Released on 7-inch single in August 1973 in the UK (UK Records, UK-48) reached #10 on the UK charts (charted on Augfor 8 weeks). Released as promotional 7-inch single in 1973 in the US (UK Records, 45-49019).ī/w Bee In My Bonnet. Re-issued on 180g red vinyl elpee in 2014 in Europe (Not Bad Records, BADLP006).ī/w same (mono). Re-released on expanded compact disc in 2002 in Japan (Imperial, TECI-20147) with 3 bonus tracks. Re-issued on compact disc in 2000 in Europe (Original Masters, 15604). Re-released on expanded, remastered compact disc on Apin Germany (Repertoire, 104 844) with 5 bonus tracks. Re-issued on compact disc and cassette in 1992 in the UK (Castle, CLACD/CLAMC 185). Re-packaged with Sheet Music on compact disc in 1990 in the US (DZS 053). Re-issued on elpee in 1982 in the UK (Mercury, PRICE 7). Released on elpee on July 1973 in the UK (UK Records, UKAL 1005), the US (UK Records, UKS 53105) reached #36 on the UK charts.
Johnny, Don’t Do It / Sand In My Face / Donna / The Dean And I / Headline Hustler // Speed Kills / Rubber Bullets / The Hospital Song / Ships Don’t Disappear In The Night (Do They?) / Fresh Air For My Momma. Released on 7-inch single in May 1973 in the UK and in September 1973 in the US (UK Records, 45-49015) reached #1 on the UK charts (charted on for 15 weeks) and #73 on the US charts (charted on Septemfor 8 weeks). Re-released on CD single in 1995 in the UK (Old Gold) with “The Wall Street Shuffle.”ī/w Waterfall. Released on 7-inch single in September 1972 in the UK and the US (UK Records, 45-49005) reached #2 on the UK charts (charted on Septemfor 13 weeks). Gouldman and Andrew Gold (who joined 10cc for Ten Out of 10) also formed a splinter group, Wax, that recorded several albums in the Eighties, while Stewart joined Paul McCartney’s group in the Nineties.ī/w Hot Sun Rock.
The further adventures of Godley and Creme were interesting, though their lack of commercial sense can be confounding at times.
10CC WALL STREET SHUFFLE COVER PROFESSIONAL
Gouldman and Stewart continued to make chart-topping music on Deceptive Bends and Bloody Tourists, but signs that the pair was running out of creative steam were evident on Look Hear? Subsequent 10cc albums could be counted on for pleasant melodies, a liberal dose of light reggae and stellar production, but they’re more a case of professional musicians going through the motions. Unfortunately, Godley and Creme left the band to pursue their own ideas, including an instrument of their own devising, the gismo (or gizmo, depending). Although their next album was too experimental for its own good (Godley and Creme approached music as art), it did contain one perfect song, “I’m Not In Love.” How Dare You was a return to the inspired form of Sheet Music, and featured “Art For Art’s Sake” and “I’m Mandy, Fly Me.” The followup, Sheet Music, was even smarter. The following summer, the band released their self-titled debut, featuring the #1 single “Rubber Bullets” and the #10 hit “The Dean And I.” The record was remarkably clever, immaculately produced and packed with more ideas per square inch than just about anything else in 1972. In the fall of 1972, 10cc released the doowop send-up, “Donna,” which soared to #2 in the UK. While Hotlegs’ career was over, 10cc was just getting started, as the trio had now teamed with songwriter Graham Gouldman to record as a quartet. An album followed but didn’t repeat the success of the single. During the sessions, the trio happened upon a neat drum track that became the basis for a new song, “ Neanderthal Man,” and the boys (now called Hotlegs) had their first international hit. The origins of 10cc date back to the songwriting partnership of Lol Creme and Kevin Godley, who were re-christened Frabjoy and Runcible Spoon by producer Giorgio Gomelsky and brought to Eric Stewart’s studio to record their songs. From 1972 through 1978, 10cc was a top 10 hit machine: “Rubber Bullets,” “I’m Not In Love,” “The Things We Do For Love,” “Dreadlock Holiday.” The machine began to wind down in the Eighties, but that was a pretty crappy decade for everyone. Along with Electric Light Orchestra and Harry Nilsson, 10cc set the standard for ambitious studio pop in the post-Beatles landscape. In the Seventies, they didn’t come any better than 10cc.
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