Category Archives: 10cc

Rocks In The Attic #611: 10cc – ‘Bloody Tourists’ (1978)

RITA#611The band’s second studio LP following the departure of Kevin Godley and Lol Creme, Bloody Tourists finds 10cc hitting full stride with their final number one single – Dreadlock Holiday – a song that might make you think they didn’t need Godley and Creme in the first place.

This is the 10cc of Live And Let Live – the live record recorded while touring 1977’s Deceptive Bends. If anything, the band sounds a little – not much, but a little – less whacky without the more experimental Godley and Creme. That odd music-hall influence has disappeared, and they now sound much more mature. There’s more of an AOR feel, and you can hear much more of that ‘Britain’s answer to Steely Dan’ comparison .

Is the post-split 10cc a less exciting proposition than the original four-piece version of the band? Yes and no. They can still surprise, but the surprises are fewer and farther between.

Hit: Dreadlock Holiday

Hidden Gem: For You And I

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Rocks In The Attic #559: 10cc – ‘How Dare You!’ (1976)

RITA#559.jpgThe more I listen to 10cc, the more I like them. I could do without some of the more dated, twee music hall aspects of their songwriting – and I’m not enough of a 10cc fan to know which of the foursome is responsible for this influence – but in general their pros outweigh their cons.

Album number four starts with the title track, How Dare You – minus the exclamation mark – which acts as an overture of sorts, flipping through passages and guitar riffs from other songs on the record. 10cc really are an amazing band that pass through so many different styles, it’s almost impossible to classify them. They can straddle radio-friendly pop songs like the album’s big hit I’m Mandy Fly Me, but then turn around and deliver a straightforward rocker with a killer guitar riff like Art For Art’s Sake.

The opening tag on Art For Art’s Sake sets 10cc apart from other rock bands of the day – even though it feels disingenuous to refer to them simply as a rock act. Any other band would have hit straight into that guitar hook. Instead 10cc take their time, and build suspense that really pays off when the song kicks in.

Of course, none of this would be possible without their own recording studio – Strawberry Studios in Stockport. This offered the band the luxury of spending Beatle-worthy amounts of time tinkering with songs and producing the hell out of their records. If 10cc were any other band, restricted to the amount of time they could spend doing this, then the overall effect of their records would be so much weaker. Instead, it feels like they spend inordinate amounts of time getting deep album cuts just right, with the end effect being that the records sound balanced as a whole. Other rock acts of the day – take Wings, for a great example – released albums with one or two killer songs, usually lifted as singles, complimented by a raft of weaker album tracks. 10cc avoid this pitfall, and the records are nothing but entertaining as a result.

Hit: I’m Mandy Fly Me

Hidden Gem: How Dare You

Rocks In The Attic #460: 10cc – ‘10cc’ (1973)

RITA#460My parents recently came over to our side of the world for Christmas, and my Dad brought with him a couple of ripe quiz questions. The first one was something along the lines of:

‘Which ‘60s group’s first three singles went to #1 in the UK?’

The answer wasn’t 10cc (they didn’t get release a single as 10cc until the early ‘70s) – it was Gerry & The Pacemakers – but his second question was just as tricky:

‘Which band’s three UK #1s were sung by different vocalists?’

This had me scratching my head for days, thinking it was going to be more of a vocal group like Sister Sledge or somebody like that, rather than a band who play instruments. Of course the correct answer was 10cc – Rubber Bullets (Lol Creme) in 1973, I’m Not In Love (Eric Stewart) in 1975, and Dreadlock Holiday (Graham Gouldman) in 1978.

This lovely reissue of 10cc’s debut from 1973 – in beautiful red vinyl – features some interesting liner notes (remember them?) by Michael Heatley. In his short biography of the band up to this point, Heatley mentions that 10cc, despite the harmonic similarities drawn between themselves and Queen, saw their output to be more in line with Steely Dan. I’ve never considered this, but they’re probably as close as you’re going to get to the UK’s answer to Walter Becker and Donald Fagen’s clever lyrics.

What isn’t in debate is the quality of 10cc’s output by their first album. No debut jitters here, they sound fully formed and their recent history as songwriters through the late ‘60s serves them well. This isn’t typical boy meets girl material; it’s storytelling with that acerbic and cynical wit typical of Becker and Fagen.

I love Rubber Bullets. Despite its camp charm, it’s got such a hook (similar in tone and subject matter to its partner in crime I Predict A Riot by the Kaiser Chiefs); but it’s by no means the only highlight of the album. Even if you take away the other singles – Donna, Johnny Don’t Do It and The Dean And I – you’re still left with a very strong set of songs; songs that other less-talented bands would probably kill for.

Hit: Rubber Bullets

Hidden Gem: Sand In My Face

Rocks In The Attic #287: 10cc – ‘Live And Let Live’ (1977)

RITA#28710cc really confuse me. They’re capable of writing killer pop tunes, but a lot of their material is a chore to listen to. It’s almost as though they try everything they can, covering every musical style under the sun and occasionally they fire a hit. It’s the musical equivalent of throwing a load of shit at a wall in the vain hope that some of it will stick.

The thing is, when the shit does stick, it’s the best sounding shit you’ve ever heard. Rubber Bullets has to be my favourite 10cc song – left off this live album as it only features songs written by Stewart and Gouldman, thereby missing out on all of the more arty material from Godley and Creme (who had recently left the band); but Rubber Bullets doesn’t sound like the same band who would go on to release the easy listening slush of I’m Not In Love.

Rubber Bullets, like Dreadlock Holiday, sounds like the work of a novelty act – but if you listen to the playing on this record, and the frightfully well-spoken introductions between songs, 10cc seem more like a middle-class workhorse of a band characterized by their more random, nuttier moments rather than the sum output of their entire career.

Live And Let Live was recorded at the Manchester Apollo (in addition to London’s Odeon theatre). I saw so many great bands at the Apollo (with an early Rage Against The Machine gig being the most memorable) that this album almost wins me over before the needle drops.

The one negative aspect of this record is that it includes all but one song from their previous studio album, Deceptive Bends – despite it only being released six months earlier. It’s always disappointing when you go and see a band and they over-fill the set with songs from their latest offering, but then including it all on a live album somehow feels even worse. Perhaps this was a deliberate attempt to inflate the set, and attempt to make it look like they weren’t missing Godley and Creme.

Hit: I’m Not In Love

Hidden Gem: Art For Art’s Sake