone who knows more about this than most is Ray Davies, the songwriting genius behind swinging sixties proto-punk icons The Kinks.
On a surface level, it is difficult to see the political and moral leanings of The Kinks discography, but if you listen in closer, all becomes clear. They might not have been as radical as groups like Crass or Billy Bragg, but within the music of Ray Davies, you can find some of the most stunning social commentary and class consciousness that has ever reached the singles charts. As you might expect, Davies was particularly switched to the politics and current affairs of the 1960s, a significantly revolutionary time period.
In the homeland of The Kinks, London was dominated by new fashions, subcultures and defiant pop music, but across the Atlantic there was a multitude of colossal political struggles taking place. Perhaps the most unavoidable of these was the civil rights movement, during which Black Americans fought for voting rights and racial equality. The cultural aspect of this movement was huge, with many musical artists focusing their material on the ongoing struggle for civil rights.
One such artist was the soul legend Otis Redding, the truly iconic singer-songwriter who has always remained a particular favourite of Ray Davies. His 1966 recording ‘Try A Little Tenderness’ became a defining sound of the civil rights era, and Redding as a whole was often held up as a stunning example of Black excellence. For Davies, the highlight of Redding’s incredible discography came on his 1965 album Otis Blue/Otis Redding Sings Soul.
Last year, Davies appeared on BBC Radio 6 Music to discuss some of his all-time favourite tracks. Within his selection, Otis Redding’s ‘Ole Man Trouble’ from Otis Blue formed a particular highlight. Introducing the track, Davies poetically said, “Steve Cropper slimes his way into ‘Ole Man Trouble’ as if to say ‘this is taking you somewhere bad,’” continuing, “Otis growls, but the real story is in the backtrack. Then, Al Jackson gives us that ‘rat-dat-dat’, and Otis slips into the bridge, heralding those slightly out-of-tune horns with their strange dissonant voicing.”
‘Ole Man Trouble’ is a powerful track, and it is that power and political charge that Davies seems to connect with. “Hit me,” The Kinks songwriter said, “the underlying threat is palpable, stronger than Black power, tougher than the Klu Klux Klan, and proves that music can be more potent than any political doctrine. Yet, it’s all held together by a bass player called Duck. Donald ‘Duck’ Dunn, where did he come from? Well, he’s the bass player. He’s from Memphis, Tennessee.”
Such a poetic and heartfelt account of the track could only be delivered by Davies, who clearly holds a deep adoration for the tones of Otis Redding. ‘Ole Man Trouble’ might not have been Redding’s most overtly politicised track, but the power that is held within its performance is enough to send chills down the spine of any true music fan.
