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Well Above Average: 10cc Retrospective BBC Radio 2 winter 1995 ed: This programme was aired on BBC2 early in 1995 coinciding Cast of Characters (in order of their appearance): JH = Justin Hayward (Moody Blues) narrator/host Justin Hayward: Hello, I'm Justin Hayward, and this is Well Above Average, the continuing story of 10cc. [Excerpt from Good Morning Judge] Harvey Lisberg: "humour and style and originality..." George Martin: "We always need a little bit of difference, and 10cc seemed to come up with it." Ric Fenn: "A band I've certainly always been proud to be associated with." JH: Three views on the band there from Harvey Lisberg, George Martin, and Rick Fenn. But let's begin the 10cc story in the Manchester beat boom of the early '60s. And from The Hermits, here's Herman himself, Peter Noone. Peter Noone: Well, the Manchester scene when we first started out was an incredibly vibrant scene. Everybody I knew either was in a band or knew somebody ... was. There was The Hollies, there was Freddie and The Dreamers, Wayne Fontana and The Mindbenders, there was The Mockingbirds... and we were all friends. JH: The Mockingbirds were formed by Graham Gouldman, a young guitarist, who took up songwriting out of, well, necessity. Graham Gouldman: I'd been in a few bands in Manchester, just playing in, sorta, little clubs and we wanted to, um, make a record. And after going round Denmark Street and trying to gep songs, I thought I should have a go myself. Really, probably inspired by The Beatles more than anything else. For Your Love was recorded first of all by The Mockingbirds, a band I had with Kevin Godley. My manager wanted to go to The Beatles. I actually reminded him that The Beatles actually were quite a successful songwriting team at that point. But it gave a publishing friend of ours an idea, because The Beatles were playing with The Yardbirds at, um, I think it was at Hammersmith Odeon, a Christmas show. He said, 'what about The Yardbirds?' and, um, he took it to them, and they recorded it. [Excerpt from For Your Love by The Yardbirds] [Excerpt from Pamela, Pamela by Wayne Fontana and The Mindbenders] [Excerpt from Bus Stop by The Hollies] [Excerpt from No Milk Today by Herman's Hermits] PN: Graham wrote for us No Milk Today, Listen People, East West, Oh She's Done It Again, he was just a phenomenal songsmith. I mean, everything he played to me, I loved. And it's the construction. We turned down Carole King songs and Neil Diamond songs, but we never, ever turned down a Graham Gouldman song, and I, still to this day, say, 'why didn't I get him in Herman's Hermits?' JH: Well, even without receiving such an invitation, Graham had managed by the age of 21 to write 8 million sellers for artists such as The Yardbirds, Wayne Fontana, The Hollies and Herman's Hermits. And there you heard four of them, For Your Love, Pamela Pamela, Bus Stop and No Milk Today. Graham wrote many of hits while still working at a gents outfitters... in Salford? GG: I used to close the shop and write songs. I thought it was good for business. For my business. [Laughter] JH: Well, that's good news. Graham's always kept an eye on business. Now, Wayne Fontana's former backing group, The Mindbenders, included another Manchester musician, Eric Stewart, who came to play the guitar via a somewhat unconventional route. Eric Stewart: I had a wonderful air rifle, which all young boys of about 14 seemed to be into. My own son certainly is now. And, um, while firing it, I actually put a slug through a neighbor's window. And he threatened to take my head off. So I went to a secondhand shop on National Road, in Manchester. I swapped it for a really battered old acoustic guitar. I didn't actually even know how to tune it up. Somebody showed me how to tune it and that was wonderful. Suddenly there were chords that actually worked. I was with a couple of Manchester bands, Gerry Lee and The Stagger Lees, and then I joined Johnny Peters and The Jets. I was down in Manchester one night, at the Oasis club, and Wayne Fontana was doing an audition for Phillips Records. And his group didn't turn up. So he asked me would I sit in and just dep for him and do three numbers. We're all doing these same songs like Zippity Doo Dah and Johnny B. Goode and Hello Josephine. Then I came off stage and went to the coffee bar and that was it as far as I was concerned. And then Wayne came in and said, 'Jack Bavastock, the guy from Phillips, wants to give me a recording contract but he wants the guys who were on stage with me to be in the group. Do you want to join my group?' I said, yeh, I'd love to. So we had a recording contract straight away. So within like a couple of months we were suddenly a char group and earning more than 10 pence a night. [Laughter] JH: The voice of Eric Stewart there. Wayne Fontana and The Mindbenders enjoyed a string of hits, including an American number 1 with Game of Love. When Fontana left to go solo at the end of 1965, Eric took over on lead vocals. And The Mindbenders immediately found