10cc
From Wikipedia, the free encyclopedia
| 10cc | ||
|---|---|---|
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| Background information | ||
| Origin | Stockport, England | |
| Genre(s) | Pop, Rock | |
| Years active | 1972 – 1995 | |
| Associated acts |
Hotlegs, Doctor Father, Godley & Creme, Wax |
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| Former members | ||
| Graham Gouldman Eric Stewart Kevin Godley Lol Creme |
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10cc is a British pop band which achieved its greatest commercial success during the 1970s.
The band initially comprised four members, Graham Gouldman, Eric Stewart, Kevin Godley and Lol Creme, who wrote and recorded together for about three years before taking on the name of 10cc in 1972.
The lineup featured two strong songwriting teams who injected their songs with sharp wit and lyrical dexterity. All four members were skilled multi-instrumentalists and vocalists, and each could perform convincingly as lead singers. The original lineup recorded a string of Top Ten singles and released four LPs, achieving increasingly wide popularity and chart success.
The band suffered a split in 1976, when Godley and Creme left to form Godley & Creme, leaving Gouldman and Stewart to continue touring and recording as 10cc with a variety of musicians including Rick Fenn, Stuart Tosh, Andrew Gold and Paul McCartney enlisted for each album.
The band took a nine-year hiatus from 1983, before releasing two more albums. There have been no albums since 1995, although in 2004 Gouldman began touring with several peripheral band members, billing themselves as "10cc featuring Graham Gouldman and Friends".
Contents |
[edit] Prehistory 1969-72
The band’s beginnings can be traced to late 1969 with the first collaborations between Stewart, Gouldman, Creme and Godley at Strawberry Studios in Stockport, near Manchester. By 1972, when the name 10cc was adopted, two distinct teams had formed.
[edit] Stewart and Gouldman
The more "commercial" team of Stewart (vocals, guitars, keyboards) and Gouldman (bass, guitars, mandolin, zither, vocals) went on to create some of the group's most accessible material. In the sleeve notes to the 1996 CD reissue of their 1975 LP The Original Soundtrack, Gouldman described himself and Stewart as "guitar freaks".
Stewart's career on the Manchester band scene had begun in 1963 as a founding member of The Mindbenders, the backing band for singer Wayne Fontana. Their biggest hit was "Game of Love", which hit number one on the U.S. Charts. The group continued after Fontana quit in late 1965, and their next single "Groovy Kind of Love" was a Top Five hit in the USA and the UK, leading to an appearance in the film To Sir, With Love. In the dying days of The Mindbenders Stewart began recording demos of new material at Inner City Studios, a Stockport studio then owned by Peter Tattersall. In July 1968 Stewart joined Tattersall as a partner in the studio, where he could further hone his skills as a recording engineer.
By the time he joined The Mindbenders late in their career, Gouldman had already achieved success in his own right as a pop songwriter, penning international hits for acts including The Yardbirds ("For Your Love", "Evil Hearted You", "Heart Full Of Soul"), Herman's Hermits ("No Milk Today", "East West", "Listen People") and The Hollies ("Look Through Any Window" and "Bus Stop"). In 1969 he also began writing for Marmalade, an independent label owned by former Yardbirds manager Georgio Gomelsky.
[edit] Godley and Creme
The experimental half of 10cc was Godley (vocals, drums, percussion) and Creme (vocals, guitar, keyboards), who brought a distinctive "art school" sensibility and a more "cinematic" writing style to the group. Both were members of Manchester band The Sabres, but both also had strong links with Gouldman. Godley and Gouldman had attended the same secondary school and had earlier played together in The Mockingbirds, while Creme had written "Baby Not Like You, the B-side of a 1964 single by one of Gouldman's first bands, The Whirlwinds. Their shared passion for music meant the three would often be playing at their local Jewish Lads' Brigade in their teens.
