10cc Best Albums
Domenec Reynolds
The presented albums showcase the best of 10cc, reflecting their substantial contributions and evolutions in the music industry. Each album, a poignant chapter in the 10cc discography, narrates their compelling journey from the soaring heights of chart triumphs to the daring explorations into uncharted sonic territories. These records are not merely melodies engrained in vinyl; they are the story of a band perpetually reinventing their sound and reshaping musical landscapes.
For instance, The Original Soundtrack stands tall among the best 10cc albums, cementing the band's place in the annals of music history with its innovative arrangements and catchy tunes. Sheet Music, another cornerstone in the 10cc discography, serves as a master class in melodic rock that continues to inspire and amaze even after decades. Moreover, records like Deceptive Bends and How Dare You are pivotal entries in the canon of 10cc. Each of these albums embodies the unique allure of 10cc, exhibiting their versatility and unparalleled creativity. Convenient purchase buttons placed below each album cater to fans eager for an immersive listening experience, bridging the gap between admiration and acquisition.
In the broad tapestry of music history, 10cc holds a significant place with their dynamic soundscape that continues to resonate across generations. This compilation of their finest works represents 10cc's best albums, inviting audiences on an exhilarating musical expedition. Each record bears testament to the band's evolving artistry and their remarkable ability to rewrite the rules while staying true to their roots. As you delve into these records, prepare to witness the legacy and lasting impact of one of the most influential bands in rock history.
I have had the honor of speaking with Kevin Godley on several occasions over the years. A few weeks ago, he very graciously sat down with me to talk about the 50th anniversary of 10cc's debut album. Listen or read the transcript below:
Up until this point, Kevin, you guys had recorded so many songs for others in the previous year or two, including that great work you did with Neil Sedaka. So how did you decide which songs to include on your debut album? Were any of these songs written from the Kasenetz-Katz days?
Kevin Godley, my very special guest. He, of course, starting out in 10 CC and then moving on to an incredible solo career, directing videos, movies. And we got a chance to talk about a truly beautiful album in my collection. And it was a joy to have you on Kevin. Thank you so much and all the best to you, sir.
10cc in its prime was a collaboration between four talented songwriters: Gouldman, Eric Stewart, Kevin Godley and Lol Creme. Needless to say, it's highly unusual to have four talented songwriters in one band. Even the Beatles only managed three (since Ringo Starr only dabbles in writing songs). The problem is, songwriters generally want to do their own things with their own songs. Sure enough, 10cc proved to be unstable. The line-up with all four songwriters only lasted four years, from 1972 to 1976. At that point, Godley and Creme left to form a duo, logically named "Godley and Creme."
I wanted a live album from the time all four songwriters were in the band, preferrably near the end of that time, so that most of their best songs as a foursome could be included. It turns out there are very few good bootlegs from that era, and no official live albums. Luckily, there's one that stands far above the rest, and that's this one. (The band's first live album, "Live and Let Live," comes from 1977 concerts, so it doesn't feature Godley and Creme or feature their songs.)
This bootleg was in very good shape. It obviously comes from a soundboard source. I didn't have to do any tinkering, except to break up the banter between songs into their own tracks. In my opinion, it sounds as good as their official 1977 album. There was only one album with all four songwriters released after this, "How Dare You!" in 1976. The best known song from that album is "Art for Art's Sake." Happily, that played that song here. Thus, all the best known songs from that era are included, with the exception of "I'm Mandy Fly Me," also from the "How Dare You!" album.
By the way, in 1971, the group "Hotlegs" had a huge hit with the song "Neanderthal Man." In actuality, that group really was 10cc, before they settled on that band name. During this concert, someone in the audience knew Hotlegs and 10cc was one and the same and loudly shouted out for "Neanderthal Man." The band seemed amused and obligingly played it, but only for less than a minute, since it was a silly novelty hit that they probably weren't that fond of.
I wanted to use a photo of the band in 1975, showing all four members. I couldn't find a really good one though. But I found a good one from 1974, from them doing an appearance on the "Top of the Pops" TV show.
It's finally time to contribute to the excellentsite that I've been checking out for a good four years now. I more or lessagree with the 10cc reviews, although I wouldn't be that harsh on the eightiesalbums (they're boring me to death, but at least I'm not annoyed by them!).A few things need to be corrected though. My CD sleeves tell me that theone instrument that Kevin Godley never seemed to touch was the bass guitar.Kevin was always the drummer, making regular cameos as lead vocalist. LolCreme's main instrument seems to have been keyboards. Gouldman was usuallythe bassist, whereas mr. Stewart played the guitar. But then, all of themwere multi-instrumentalists, frequently changing instruments. And of course,all taking their turns as lead vocalists. [This has beencorrected - G.S.]
