10cc

Альбомы середины 70-х и сейчас воспринимаются свежо, а это, по-моему, и есть признак таланта группы.
Кстати, по-моему,Кевин Годли был режиссером клипа "Off the ground".

20 января 1945 года в Манчестере родился Эрик Стюарт, гитарист 10 CC.
HAPPY BIRTHDAY!!!

Вчера обнаружил, что сэр Пол не только на Mirror Mirror отметился, но и числится соавтором песни Don't Break The Promises ( Stewart - McCartney - Gouldman ) c альбома Meanwhile'92, и подпевает на альбоме Годли/Крима Freeze Frame в песне Get Well Soon. Правда, чтобы расслышать там его голос, нужны уши получше моих:(((

Картинка - с Freeze Frame.

Я очень уважаю 10 сс.
Все диски мне нравятся, один меньше, другой больше, но нравятся все.

Но то что делали Годли/Крим это просто ужас. Ненавижу.
Кстати последний 10сс фирменный, содержит вполовину меньше вещей, чем пиратский :(

Geka Genesis
Насчет Годли/Крима - это вы погорячились. Я так от них просто тащусь, особенно от L.
Что же касается последнего альбома 10сс (имееется в виду, если я правильно понял, Mirror Mirror?), то разные релизы имели разное количество треков, от 10 (US), до 15 (Japan).

Группа совершенно уникальная...
Goulman вообще в 60е был одним из самых плодовитых студийных композиторов, в частности написал мою любимую "No milk today" для Hermans Hermits.
Предтеча 10cc было трио Hotlegs c единственным хитом "Neanderthal man"1972 - весьма необычный хит, потом к ним присоединился, кажется, Lol Creme и появились 10сс. Кстати, по одной из легенд - 10сс, то есть 10 кубических сантиметров - это объем спермы слона.
О дисках можно говорить бесконечно. Насчет выверенности и изысканности - стопроцентно согласен. Как-то пересчитал количество инструментов в одной из песен альбома Original Soundtrack и обалдел - кажется 42 инструмента (на оригинальных вставках в LP вместе с текстами были и такие перечни), на всех играли только они четверо.
А с Полом они всегда дружили. Пересмотрите фильм Give my regards to Broad-street. Там в сцене в ангаре, где Пол поет несколько песен, ему подыгрывает Eric Stewart и еще один рок-уникум David Edmunds...

Маленькая реплика по поводу Gizmo: сию примочку использовали в записях Mike McGear (LP McGear'74), Moody Blues (long Distance Voyager'81), Cocteau Twins в Song Of The Siren на первом диске их тогдашнего лейбла 4AD из серии This Mortal Coil, и ещё, по слухам - Led Zeppelin, но где конкретно, в слухах не указывалось:)))
У меня есть шестиминутный mp3 демо-ролик о возможностях Gizmo. Слушается интересно, желающим могу выслать на мыло.

Pacific ну каждому своё.
От 10сс тащусь, а вот Лоу-грим никак.
Да и на видео 10сс просто чудо, а вот Лоу\Гримм совсем чего то не того.
В советское время была заметка
"А английская группа 10 эссесовцев исполнила песню КРАСНЫЕ В МОЕЙ ПОСТЕЛИ" Имея ввиду видимо bloody tourist.
да, у меня mirror-mirror -кастрированный, а вот у товарища пират, и там куча нового материала.
У него все пиратские диски, и почти на каждом имеются офигительные бонусы, которых я раньше и не слышал даже.
так я себе сомопальную болванку сделал
вот треклист:
Blue Bird-95
Channel Swimmer-75
Don't Squeeze Me Like Toothpaste-77
Get It White You Can-76
Good News-75
Hot To Trot-77
I'm Not Love(acoustic)-95(ну эта есть на 75м, но в другом исполнении)
I'm So Laid Back, I'm Laid Out-77
Margo Wants-95
Nothing Can Move Know me-78
Now You're Gone-95
Yonne's The One-95
Кстати, на последнем диске Азии есть вещь 10сс (Daddy go home)
а вот и самопальная (ну я сам склепал) обложка синглов

Geka Genesis
Полностью с тобой согласен, каждому свое. Я люблю музыку с изрядной долей "шизанутости".

О каком диске Азии идет речь? я про такую песню (daddy go home) не слышал. М.б. речь о Ready To Go Home? Симпатичная песня, ее неплохо спел в том-же 95 году Morten Harket из A-ha на своем сольнике Wild Seed.

Pacific да, может из-за некой шизанутости мне и не пракатили.
я ж и Кинг Кримзон. и Пинк до 73, и вандерграф, и Хемила из-за этой шизанутости не перевариваю
Диск Азии последний Aura и вещь точно Ready To Go Home (а мне послышалось что "папа иди домой" :-), я ж каталоги не читаю :) )

10 out of 10
How dare you?

Nothing else (имхо)

ARoad
это ты про что? Типа самые лучшие?

