April 11, 1997 GOLDMINE #436
10cc :
A Pure Injection Of Pop
Original
Article By Dave Thompson
Chapter Ten
: Headline Writer In ‘Stuck For Words’ Shock!!!
Indeed,
Gouldman admits he returned home having learned nothing more about the new
music than he’d left with, and it is only today, looking back on 10cc’s
continued stubborn insularity that he can reflect, “we should either have tried
to change direction, which we didn’t, or got someone else in the band, which we
almost did. The albums weren’t really bad, there was always the integrity, and
the production values, but in retrospect, I find them rather dour, rather
lackluster. That’s why I thought we
should have got someone else in, to kick us up the arse. We didn’t see
what was going on around us, maybe we should have got a producer at that
point.”
In fact,
West Coast guitarist and songwriter Andrew Gold came very close to joining
10cc. “10cc were with Warners in the
Indeed it
does; the resultant record was so Americanized that 10cc’s European label, the
ever-loyal Mercury, actually dumped all three of Gold’s collaborations, Power
Of Love, We’ve Heard It All Before and Runaway (plus the
generally lackluster Tomorrow’s World Today), replacing them with four
more characteristic compositions, Action Man In A Motown Suit, Listen
With Your Eyes, Lying Here With You and Survivor. It made no
difference : Ten Out Of 10 became 10cc’s first flop album. Even so, Gold
remained close to Gouldman’s heart. “I felt really we needed some new blood,
but it didn’t work out. Andrew was doing so much stuff in
10cc’s
final album, Windows In The Jungle, appeared in mid-1983. The previous
year, the band had effectively bowed out of the concert stage with a show at
London’s cavernous Wembley Arena, which was duly filmed for a Japan-only video
release (an anticipated live album remains on the shelf, with just two cuts,
I’m Not In Love and Dreadlock Holiday subsequently appearing on the
limited edition 10 inch single version of 24 Hours). Now they were
giving up the studio ghost as well. Gouldman is characteristically honest about
the split. “What really happened was, we decided we were going to have a break
from 10cc. We hadn’t really had that much chart success for the previous three
or four years, and we always thought we were doing something wrong; maybe we
should have taken a break earlier on, during the early ‘80s, but we were always
supremely optimistic and always though things would work out fine. But they
didn’t, so we got a bit fed up with it actually.” In one famous exchange,
Stewart recalls “somebody said at that time, ‘if you released I’m Not In
Love now, it would be a flop.’”
Godley
& Creme, too, had found the years since the split commercially frustrating.
Their second album, title L, reached #47 in the
In the
meantime, however, the duo did have one more trick up their sleeve, a
computerized medley of all their past hits and misses,1985’s History Mix.
Recorded with Frankie Goes To Hollywood mastermind Trevor Horn, The History
Mix boasted one new song, the hit single Cry, but a smorgasbord of
oldies. Surfacing from what is certainly one of the most disconcerting albums
ever made are snatches of music dating back as far as Dr Father’s Umbopo
and Hotlegs’ Neanderthal Man, a generous swathe of 10cc memories, and a
clutch of Godley & Creme’s own material. Self-indulgent in places, annoying
ion others, still History Mix remains an essential album, the segue
linking I’m Not In Love with Cry is especially effective, while Cry
itself was accompanied chartwards by one of the best-loved videos of the era,
edited down from a full length History Mix video (and, of course, the
inspiration behind the title of the afore-mentioned 1988 hits package, Changing
Faces).
Godley
& Creme had, in fact, spent considerably more time and effort working in
video than in music over the past few years, producing some of the most
memorable, and groundbreaking, images of the age. New romantic clothes horses
Visage, Joan Armatrading, Toyah and Ringo Starr rank among their earliest
clients; even more important are Godley & Creme videos for Duran Duran’s
epochal Girls On Film, Culture Club’s Victims, Elton John’s Kiss
The Bride, David Sylvian’s Forbidden Colours, the Police’s Synchronicity,
Wrapped Around Your Finger and Every Breath You Take, Herbie
Hancock’s MTV award-sweeping Rockit and Autodrive, and most
successfully of all, Frankie Goes To Hollywood’s superpower face off, Two
Tribes, a video which won best video awards at both Midem and St Tropez.
The pair also directed a 10cc video, for 1983’s Feel The Love single.
Godley & Creme’s own History Mix video was the creative culmination
of all this, but by no means had they exhausted their powers. Work with Peter
Gabriel (Biko, Don’t Give Up), Lou Reed (No Money Down) and many
more followed over the next three years, while Godley alone has since continued
in this same field with U2 (throughout the Zooropa fiasco) and the
reformed Beatles; both Free As A Bird and Real Love were
accompanied by his work, with the former as least as memorable as the music
which accompanied it. The Beatles connection which has, then, run constantly
through 10cc’s individual and collective history ever since Graham Gouldman wandered
backstage at a fabs show in 1964, made its most concrete connection in 1982,
when Eric Stewart was drafted into Paul McCartney’s studio set-up to work on
the Tug Of War album.
Stewart’s
own solo career had finally sputtered to a halt with the release of the frankly
abysmal Frooty Rooties album, and with 10cc now drawing to its own
natural halt, McCartney’s offer ensured that the guitarist would at least
remain in the public eye. His contributions to Tug Of War were followed
by return engagements for both Pipes Of Peace and the Give My Regards
To Broad Street soundtrack, and it may or may not be coincidental that the
tracks featuring Stewart remain the best on those albums. Now, with 10cc at an
end, the guitarist would produce an album for Abba’s Agnetha (Justin Hayward
appears as a musician and songwriter on the disc), before joining McCartney’s
band full-time. Stewart was a leading contributor both musically and as
co-writer to 1986’s generally excellent Press To Play album, a valuable
addition to the McCartney catalog both in its released form, and across a pair
of interesting, if not overly dissimilar bootlegs, Extended Tracks and The
Alternate Press To Play. Although neither offers anything in the way of
unreleased songs, the latter’s rough mixes include an extended version of Good
Times Coming / Feel The Sun, while Extended Tracks includes
multiple versions of Spies Like Us, Stranglehold and Pretty
Little Head. On the strength of this material, it is indeed a shame that
the Stewart-McCartney collaboration was not to be longer lived.
Eric
Stewart In Air Gun Revelation!!! |
|
Graham
Gouldman In Wrong Studio Revelation!!! |
|
Graham
Gouldman In Songwriting Technique Exposé!!! |
|
The
Runcible Spoon… What Exactly Is It? |
|
Strawberry
Puts The ‘Hit’ In ‘Shit’!!! |
|
So
That’s How They Got The Name… |
|
A
Million Dollars Buys A |
|
Strawberry
Studios South… Now You’re Dorking!!! |
|
I Said
‘You’ve Got To Be Joking Man, It Was A Present From Me Mum’!!!! |
|
Headline
Writer In ‘Stuck For Words’ Shock!!! |
|
Sometimes
Having Wax In Your Ears Can Be A Good Thing |
|
And They
Still Don’t Give A… |