In 1969 Gouldman took Godley to a Marmalade label recording session. Label boss Gomelsky was sufficiently impressed by Godley's falsetto to offer him and Creme a recording deal. A number of basic tracks were recorded with Stewart on guitar and Gouldman on bass, and one song, "I'm Beside Myself", was included on a Marmalade sampler album, credited to Frabjoy and the Runcible Spoon, which Gomelsky planned to market as a duo in the vein of Simon and Garfunkel. Plans for an album by Frabjoy and the Runcible Spoon faltered, however, when Marmalade ran out of funds.
[edit] First collaborations
The relationship between the four musicians deepened with Stewart's involvement in Inner City Studios, which in late 1968 was renamed Strawberry Studios.
Noted American bubblegum pop writer-producers Jerry Kasenetz and Jeff Katz of Super K Productions had earlier come to England and commissioned Gouldman to write formula bubblegum songs. Many of these songs were recorded at Strawberry Studios and either augmented or performed entirely by varying combinations of the future 10cc lineup. Among the recordings from this period was "Sausalito" by Ohio Express, released in July 1969 and featuring Gouldman on lead vocal.
In December 1969 Kasenetz and Katz agreed to a proposal by Gouldman that he work solely at Strawberry, rather than moving constantly between Stockport, London and New York. Gouldman convinced the pair that these throwaway two-minute songs could all be performed and produced by him and his three colleagues, Stewart, Godley and Creme, at a fraction of the price of hiring outside session musicians. Kasenetz and Katz booked the studio for three months.
Kevin Godley recalled:[1]
| “ | We did a lot of tracks in a very short time – it was really like a machine. Twenty tracks in about two weeks – a lot of crap really – really shit. We used to do the voices, everything – it saved 'em money. We even did the female backing vocals. | ” |
The three-month project resulted in a number of tracks that appeared under various band names owned by Kasenetz-Katz, including "There Ain't No Umbopo" by Crazy Elephant, "When He Comes" by Fighter Squadron and "Come On Plane" by Silver Fleet (all three with lead vocals by Godley) and the million-selling "Susan's Tuba" by Freddie and the Dreamers.
Lol Creme remembered:
| “ | Singles kept coming out under strange names that had really been recorded by us. I've no idea how many there were, or what happened to them all. | ” |
The deal meant that all four were experienced studio performers well before 10cc began, and regular "down-time" access to a top-class multi-track studio enabled them to spend long periods experimenting with recording techniques and refining their studio sound, a luxury of which most bands could only dream.
When the three-month production deal with Kasenetz-Katz ended, Gouldman returned to New York to work as a staff songwriter for Super K Productions while the remaining three continued to dabble in the studio.
[edit] Hotlegs
With Gouldman absent, Godley, Creme and Stewart recorded two more singles. The first, "Neanderthal Man", released under the name Hotlegs, began life as a test of drum layering at the new Strawberry Studios mixing desk, but when released as a single by Fontana Records in July 1970, climbed to No.2 in the UK charts and became a worldwide hit, selling more than two million copies. The second, "Umbopo" by Doctor Father, was a slower, longer and more melancholic version of the song earlier released under the name of Crazy Elephant. It failed to chart. The trio recorded an album of mostly Godley and Creme compositions, Thinks: School Stinks, then recalled Gouldman for a tour as Hotlegs, supporting The Moody Blues.
The band continued outside production work at Strawberry, working with Dave Berry, Wayne Fontana, Peter Cowap and Herman's Hermits. In 1971 they produced and played on "Space Hymns", an album by New Age musician Ramases; in 1972 and 1973 they co-produced two Neil Sedaka albums, Solitaire and The Tra La La Days Are Over, also playing on all tracks.
