Memorable odes to working 9-5
Whether it’s a coal mine, a dysfunctional office or the highway, working has long been ‘celebrated’ in song. In honour of Labour Day, Jim Reyno offers some memorable takes on being a working-class hero.
Sixteen Tons:
A No. 1 hit in 1955 for Tennessee Ernie Ford. “You load 16 tons, and what do you get? Another day older and deeper in debt.” That doesn’t sound like a very good deal, does it? Written and originally recorded by Merle Travis in 1946.
Maggie’s Farm (Bob Dylan, 1965):
Working-class frustration in four lines: “He hands you a nickel / He hands you a dime / He asks you with a grin if you’re having a good time / Then he fines you every time you slam the door.” I ain’t gonna work on Maggie’s Farm no more, either.
Five O’Clock World (The Vogues, 1965):
“Working so hard for the pay I get / Living on money that I ain’t made yet.” Ugh. Groceries on the Visa, anyone?
Working in a Coal Mine:
This Allen Toussaint-penned epic was a hit for Lee Dorsey in 1966. Most people know it from Devo’s 1981 version, with the unforgettable deep-voiced refrain: “Lord! I am so tired! How long can this go on?”
A Day in the Life (The Beatles, 1967):
Specifically, Paul McCartney’s bridge: “Found my coat and grabbed my hat / Made the bus in seconds flat.” A small victory in the rat race.
Salt of the Earth (The Rolling Stones, 1968):
Mick Jagger and Keith Richards close the essential Beggar’s Banquet album with a toast to the unsung millions who drive the economy and get sh-- done.
Working Class Hero (John Lennon, 1970):
Lennon at his most cynical: “When they’ve tortured and scared you for twenty-odd years / Then they expect you to pick a career / When you can’t really function, you’re so full of fear.” Ouch.
Working Man (Rush, 1974):
“I get up at seven, yeah / And I go to work at nine / I got no time for livin’ / Yes, I’m workin’ all the time.” Memories of working mornings as part of the puffy-eyed parade in line for a coffee, everyone trying to kick-start their day.
Car Wash (Rose Royce, 1976):
Car Wash’s ridiculously catchy intro is frequently played at sporting events, but the whole song is a blast — who wouldn’t want to work there? To paraphrase: although you might not ever get rich, it is considerably better than digging a ditch.
Take This Job and Shove It (Johnny Paycheck, 1977):
Written by David Allan Coe, the unambiguous title says it all, and speaks to all. Sung with conviction by Paycheck, and people believed him: It was a country chart-topper.
9 to 5 (Dolly Parton, 1980):
It’s the No. 1 hit from the office dramedy movie of the same name, and a punchy ode to working-class resiliency. “You’re just a step on the boss-man’s ladder / But you got dreams he’ll never take away.” Instead of telling the “boss-man” to shove it, consider 9 to 5 a raising of your middle finger to him — wearing one of Dolly’s legendary acrylic nails.
Working for the Weekend (Loverboy, 1981):
It’s not really about working, but still — the idea behind the title is enough to evoke an exhausted groan.
Workin’ for a Livin’ (Huey Lewis & the News, 1982):
An accurate theme for the hard-touring San Francisco band, whose hard work would pay off the following year with the international smash album Sports. Lewis re-recorded Workin’ for a Livin’ with Garth Brooks in 2007.
She Works Hard for the Money (Donna Summer, 1983):
A charttopping shout-out to workingclass women, with an accompanying video that will inspire you to leave bigger tips in cafés and restaurants.
Working on the Highway (Bruce Springsteen, 1984):
“Working on the highway / Laying down the blacktop / Working on the highway / All day long I don’t stop / Working on the highway / Blasting through the bedrock.” Man, I’m tired just singing it.
Private Dancer (Tina Turner, 1984):
Maybe an odd choice, but undoubtedly a working song. The Mark Knopfler-penned prostitute story is brought to life by Turner’s frank, jaded interpretation. “You keep your mind on the money / Keeping your eyes on the wall.” Heartbreaking.
Working Man (Rita MacNeil, 1988):
A poignant tribute to the life of a coal miner, especially so when the Cape Bretoner performed it with the coal-miner chorus The Men of the Deeps.