themselves with another international smash "Groovy Kind of Love". [Excerpt from Groovy Kind Of Love] JH: By 1968, The Mindbenders run of hits had ended. Despite recruiting Graham Gouldman to play bass on the recording of several of his own songs, Eric was faced with the choice of either going into the soul-destroying cabaret scene like many other acts of the time or taking a financial risk in order to do something much more musically stimulating. ES: I set up Strawberry Studios initially with Peter Tattersall. Ah, it was called Intercity Studios, and it was above a hi-fi shop in Stockport. Peter Tattersall: The studio area we had lined with egg boxes 'cause we thought that we couldn't really afford acoustic tiles and that was the nearest thing. It was very basic. But, believe it or not we did some quite good things in there. We even had the original Sid Lawrence Orchestra... but then we had to move because it was ... the studio was next to a listed building, and we were classed as a fire hazard. ES: And the lease run out, and they kicked us out. So we had to make a big decision, whether we were going to build a real studio or just give the whole thing up. And, fortunately this building came up in Stockport, ah, at a very low rent, but a really really good size. So we leased... rented the building and got some money together to buy some more equipment, went to the bank to get some money and we renamed it Strawberry Studios after Strawberry Fields Forever, The Beatles. JH: Eric Stewart and Peter Tattersall. The very idea of anyone setting up a recording studio in Stockport, hundreds of miles from the London scene, was a source of great amusement in the music business for a while. But, undaunted, Eric started working there, along with Graham and two other, well, local arty types, Lol Creme and Kevin Godley. Kevin Godley: Altogether, I think I must have spent about 11 years at art college.... because I just dug being a student. About that time I was working with Lol on various projects that were vaguely to do with music and getting further away from painting and drawing all the time. We were, like, writing shows and ideas for shows and crazy, sort of multimedia things, which at that time was pretty avant garde. So it was more a matter of deciding whether to go into that properly or whether to do art or whatever. JH: Kevin Godley there from an archive interview recorded in the 70's. It was in September 1969, that The Yardbirds manager, Giorgio Gromalski, brought the future members of 10cc together for the first time on record. GG: By this time, Eric had asked me to put someone into the studio with him and Peter. See, I had a relationship with Giorgio going back to The Yardbirds and he'd set up this label Immediate with, I think, Andrew Oldham. And, because of his association with me, that led to Kevin, Lol and Eric - the Frabjoy and the Runcible Spoon stuff. And that we actually, probably played some of our first things we ever played together... long before 10cc. [Excerpt from I'm Beside Myself by Frabjoy and the Runcible Spoon] JH: Well, a BBC exclusive there. Hmmm, well, we'll let you know. Shortly after the release of I Am Beside Myself, Graham was asked to go and work in the New York songwriting factory of bubblegum record producers Kasenetz-Katz, who'd been responsible for such hits as Judy In Disguise and Yummy, Yummy, Yummy. The work was tedious but well paid and Graham persuaded Kasenetz-Katz to book Strawberry Studios for three months. It was while trying out new equipment bought with the proceeds of that booking that Eric, Kevin and Lol accidentally recorded a hit single. [Neanderthal Man playing in the background] ES: We started experimenting to see how many drum tracks we could physically get on that tape by jumping stereo tracks backwards and forwards. After about 8 drum kits, we realized there was a chant going in the background - it was Lol, about 12 feet away from the drums, just singing 'I'm a neanderthal man' to keep Kevin in time on the kit... [Excerpt from Neanderthal Man] ....But it had a very weird flavor to it. And we forgot about it. But we used to bang it up on the speakers to show everybody how loud the speakers could go. [Eric laughs]... ...Dick Leahy, from Phillips again, came in and he said, 'What the hell's that you're playing?' I said, 'It's a studio experiment; a percussive experiment.' He says, 'It sounds like a hit record to me...' and 'Can we release it?' And we said, 'Yeh, okay. What should we call it?' And we had no name for the group, of course. But we had a girl at the studio... Kathy Gill, I think her name was, yeh... who had very, very nice legs and she used to wear these incredible hot pants. Green, leather hot pants. So we called the group, ah, Hotlegs. JH: [Laughing] Yeah. Neanderthal Man reached number 2 in Britain in the summer of 1970 and was a hit all over the world selling over 2 million copies. It's the record which inspired the drum sound for all of Gary Glitter's hits. And we invited Hotlegs, together with Graham, to support The Moody Blues on tour - the first time the future members of 10cc had played live together. And at that time... GG: It suddenly occurred to us that we were, sort of, four songwriting, producing, singing, dancing musicians, that were completely self-contained, because Eric engineered the sessions as well. And that we should actually kind of form a group. We started recording for no other reason, just in the studio down time, recording some tracks that made up a part of the very first album. JH: And it was one of those songs, a fifties-style parody that became the very first 10cc hit. Lol Creme recalls... Lol Creme: It was done in a lighter frame of mind than a lot of stuff was done. It was done as a b side to a song that Graham and Eric wrote, called Waterfall, which was gonna be released as the a side on... on Apple Records. When we recorded it, Eric said, "Well, uh, it's too commercial to be a b side, and I know just the man - that lunatic Jonathan King has just started a record label. Let's try to sell it to him; he's stupid enough to release it." And indeed he was. And [pause], y'know, it was a success. [Excerpt from Donna] JH: Donna reached number 2 in the Autumn of 1972, and was the first single to be released under the name of 10cc. So just how did that name actually come about? The three partners in Strawberry Studios tell very different stories. Let's start the explanations with Pete Tattersall. PT: It was either a very small motorbike [JH laughs]... or it was the overdose of a heroin addict. JH: Oh really, well, I heard a much more interesting version than that. PT: Oh, no, [laughing] it's very rude, very rude. [Laughs] GG: Mythology has it that the name 10cc came from the average male ejaculation being 9cc, and, of course, being big, butch, Macunian guys, we're gonna be, y'know, 1cc more than that. ES: Above the average. GG: Above the average. ES: No, the name actually did came from Jonathan King. Um, he said he'd had a dream the night before he came up to Manchester to listen to Donna. And, he saw a hoarding over Wembley Stadium or Hammersmith Odeon or something like that and said, "10cc The Best Group in the World". So we... well, that sounds great to us, we'll call ourselves 10cc. And that's how it came about. JH: So to speak. So, there you are. Four different accounts for you to choose from. I know which one I believe. You're listening to Well Above Average - The Continuing Story of 10cc here on BBC Radio 2. The early 70's was a time of glam rock acts, ah, such as Slade and T Rex, and image seemed to be one of the most important aspects of music performance. Well, not so for 10cc in their usual jeans and t-shirt garb on their debut performance for Top of the Pops. Manager Harvey Lisberg: HL: [Laughing] The attitude and idea of the band was that it was a band that produced fine music in a studio. And as far as they were concerned, that was it. And they weren't going to do any gimmicks or do anything particularly gimmicky visually. Um, so that was it - 'we're going to go on in jeans and we're gonna play it and that's it and they' can like it or lump it'. And that was, um, an attitude which, um, I found, sort of, hard to cope with. But I understand what they were saying. So, you are what you are. And they wanted to do it their way. And I can't criticize them for it. And I think they done a very fine job. They might have found it easier to be more successful by being gimmicky, but they weren't prepared to do it. JH: Although this didn't stop Tony Blackburn from remarking, 'You're all wearing denim, what a great gimmick!' And the band's third single, Rubber Bullets, gave them their first british number 1 in May 1973, despite receiving very little airplay, especially on these auspicious airwaves. GG: It was banned by the BBC for a while. They assumed that, ah, it was to do with the troubles in Northern Ireland. I mean, they should have actually listened to the record and they would have found out it has nothing to do with that. It was actually sort of inspired by the film "Angels With Dirty Faces". [Excerpt from Rubber Bullets] GG: We always set out to entertain ourselves. That was the main thing. And, um, there were four very different minds that created, um, y'know, this very unique... uh, these very unique lyrics. I think Kevin and Lol were particularly quirky. JH: But it was their second LP which really established them as an album band. Graham Gouldman remembers the time spent writing and recording the album Sheet Music. GG: As a unit we were... I think probably our most creative during that period. There was one other interesting thing that was happening at that time. Um, Paul McCartney was in the studio during the nighttime recording an album with his brother Mike. And we were in during the day. So we often overlapped. The studio was completely crammed with equipment. And there was this tremendous buzz - y'know, Paul would come in and we'd play him our stuff and vice versa. And I think that kind of inspired us as well. There was just... just a... a tremendous atmosphere. JH: And Sheet Music was released in May 