The experience of working on Solitaire, which became a success for Sedaka, was enough to prompt the band to seek recognition on their own merits. In an interview [2] in 1984, Gouldman – who by 1972 was back at Strawberry Studios – said:
| “ | It was Neil Sedaka's success that did it, I think. We'd just been accepting any job we were offered and were getting really frustrated. We knew that we were worth more than that, but it needed something to prod us into facing that. We were a bit choked to think that we'd done the whole of Neil's first album with him just for flat session fees when we could have been recording our own material. | ” |
The four recorded a song, "Waterfall", in early 1972 and Stewart offered the acetate to Apple Records. He waited months before receiving a note from the label saying the song was not commercial enough to release as a single.
[edit] 10cc: The original lineup, 1972-76
Undeterred by Apple's rejection, Godley and Creme produced another song which had been written as a possible B-side to "Waterfall". The song was "Donna", a Frank Zappa-influenced '50s doo-wop parody, a sharp mix of commercial pop and irony with a chorus sung in falsetto. Stewart told Record Collector: "We knew it had something. We only knew of one person who was mad enough to release it, and that was Jonathan King." Stewart called King, a flamboyant entrepreneur, producer and recording artist, who drove to Strawberry, listened to the track and "fell about laughing", declaring: "It's fabulous, it's a hit."
King signed the band to his UK Records label in July 1972 and dubbed them 10cc. By his own account, King chose the name after having a dream in which he was standing in front of the Hammersmith Odeon in London where the hoarding read "10cc The Best Band in the World". A widely-repeated claim, disputed by King[3], but confirmed in a 1988 interview by Creme, [4]is that the band name represented a volume of semen that was more than the average amount ejaculated by men, thus emphasising their potency or prowess.
"Donna", released as the first 10cc single, reached #2 in the UK in September 1972.
Although their second single, a similarly '50s-influenced song called "Johnny Don't Do It", was not a major chart success, "Rubber Bullets", a catchy satirical take on the "Jailhouse Rock" concept, became a hit internationally and gave 10cc their first British #1 single in May 1973. They consolidated their success a few months later with "The Dean And I", which peaked at #10 in August. They released two singles, "Headline Hustler" and the self-mocking "The Worst Band In The World" and launched a UK tour on August 26, 1973 before returning to Strawberry Studios in November to record the remainder of their second LP, Sheet Music (1973), which included "The Worst Band In The World" along with other hits "The Wall Street Shuffle" (#10, 1974) and "Silly Love" (#24, 1974).
"Sheet Music" became the band's breakthrough album, remaining on the UK charts for six months and paving the way for a US tour in February 1974.
In February 1975 the band announced they had signed with Mercury Records for $1 million. The catalyst for the deal was one song – "I'm Not In Love". Stewart recalled:[5]
| “ | At that point in time we were still on Jonathan King's label, but struggling. We were absolutely skint, the lot of us, we were really struggling seriously, and Philips Phonogram wanted to do a deal with us. They wanted to buy Jonathan King's contract. I rang them. I said come and have a listen to what we've done, come and have a listen to this track. And they came up and they freaked, and they said "This is a masterpiece. How much money, what do you want? What sort of a contract do you want? We'll do anything, we'll sign it". On the strength of that one song, we did a five-year deal with them for five albums and they paid us a serious amount of money. | ” |
The Original Soundtrack, which was already complete, was released just weeks later. It was a both a critical and commercial success and featured distinctive cover art created by the Hipgnosis team and drawn by singer Humphrey Ocean. It is also notable for its opening track, Godley & Creme's "Une Nuit A Paris (One Night In Paris)", an eight-minute, multi-part "mini-operetta" that is thought to have been an influence on "Bohemian Rhapsody" by Queen. Its melody can also be heard in the overture to Andrew Lloyd Webber's 1986 musical "Phantom of the Opera."
Although it bore an unlikely title (picked up from a radio talk show), the jaunty single "Life Is A Minestrone" (1975) was another UK Top 10 placing, peaking at #7. Their biggest success came with the dreamy "I'm Not In Love", which gave the band their second UK #1 in May 1975. The song also provided them with their first US chart success when the song reached #2.
