Ladypower - from the 2004 Wreckless Eric album Bungalow Hi
| she
grinned a big white space in the middle of her face the hard sell shiny as a fridge in a lipstick frame she blew in second only to no one it's like nothing really changes she's power dressed in that soft-toned nineties way this is where it's at this is where it's at oh if this is where it's at I'm on my bicycle she she she she she she grins the kind of smiles you could eat your meals off when she she she she steps in grown men cry angels walk on eggshells this is where it's at... she talked about being sick until I could visualise it how she licked the toilet bowl clean with her tongue then she took a taxi to Company's House with her sick bag by her side and saved the world this is where it's at this is where it's at this is where it's at she struck a blow for ladykind words and music Eric Goulden / Wreckless Eric (MCPS / Copyright Control) |
I
was thinking of going legit so I somehow got persuaded to go to a meeting
for people setting up their own business. It was the usual sort of thing
- several pony-tailed charmers who were starting record companies, a
fat girl in a very small anorak with a cat-sitting agency and a collection
of blokes hoping to to find workaday independence and financial salvation
in secondhand fridges and bad carpentry. It all happened at ten o'clock
in the morning in the basement of some council offices just off Brighton
seafront. The meeting was chaired by a woman in her thirties who breezed in wearing a well-cut brown trouser suit. She was aggressively dynamic. It was like an episode of Fame for the would-be self-employed: 'self-employment costs, and right now is where you start paying, in sweat...' Her warnings of the perils and pitfalls of self-employment culminated in the story of how she prepared the wages during a severe bout of gastroenteritis and hiked the paperwork along to the office in a taxi with a sick bag by her side - because somebody had to do it. She had teeth like dinner plates and it was difficult to imagine vomit gushing out of her perfectly lipsticked mouth. It's a shame when women think that in order to compete on equal terms they have to act in the same aggressive and hard-nosed way as the most obnoxious business men. It's not the way to true equality. The recording was a protracted affair. I did the acoustic guitar and vocal in Brighton with Will playing his electronic drum kit. I put a load of random telephone and TV news recordings on it with a lot of echoes, Ina put the orchestral samples in and then I forgot about it. Later on in Norfolk Tim Lane came round with a guitar that had a midi pick-up attached to a box of some sort and played a weird squawking guitar part on it. We were actually working on a version of Housewives - I only got Ladypower out for light relief, and that's the one he ended up playing on. Graham played some sort of synthesiser pad on it and we had a lot of fun with synthetic 'oohs' and 'aahs' from the Cubase catalogue of slightly naff sounds. I wanted to get Norman Watt Roy to play bass on it but the logistics were too complicated so I did it myself in the end. I also played electric guitar on it - I recorded three separate tracks of the same sort of thing using three different guitars - my old green Microfret, Gibson 330 and three pick-up Supro. I just used the best bits of the three tracks and didn't worry about matching the sound. |
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