1974 and spent 6 months in the charts. It's songs dealt with such subjects as cannibalism and voodoo, a talking timebomb, Hollywood in the '30s, geriatric rock stars, and the oil crisis. Y'know, sort of, everyday kind of stuff. Critics were unanimous in their praise of its witty, satirical lyrics, song structure, melodies, musicianship and its production. [Excerpt from Wall Street Shuffle] JH: The music press were also astounded at the way 10cc managed to reproduce their sophisticated studio sound live on stage. You heard two versions of Wall Street Shuffle there; studio version mixed into a live version and unless you were listening very, very closely, I bet you couldn't tell the difference. In early 1975, 10cc signed to Phonogram and a million dollar deal and released their third album, The Original Soundtrack, which made the top five and produced another big hit with Life Is A Minestrone. But it was their next fabulous single which gave them a second British number 1 and the break that they'd been looking for in America. ES: The title is the first thing that happened. My wife used to say to me, 'why don't you say I love you more often?' And I talked to Graham about this, and came up with the title "I'm Not In Love", but here are all the reasons why I am very much in love. And it was also quite quirky and very 10cc to switch something on its head and say "I'm not in love", but I am. [Excerpt from I'm Not In Love] Kathy Warren: I was working at Strawberry Studios and I was receptionist and secretary. And I believe they were trying to work out what to put in the middle eight. And a telephone call came through for Eric. So I went to the studio door and just opened it quietly and whispered, 'Eric, there's a phone call for you'. And they all said, 'That's it!' The line they asked me to say was, '[whispered] Be quiet, big boys don't cry'. PT: This idear of doing... the voices to become an instrument... basically, their voices built up all the chords of the song and to make the chord last, what we did is made a loop which we ran round the tape machines. Ah, in fact, some of the loops of the chords got so long that they were running from one stereo machine to another, right round the control room and we were... tension in them with holding screwdrivers against a loop of tape and, sort of... latched to the top of a cymbal stand - trying to get the tension right. And then, at the end, that was done by slowing the loop down and on vari-speed taking it up, so the vari-speed was taken... progressively in tune. KW: They asked for a silver disk to be made especially for me. And it was all done in secret. And then they came in to the studio to present it to me. And, obviously, it's a fabulous memory and I've got it to this day. GM: I'm Not In Love is one of my favorite tunes. And, I think, the reason being that it was so simple. It was the kind of song that I wish I'd written. JH: Well, a once in a lifetime record for any artist or any writer. And within that sequence you heard the voices of Eric Stewart, Kathy Warren, Pete Tattersall, and, lastly, George Martin, all talking about the record which would be voted into radio listeners polls of all-time favorite hits for many years to come - I'm Not In Love, of course. Little did they know that 20 years on, Eric and Graham would record a new acoustic version without the 256 vocal overdubs you heard there. But more about that later. 10cc's method of recording an album was meticulous. The band members would pair off and write together in every possible combination. Each of them would sing their own versions of a new song and the best would then be selected. A whole day might be spent experimenting to get one sound exactly the way they wanted it. They'd even distort the track through a speaker to get some idear of how it would sound when played on a transistor radio. And they had a little speaker just for that purpose in the middle of the desk. Altogether the whole process could take... well, three months. But Strawberry Studios was now in such demand that they were unable to book it for themselves. So work was started on building a second studio in Surrey where the bandmembers now lived. They did, however, manage to get themselves into the studio diary just long enough to record their fourth album How Dare You and this track, I'm Mandy Fly Me. GG: We always thought our songs were very visual. And we hoped to create pictures - mind pictures, if you will. [Excerpt from I'm Mandy Fly Me] GG: Well, I remember a conversation with Lol in the front office of the studio. We'd just recorded I'm Mandy Fly Me and we'd almost finished recording it. And Eric and I were really pleased with it. We thought it was just really good. And Lol was, sort of, mewing about it, y'know, like, 'is this the direction we should be going in? Was it interesting enough? And, was it music? And was it this?' And, I thought, 'What're you talking about?' Uh, and, for me, the seeds of doubt were, uh, were planted then; that this was leading to, uh, some inevitability; that the end was neigh. JH: So Lol Creme