A collaborative effort built around a title by Stewart, "I'm Not In Love" is notable for its innovative production, especially its richly overdubbed choral backing.
10cc would also do some production work for Justin Hayward during this time on his single "Blue Guitar" for his "Blue Jays" project with John Lodge.
Their fourth LP, How Dare You! (1976), featuring another Hipgnosis cover, furnished two more UK Top Ten hits – the witty "Art For Art's Sake" (#5 in November 1975) and "I'm Mandy, Fly Me" (#7, March 1976). But by this time the once close personal and working relationships between the four members had begun to fray, and it was the last album with the original lineup.
10cc's success prompted the 1976 re-release of the Hotlegs album under the new title You Didn't Like It Because You Didn't Think Of It with two additional tracks. The title track was the epic B-side of "Neanderthal Man", a section of which had been reworked as "Fresh Air For My Mama" on the 10cc album.
[edit] The split, 1976
Soon after the release of How Dare You, Godley and Creme left 10cc to work on a project that eventually evolved into the triple LP set Consequences (1976), a sprawling concept album that featured contributions from satirist Peter Cook and jazz legend Sarah Vaughan.
The first of a series of albums by Godley & Creme, Consequences began as a demonstration record for the "Gizmotron", an electric guitar effect they had invented. The device, which fitted over the bridge of an electric guitar, contained six small motor-driven wheels attached to small keys (four wheels for electric basses); when the key was depressed, the Gizmotron wheels bowed the guitar strings, producing notes and chords with endless sustain. First used during the recording of the Sheet Music track "Old Wild Men", the device was designed to further cut their recording costs: by using it on an electric guitar with studio effects, they could effectively simulate strings and other sounds, enabling them to dispense with expensive orchestral overdubs.
In a 1997 interview with Uncut magazine.[6], Godley spoke with regret about the break-up of the band as they embarked on the Consequences project:
| “ | We'd reached a certain crossroads with 10cc and already spent three weeks on the genesis of what turned out to be Consequences ... The stuff that we were coming up with didn't have any home, we couldn't import it into 10cc. And we were kind of constrained by 10cc live ... We felt like creative people who should give ourselves the opportunity to be as creative as possible and leaving seemed to be the right thing to do at that moment.
Unfortunately, the band wasn't democratic or smart enough at that time to allow us the freedom to go ahead and do this project and we were placed in the unfortunate position of having to leave to do it. Looking back, it was a very northern work ethic being applied to the group, all for one and one for all. If we'd been a little more free in our thinking with regard to our work practices, the band as a corporate and creative entity could have realised that it could have been useful rather than detrimental for two members to spend some time developing and then bring whatever they'd learned back to the corporate party. Unfortunately, that wasn't to be. Our contemporaries were people like Roxy Music who allowed that to happen and they gained from that ... Had we been allowed to get it out of our system and come back home, who knows what would have happened. |
” |
In a BBC Radio Wales interview [7] Stewart gave his side of the split:
| “ | I was sorry to see them go. But we certainly did fall out at the time. I thought they were crazy. They were just walking away from something so big and successful. We'd had great success around the world and I thought we were just breaking in a very, very big way. The collective dynamite of those four people, four people who could all write, who could all sing a hit song. In one band.