When it comes to the two comeback albums,calling it a reunion of the original quartet is a huge exaggeration. Godley&Cremewere not involved in the creative process at all, except for dropping byto add their vocals to a couple of tracks on Meanwhile. The recordis 99% pure Gouldman and Stewart.G&C never appeared at all on MirrorMirror. Eric Stewart describes the reunion as a purely financial arrangementthat should never have happened. On Meanwhile the use of studiomusicians was way to extensive, and by the time Mirror Mirror wasrecorded, the two remaining band members were not on speaking terms, recordingindividually, and hardly meeting at all. Checking out the websites of thetwo gents in questions reveals that the mutual feelings are far from amicableat the moment, ruling out any immediate thoughts of another reunion.
Short comments? On these guys? This band is honestly the most fabulousgroup I have heard in a long time. Quality hooks, on almost every song!How people can stand up for McCartney's solo shite when a band like thisis out there is beyond me. As for the debut album, the first side is allincredible - "Speed Kills" sounds like Yes doing a disco bluesnumber. "Sand In My Face" is kind of annoying, though, and thesecond side does have some filler (except for "The Dean And I"and "Headline Hustler," which are fantastic!), so I could onlygive this a really high 8/10. But what a high eight!!!!!!
Art Rock. Isn't that what 10cc is all about? This first album had someprimal rhythms that struck a cord with my then-15-month-old daughter. As"Headline Hustler" started to play one day, she immediately smiledand started doing the butt-shimmy on the floor to the beat - a first. Thisband was too short-lived and very talented. WAY ahead of their time. Smartlyrics, great instrumentals and primal rhythms - they have (had) it all.Give them a 10!
I've had Sheet Music by 10cc for a while now. And...well, I don'tthink it is actually a very good album. I think the main thing is thatthe majority of the 'songs' are sort of 'pastiches' on other styles ofmusic...mocking parodic experiments that are slapped together with suchviolence and disregard for good taste they'll make you accidently ingestyour eyeballs in disbelief. Which isn't to say these pocketbook-pop jokesongs don't work, they are definitely funny and interesting, I just thinkthe whole 'music' element suffers terribly from it. I can only listen tosongs like 'Hotel', 'Clockwork Creep', 'Baron Samedi', 'The Sacro-Iliac'and the like in a comedic capacity, because musically they are all ridiculous.
These things said, even if it doesn't quite mesh together as an album (comingoff more as a musical montage, or collage, or skitzophrenic parody), itstill contains some truly outstanding music. 'The Wall Street Shuffle'must be one of the best rock songs I've heard. It has a magnificent sweepand power to it...I'm enthralled by the 'Oooo Howard Hughes, did your moneymake you better?' bit. So true. And the song just thumps like nothing I'veheard. The whole thing perfectly captures the corporate wheeling and dealingimagery, and most of all through the music itself! It just sounds curt,professional and impersonal...all qualities of Wall Street itself 'TheWorst Band In The World' has a cool atmosphere and (slightly obscure) groove.That mid-section with the roady lyrics...so dumb! Next is a big stringof further parody tracks...'Hotel' is kind of neat, and 'Yan-kee go home!Yan-kee go home!' is, admittedly, ball-breakingly hilarious. 'Old WildMen' is one of the few tracks that sounds like an actual song, and benefitsfrom that, but it's relatively limp and bland. Not bad overall. 'ClockworkCreep' irritates me alot for some reason, I think it's that dumb mid-section,and the far too smug vocal delivery.
Now, finally! 'Silly Love'! Holy CRAP! What a goddamn song. Everythingabout it is perfect...alongside it's fellow masterpiece 'Wall Street Shuffle'these two tracks form the dual 'centerpieces' of this album. The lyricsare so damn awesome. The song itself is a monster metallic groove witha crushing chorus, dancing guitars, and an utterly, utterly brilliant midsection.Is it just me, or is...'Ooooo you know the art of conversation must bedyin'. Ooooo when a romance depends on cliches and two-chays and three-pays',and then laugh, BAM kickass guitar solo...is about the best moment in music,ever? There's that exaggeration again, but really. Then 'and we rely onCrosby's crooning, take a little time, make up your own rhyme, don't relyon mine...because it's SSSSHHHHHH SILLLY!'. Well, George said it.
The rest of the album is alright, I mean the songs besides 'Wall Street'and 'Silly Love' all have things to offer. They're funny, messed up, parodiclittle ditties with like, 20 ideas crammed into their short running times.Which is fine, because I like 10cc's quirky funniness, it's just I thinkHow Dare You? works way better as an album. As far as being their quintessentialalbum, I think Sheet Music is. The reason being that all their majorelements are included in almost equal parts, but 10cc cover SO MANY areasin general that doing this makes for a supremely cut and paste experience.It is not consistent enough in my opinion. How Dare You? seems tofocus more on song-writing and melody, so I prefer it...while still throwingin some bizarre madness.