At the 49th presentation of the Ivor Novello Awards for British songwriters, composers and music publishers presented by the British Academy of Composers and Songwriters in association with The Performing Right Society that were held in London today, Eric, Graham, Kevin and Lol were honoured to receive the Ivor Novello Award For Outstanding Song Collection. The awards were presented to them by former Beatles producer, Sir George Martin. In Kevin's absence, Graham collected his award.

Что тут можно добавить. Поздравляю! А то, что награда из рук САМОГО Джорджа Мартина, вдвойне приятно:))) Кстати, а когда он стал Сэром?

Помещаю сюда текст недавней статьи Эрика Стюарта в Sunday Times о 60-х: первые шаги к славе, встречи с легендами, неудавшийся контракт с Брайаном Эпштейном и многое другое. Интересно не только для фанов 10СС.

"Where did the 1960s Beat Boom start? It's a complex question.

Where I lived In Manchester we had a very healthy music scene, mainly because of the huge student population living there, although most of them were more into Trad Jazz with the more avant garde Beatnik heads loving Modern Jazz such as the stuff from Dave Brubeck and The MJQ (The Modern Jazz Quartet).

We had a couple of good rhythm and blues clubs, like The Twisted Wheel and The Jungfrau, but most of the acts you could see live were on the package tours with the more mainstream top 20 artists: Cliff and the Shadows, Lonnie Donegan, Alma Cogan and visiting American artists Johnny Ray, Guy Mitchell etc.

However, interestingly, there were a lot of American records coming into the Liverpool and Manchester seaports with the merchant seamen who had travelled to the States and exotic places and brought these great records back with them.

NEMS, Brian Epstein's record shop in Liverpool, picked up on this little buzz and started importing these records.

The Beat Boom started for me in 1959, when I was 14, and I picked up Radio Luxembourg 208 on our Radio (Wireless in those days). This was the only station playing American rock and roll throughout Europe; the BBC at the time was not really interested in this "Jungle Music"! But I was so excited by these sounds. I would turn up the wireless full blast and open the doors and windows of our terraced house in Prince Street, Ardwick, to give the neighbours a taste of what was turning me on............. Sadly, they didn't quite agree and, after many complaints, my mother Connie said, "You'd better turn it down, Eric, they'll have us evicted if you don't".


But I still loved it and when I found out that a friend of mine, Geoffrey Proffitt, who was working and earning money at the time, had actually bought a guitar and amplifier, no less than a Lucky Seven, a white electric guitar, and a Watkins Dominator amplifier "with Tremolo", I almost died.

I'd been going around the guitar shops on Oxford Road Manchester for months, drooling at these wonderful instruments with great names like "The Gibson Les Paul" and "The Fender Stratocaster". They were all very expensive at the time, at around ?100 each, but a dream for me to fantasize about all the same.
Geoff very generously let me borrow his outfit for a weekend and once again I thought the neighbours would like to hear my progress on this lovely setup..............of course they didn’t again, but I was hooked and all thought of me becoming an architect went out of the window, I wanted to be a Rock Guitarist from that moment on.

I gave the guitar back to Geoff and vowed to get an instrument of my own ASAP. Strangely this vow all happened rather too quickly afterwards because I had been using my air gun, shooting stray pigeons off a neighbour's hutch, and accidentally put a slug through another neighbour's window. A big ultimatum was presented to me: Get rid of the Air Rifle or no spends this weekend.

I trundled off to the pawnshop on Ashton Old Road, and asked "Uncle" what he would give me for it. 14 shillings and sixpence was the reply (about 70p) but, out of the corner of my eye, I spotted an acoustic guitar in the window at 17 shillings and sixpence. I asked him if he could I do a straight swap but he said no, but that he would hang on to the guitar for a week to see if I could raise the extra 3 bob!

I hurtled back home and started to raid every nook and cranny where I might find a coin. I asked neighbours if they wanted any errands or jobs doing and even offered to sell my spare pair of trousers to the rag and bone man before my mother caught me at it and sent him packing with his ears burning (she had quite a colourful vocabulary, my mum).
A couple of days later a neighbour, Mrs Roland, who was a pensioner, said, "I think your Eric is going to be a star, Connie" and she gave me a half crown ( 2 shillings and sixpence) to make up the price on the guitar.

I got the guitar and started practising straight away; it sounded pretty rough until I learned that the strings had to be tuned up. I sat there for months and months playing with all the records on Radio Luxembourg and found my way around most of the tunes quite easily playing by ear. We were quite a musical family: my father was a very good pianist and accordionist, self taught, and Connie had a lovely voice too, a bit like Ruby Murray, who had some big hits at the time, and my 4 sisters were all good dancers in the local tap dancing troupes, so I had some natural ability already built in to pick up tunes, lyrics and rhythms very quickly.
All was going smoothly at 64 Prince Street. I had left Openshaw Tech High and was working in a small drawing office producing calendars for local businesses when there was a knock on the door.

There was a genial chap standing there and he said,"I hear you can play guitar." I said "Yes, but I only have my acoustic."