(Yet) I think it becomes claustrophobic, in the fact that you're trying to perfect things and you're looking at each other and eventually you maybe say this relationship is a little too tight for me now, and I need to break away. And that's what in retrospect, I found out long after because I still speak to Godley and Creme who – Lol is my brother-in-law, so I've got to see him – but for quite a while we didn't talk. I just said you're out of your minds for leaving this band. We were on such a winning curve, Graham Gouldman and I had to decide, are we going to be 5cc? Are we gonna scrap the name completely? Well, we thought we, no, we'd better carry on because we, this is 10cc, we are 10cc, this band. Two of our members are leaving us and that's not our problem, but we've got to carry it on. |
” |
Godley & Creme went on to achieve cult success as a songwriting and recording duo, scoring several hits and releasing a string of innovative LPs and singles. Having honed their skills on the equally innovative clips that they made to promote their own singles, they returned to their visual arts roots and became better-known as directors of music videos in the 1980s, creating acclaimed videos for chart-topping acts including George Harrison ("When We Was Fab"), The Police ("Every Breath You Take"), Duran Duran ("Girls On Film"), Frankie Goes to Hollywood ("Two Tribes") and Herbie Hancock ("Rockit"). The video for their 1985 single "Cry" is especially notable as one of the first mainstream uses of image morphing technology.
For further information see: Godley & Creme
[edit] 1977-1995
After the departure of Godley and Creme, Stewart and Gouldman opted to continue as 10cc, recruiting drummer Paul Burgess (later of The Icicle Works) for session work on their next LP, Deceptive Bends (1977). The album, recorded at the newly-completed Strawberry South Studio in Dorking, Surrey, reached No. 3 in Britain and No. 33 in the US and also yielded two hit singles, "The Things We Do For Love" and "Good Morning Judge".
In 1977 10cc embarked on an international tour with guitarist Rick Fenn, keyboardist Tony O'Malley and drummer Stuart Tosh (ex-Pilot) and recorded a live album, Live And Let Live (1977), which mixed the hits with material from the previous three LPs.
Fenn, Tosh, Burgess and keyboardist Duncan Mackay were used on 1978's Bloody Tourists, which provided the band with another UK No. 1 single, the reggae-styled "Dreadlock Holiday". The group then signed with Warner Bros. Records, who released 1980's Look Hear?. The album, featuring the Bloody Tourists lineup, was not a commercial success.
The band suffered a major setback in 1979 when Stewart was seriously injured in a car crash. He told the BBC:[8]
| “ | It flattened me completely. I damaged my left ear, I damaged my eye very badly. I couldn't go near music. I couldn't go near anything loud and I love music and motor-racing. I had to stay away from both things for a long time, for about six months. And the momentum of this big machine that we'd had rolling slowed and slowed and slowed. And on the music scene, the punk thing had come in a big way. The Sex Pistols, The Clash, lots of things like that. So by the time I was fit again to play, I think we'd just missed the bus. It'd gone. And whatever we did after that, we got a few tickles here and there and we could continue touring forever on the strength of the past hits, but it didn't feel right again, we just didn't have that public with us. | ” |
Gouldman, too, considered the aftermath of Stewart's accident to be a turning point. In a 1995 BBC interview[9] he said:
| “ | Really, after '78 things went downhill for us. I don't know what it was. We'd been doing it for so long, maybe we should have had a break then, rather than in '83 when we did have a break, or brought new blood in or done something. And even as the things were getting bad, we thought, 'Ah, it's gonna be alright, don't worry about it, it'll be great'. | ” |
Gouldman and Stewart jettisoned the rest of the band before returning to the Mercury label to record Ten Out of 10 (1981) as a duo. It failed to make a major impression with audiences. The UK and US versions of the albums differ, with the US version substituting three duo tracks for songs recorded with Andrew Gold.
Their next LP, Windows in the Jungle, (1983) used session heavyweights including drummer Steve Gadd, but was dominated by Stewart; Gouldman performed no lead vocals on the record.
The band went into recess as Stewart produced recordings for Sad Café and Gouldman produced tracks for The Ramones before teaming up with American Andrew Gold to form the synth-pop group Wax. Stewart also worked on three Paul McCartney albums, co-writing Press to Play (1986), and also produced the album "Eyes of a Woman" by Agnetha Fältskog of ABBA.