and Kevin Godley invented the gismo, a device which could be fitted to the bridge of any guitar and sustain a note and could make it sound like any other instrument or even a full choir or an orchestra. But they planned to record an album to demostrate, well, all of its potential. GG: They were taking longer and longer with this, ah, album, and Eric and I wanted to get back in the studio and do the next 10cc album. And they were just not, um, interested. They wanted to keep doing this demo album. And eventually we said, y'know, 'We gotta go back in the studio'. And they said, 'Well, we're not... we're not gonna do it anymore'. JH: So, Kevin and Lol left 10cc in the autumn of 1976. Consequences, which I thought was fab, their triple album of gismo music flopped. Costing them and the record company a quarter of a million quid. But in the 1980s, they went on to have a string of hits as well as producing scores of highly acclaimed music videos, films, television programs and commercials. Meanwhile, Eric and Graham went straight back into the studio to record another LP, Deceptive Bends. [Excerpt from Things We Do For Love] ES: Graham and I said to each other, 'well, best thing to do is go in the studio. We don't want to stop 10cc... something we love doing. Let's see what we can do in the studio'. And the first two songs we wrote were Good Morning Judge and The Things We Do For Love. And we recorded them, first and second numbers for that album. And, um, we all agreed and the record company agreed, 'well, guys, this sounds great, it sounds like 10cc'. JH: The Things We Do For Love became 10cc's biggest ever seller worldwide. And, yes, of course it sounded like 10cc. [Excerpt from Feel The Benefit] GG: The chemistry of 10cc definitely changed. Um, because it was just the two of us, it was bound to. Maybe we were a bit more romantic, and not quite as abstract as Kevin and Lol. But I think what happened was we were upset, and then we got angry. And when we're angry, we get very creative. And, uh, because we got all this flak - 'Oh, it's 5cc'... y'know, 'The better half have gone'. And, uh, rather than getting upset by it, we thought we'd get even. JH: Eric and Graham brought in new members and in 1978 a reggae record made it a hat trick of 10cc number 1s. And this, I suppose, is where I come in again. The song was written about a number of holiday experiences, including one of my own and Eric's. Y'see, we used to go on holiday, um, to the carribean and one day Eric decided he wanted to go parasailing. And so we headed off to the middle of the ocean to this parasail raft. And Eric was very, very painfully parasailed up into the sky by a very fast speedboat and I was left on this raft with these three boys. Then one of the boys said to me, 'Hey, I really like those chains around your wrist', y'know, and he said, 'I'll give you a dollar for them'. So I said, 'Well... no, I don't think so'. And, he said, 'Oh, well, in that case, I'll cut your hand off and take them'. So, then, I started to go into this ludicrous explanation about how I got them, and they were a present from me mum, and all of this, and it was a case really of dark and mysterious meets white and pale and getting paler every minute in the middle of the carribean. I'm going to play you now an acoustic version of Dreadlock Holiday which was recorded a couple of weeks ago in a session in our Maida Vale studios for this programme, and listen out this time for the lyrics. GG: "I don't like cricket, I love it" came from my conversation with a guy that I met there and we were talking about sports and I said, you must really like cricket, and he said, 'no, man, I don't like it, I love it'. [Makes sound] DOING! [NEW acoustic version of Dreadlock Holiday] ....Well, he looked down at my silver chain.... JH, spoken over the music: Yes, he did, he certainly did. ....he said I'll give you one dollar.... JH, spoken over the music: Is that all? ....I said you've got to be joking man.... JH, spoken over the music: Certainly not. ....It was a present from me mother.... JH, spoken over the music: And other stuff like that. JH: Dreadlock Holiday, the acoustic version, recorded specially for the programme. With Eric Stewart on keyboards and vocals, Graham Gouldman on lead vocals and bass, and Rick Fenn on vocals and acoustic guitar. That track appeared on their Bloody Tourists album. With that particular record being a top 3 hit and real film soundtrack work plus major tours lined up, 10cc appeared to be entering their most successful phase yet. ES: We were due to go to Japan... GG: And Australia. ES: Yeh, and Australia, at the end of January... um, or early February 1979. And I had a car accident which, sort of, put me out to lunch for quite a few months. And, um, well, we... we couldn't tour and we couldn't record. Um, well I certainly couldn't. I had to wait... stay away from sound. The doctors told me I had to stay away from [laughs] loud music and racing cars, and those are the two things I love... or did love most in my life, apart from my wife, of course. It