Tag Archives: Lol Creme

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 #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