In 1992 the original four members reunited to record ...Meanwhile, an album produced by Gary Katz of Steely Dan fame. The album did not spawn any major hits, but was relatively well received in Japan and in Europe. It featured session musicians Jeff Porcaro on drums and Michael Landau on guitars, along with Dr. John (Mac Rebennack) on piano and Andrew Gold on guitar. One track on the album was co-written by Stewart and Gouldman with Paul McCartney.
The album was not a "reunion" in the strict sense of the word. Creme and Godley agreed to guest on the albums to fulfil their obligation to Polydor _ both had owed Polydor one album when they split in the late '80s. Godley and Creme sang background vocals on several tracks on the album. Godley also sang the lead on one song, "The Stars Didn't Show".
Gouldman, in a 1995 interview,[10]was philosophical about the album: "When we finally did come back to record again, it was based on market research that our record company had done, that said a new 10cc album would do really, really well. And, ah, history has proved that wrong." Yet according to Stewart, both he and Gouldman had approached the album positively. "We wrote in a three-month period, 22 songs. Every day we were coming up with new ideas, and they were getting better and better, as far as we were concerned. And they sounded like 10cc songs again."
In 1995 the band released Mirror Mirror, produced by Gouldman, Stewart and Adrian Lee of Mike and the Mechanics. The album included a remixed version of "I'm Not In Love", but the album did not fare very well and has been criticized for appearing to be two solo albums slapped together. Aside from the remix of "I'm Not In Love", Stewart did not appear on any of the tracks Gouldman played or sang on, while Gouldman did not appear on any of Stewart's tracks. After the album's release Stewart and Gouldman parted ways again.
Stewart has since commented:[11] "10cc is well and truly finished as far as I am concerned, but I can't guarantee that GG won't try to squeeze the last drop of blood out of it. It was a great band for most of its life and should be left at that, where it had some real meaning to all of us, fans and musicians alike."
[edit] Later work
In 2001 Graham Gouldman released his second solo album, And Another Thing... (his earlier solo outing had been The Graham Gouldman Thing in 1968). Eric Stewart released a second solo album, Do Not Bend, in 2003.
In January 2004 Godley and Gouldman reconvened to write more songs. Godley explained:
| “ | In a nutshell ...unfinished business. In all the years we’ve known each other we’ve only written three pure, Godley-Gouldman songs. That, and a desire to find out if the music muscle still worked with someone I enjoyed and didn’t have to spend weeks getting to know. | ” |
In July 2006, Godley and Gouldman's website offered four downloadable tracks, "The Same Road", "Johnny Hurts", "Beautifulloser.com" and "Hooligan Crane". The songs are the initial "offering" of a group of songs they have been working on over the past two years.
In August 2006 10cc (featuring only Graham Gouldman of the original band members) played at the annual Cropredy Festival as the guests of Fairport Convention.
[edit] Discography
[edit] Singles
| Year | Title | Peak Chart Position | |
| UK Singles Chart | US Hot 100 | ||
| 1972 | "Donna" | #2 | - |
| 1972 | "Johnny Don't Do It" | - | - |
| 1973 | "Rubber Bullets" | #1 | #73 |
| 1973 | "The Dean and I" | #10 | - |