was a very, very strange period and took me a long, long time to recuperate. JH: Band members Rick Fenn, Stuart Tosh and the band's manager Harvey Lisberg recall the effect this had on the group's fortunes. RF: It came a terribly bad time for the band because we were, um, really rocking at that time, I mean, everything was going so well.... Stuart Tosh: And very much that worldwide. RF: Yeh, and we really feared for Eric, so, y'know, for a while, but, uh, praise God he came back. But it took nearly a year, really, before we could work together again. And its amazing how the wind, y'know, can go out your sails in that time. HL: That was the most terrible thing that's happened in the career of 10cc. And, I'm thankful that Eric's a lot better now, and thank goodness, um, [laughs] 10cc is still performing today. JH: Well, although they enjoyed continued european success and worldwide sellout tours all over the next 3 years, none of 10cc's singles sold in Britain. GG: Really, after '78 things went downhill for us. I think we were... probably... I don't know what it was. But it was, kind of, 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'. ES: The music scene was changing drastically at the same time. Maybe people had gotten used to us and, um, we weren't being daring enough. GG: We could do no right. [Eric and Graham laugh] ES: In fact, I think somebody said at that time, 'If you released I'm Not In Love now, it would be a flop'. JH: And so in the autumn of 1983, 10cc was, well, put to bed. Eric and Graham had already been involved in production for other acts, such as, well, me, and The Ramones and Gilbert O'Sullivan and, of course, Sad Cafe. Eric had also worked with Paul McCartney on the album Tug of War. Following the split, he continued to work with Paul, appearing on Pipes of Peace and co-writing most of Paul's album Press to Play, his most critically acclaimed work for many years. He also produced an album for Abba's Agnetha Faltskog, a project in which I was also involved as a songwriter and as a musician. Graham, meanwhile, formed the duo Wax with Andrew Gold and in 1987 they scored a top 20 hit with Bridge To Your Heart. It was in that same year that a platinum compilation album, Changing Faces - The Best of 10cc and Godley & Creme, led to their record company persuading Eric and Graham to record together again. This next piece of music is very exciting, another BBC Radio 2 first. GG: When we finally did come back, ah, to record again, um, it was based on market research that our record company had done, that it said, that a new 10cc album would do really, really well. And, ah, history has proved that wrong. [Laughs] ES: We wrote in a 3 month period, ah, 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. [Excerpt from demo version of Welcome to Paradise] JH: And that, in an exclusive for this programme, was part of the original demo recording, that Graham was talking about, of Welcome to Paradise, the first song Eric and Graham wrote together on their return. The album, meanwhile, from which it came may not have sold very well in Britain, but in Japan, well, it became their biggest ever hit, spending 27 weeks in the charts. In '93, they toured there before embarking on sellout tours of Britain and Europe. Their japanese success led to them being signed to the Avex label, one of the country's biggest labels and a new album, Mirror Mirror, which includes songs... /GAP IN TAPING/ ...Maida Vale studios is one of the tracks, Take This Woman. [NEW acoustic version of Take This Woman] JH: Take This Woman, from 10cc's forthcoming album Mirror Mirror. Which brings us to the present. As well as recording the new album, Eric and Graham have also written a song called Then There's A Knock At The Door for young indie band Fff, who are hoping to represent Britain, this year, in a Song for Europe. They've just been awarded a plaque for 3 million plays of I'm Not In Love in the USA alone. And last Monday 10cc released a new acoustic single of I'm Not In Love, which I mentioned earlier. So they're right up in the headlines again. Playing us out now is that acoustic version of I'm Not In Love. I know you've already heard it before, but it's so good... well, let's have another listen. This is our last session recording, and the penultimate words go to Rick Fenn and Stuart Tosh on the attitude 10cc have always had to their work. ST: I remember a sign in Strawberry Studios: "In the pursuit of perfection..." ST + RF in unison: "...there can be no compromise." JH: Exactly. ES: Time comes round again, and things work in cycles, and I think it's our time again. [Acoustic version of I'm Not In Love] JH: Well Above Average -
The Continuing Story of 10cc, was written and compiled by Nick R. Thomas.
Thanks also to Dave Dade, who engineered the sessions, and Mike Walter
for the studio balancing. For me, Justin Hayward, and producer Sonya
Beldum, bye for now. 88 to 91 FM this is Radio 2 from the BBC.
transcript of BBC Radio 2 10cc Retrospective satellite programme |
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