| 1974 | "Headline Hustler" | - | - |
| 1974 | "The Worst Band In The World" | - | - |
| 1974 | "The Wall Street Shuffle" | #10 | #103 |
| 1974 | "Silly Love" | #24 | - |
| 1975 | "Life Is A Minestrone" / "Lazy Ways" | #7 | #104 |
| 1975 | "I'm Not In Love" | #1 | #2 |
| 1975 | "Art For Art's Sake" | #5 | #83 |
| 1976 | "I'm Mandy, Fly Me" | #6 | #60 |
| 1976 | "The Things We Do For Love" | #6 | #5 |
| 1977 | "Good Morning Judge" | #5 | #69 |
| 1977 | "People In Love" | - | #40 |
| 1978 | "Dreadlock Holiday" | #1 | #44 |
| 1978 | "For You And I" | - | #85 |
| 1980 | "One Two Five" | - | - |
| 1980 | "It Doesn't Matter At All" | - | - |
| 1981 | "Les Nouveaux Riches" | - | - |
| 1981 | "Don't Turn Me Away" | - | - |
| 1981 | "The Power Of Love" | - | - |
| 1982 | "Run Away" | #50 | - |
| 1983 | "Feel The Love" | - | - |
| 1983 | "24 Hours" | - | - |
| 1985 | "Cry" | - | #16 |
| 1995 | "I'm Not In Love" (Acoustic re-recording) | #29 | - |
[edit] Studio albums
| Year | Title | Peak Chart Position | |
| UK | US | ||
| 1973 | 10cc | #36 | - |
| 1974 | Sheet Music | #9 | #81 |
| 1975 | The Original Soundtrack | #4 | #15 |
| 1976 | How Dare You! | #5 | #47 |
| 1977 | Deceptive Bends | #3 | #31 |
| 1978 | Bloody Tourists | #3 | #69 |
| 1980 | Look Hear? | #35 | #180 |
| 1981 | Ten Out of 10 | - | - |
| 1983 | Windows in the Jungle | #70 | - |
| 1992 | ...Meanwhile | - | - |
| 1995 | Mirror Mirror | - | - |
[edit] Live albums
- 1977 Live and Let Live (UK #14, US #146)
- 1981 10cc in Concert (live in UK, 1977)
- 1993 10cc Alive (double CD, live in Japan, 1993. Released in US in 1995 as two single albums, Live in Concert Vols 1 and 2 and again as an edited single album in US, Greatest Hits in Concert in 1996)
- 1996 King Biscuit Flower Hour (live in US, 1975)
- 2000 Live
- 2002 Alive: The Classic Hits Tour
[edit] Compilation albums
- 1975 100cc: The Greatest Hits of 10cc (UK #9)
- 1979 Tropical and Love Songs
- 1979 Greatest Hits 1972-1978 (UK #5)
- 1979 The Things We Do for Love: Best of '76–'83
- 1980 Best Of 10cc
- 1987 Changing Faces: The Very Best of 10cc and Godley and Creme (UK #4)
- 1987 The Collection (compilation of first two albums)
- 1990 A Decade of Hits
- 1990 Hits (early singles and B-sides)
- 1993 The Early Years
- 1993 Food For Thought (Compilation of later material)
- 1997 The Very Best of 10cc (UK #37)
- 1998 The Singles
- 2000 Best of the Seventies
- 2001 Two from Ten (first two albums re-released together)
- 2001 Good News: An Introduction to 10cc (singles and B-sides)
- 2002 Singles
- 2002 Best Of The Early Years
- 2002 Dressed To Kill (singles and B-sides compilation)
- 2002 20th Century Masters: The Best Of 10cc
- 2003 Ultimate Collection (three-disc best-of compilation)
- 2003 Strawberry Bubblegum (collection of pre-10cc output at Strawberry Studios)
- 2004 Complete UK Recordings 1972-1974
- 2005 Are featured on the album "Late Night Tales: The Flaming Lips"'
- 2006 Greatest Hits ... And More
[edit] References
- ^ "Zigzag" magazine, January 1975
- ^ Graham Gouldman interview, "Record Collector", 1984
- ^ Snopes.com, "10cc"
- ^ Godley & Creme interviewed in "Pulse" magazine, April 1988
- ^ Eric Stewart interview, Radio Wales, "I Write the Songs"
- ^ Kevin Godley interview, "Uncut", 1997
- ^ Eric Stewart interview, Radio Wales, "I Write the Songs"
- ^ Stewart's BBC Radio Wales interview
- ^ Graham Gouldman interviewed by Justin Hayward, BBC2, 1995
- ^ Gouldman interviewed by Hayward, BBC, 1995
- ^ Reply to question by Eric Stewart at his website