He said to come for an audition, and he'd lend me an electric guitar if I were any good. This was Charlie Parker (not the jazz musician), lead vocalist with Jerry Lee and The Staggerlees, a Manchester band who were doing quite well in the local pubs and clubs, mostly with covers of American rock and roll, and right up my street. Their lead guitarist was getting married and leaving the band and I got the gig, and the free electric guitar!

I carried on with The Staggerlees and a couple of other amateur bands for a year or so, as the Beat Boom was just starting to bite in the North, first in Liverpool and then Manchester. After the signing of The Beatles record companies were coming out of the woodwork with deals and contracts by the cart load, signing up anything that might have a chance.

There was a band in Manchester called Wayne Fontana and The Jets, who I used to go to watch at the local music clubs, The Oasis and The Three Coins, in Manchester town centre. I was down there one evening and Wayne came into the coffee bar of the Oasis and asked me if I would help him to do an audition with Fontana Records (Philips) because his guitarist and bass player hadn't turned up.


I said "sure" and we had a quick rehearsal in the dressing room of the Oasis. It was quite an easy gig to do because we were all more or less playing the same stage set anyway, just the keys of the songs were the only thing we had to change to suit Wayne's voice. We did the audition and I wandered back to the coffee bar.

Suddenly, Wayne came hurtling around the bar door shouting, "I passed the audition, they want to sign me up, but with one proviso...............they want you to be in the group“. I was gobsmacked to say the least; to be offered a recording contract at 18 years old, with the possibility of making records in London and maybe getting a hit! Wow, I was on Cloud Nine for days while it all sank in.

I handed in my notice at the drawing office, and started to rehearse full time as a guitarist in a group with a recording contract. Heaven!

We then were asked to go to London and make our first LP record at the Philips Studios near Hyde Park Corner. It was all so official, guys in white coats in the control room and tape room and we had to listen back to mixes in the studio itself on smaller monitor speakers until the A and R man, Jack Baverstock, was satisfied that we had got a good one on tape. Then they would let us into the "hallowed" control room to listen to the song on gloriously loud monitors (6 of them)! This excited my future passion for building recording studios and for the equipment, but that’s another story. Can you believe that we recorded some 12 songs in 2 days.It normally takes 2 months or more nowadays to make one single!


We were very, very excited about our first release, which was to be a cover version of Roadrunner, a Bo Didley song, backed by Hello Josephine, a Jerry Lee lewis song, but the name The Jets was already being used by another group and we had to find a new one quickly. I had seen a giant film poster in Manchester advertising THE MINDBENDERS, a psycho, brainwashing thriller starring Dirk Bogarde, and I thought "Hmmmm, Wayne Fontana and the Mindbenders". It sounded rather tasty; the rest of the band and Philips loved it too, so that's what we became as we released our first record.

We waited nervously for weeks until the record was released and held our breath each Friday when the new record charts were announced. After 5 weeks of release, we entered the charts at Number 46 with Hello Josephine. We sadly disappeared from the chart the next week, but the all important thing was that we could now legitimately call ourselves a Chart Group and our appearance fees doubled and then trebled within weeks. Another little extra bonus was that hundreds of girls fell in love with you through the records and at the concerts. It was Nirvana, we were being paid what seemed like huge sums of money for enjoying ourselves. How could anything top that?
Before any hit records happened, we went down to the BBC studios in Manchester for an audition for a BBC lunchtime radio show. We were dressed in silver mohair suits and doing rehearsed dance steps, just like The Shadows. At the same audition were The Beatles. They were dressed in what I would call 'scruffy casual', with jeans, leather waistcoats and having longer hair than us, but I was mesmerized while watching them perform.

Paul sang "Til There was You", and John did "Memphis Tennessee", plus another song they had written themselves. We passed and............they failed the audition!

But I knew they were going to be huge, there was an indefinable magic about them. They were so confident and so different from anything we had ever seen before. I learned later that they had developed this 'look' and swagger from their stay in Hamburg.

We of course dashed off to Mike Cohen’s "Toggery" tailor shop in Stockport, and ordered our first leather suits (in BLUE!!!) and started growing our hair longer.

Our first BIG hit actually came about through Andrew Oldham, The Stones manager. He'd seen us on a few gigs with them and we got on very well, so he invited us to a studio the Stones used in Denmark street to try recording a song that he liked from the States.
The song was "Um Um Um Um Um Um", already a hit in the US for Major Lance. We recorded it with Andrew and took it to the Fontana A and R man, Jack Baverstock, for approval to release it. He listened once and threw it across the room saying, "We can do better than that!!" We rather sheepishly left his office and waited until we got a call to go back into the studio with him and re-cut the same song. We then released it and amazingly got our first BIG HIT with it, Number 2 in the top 20.


So, the next big market to crack was America. The British invasion had really taken hold there and our agents, Danny Betesh and Harvey Lisberg, had two other bands, Herman's Hermits and Freddie and the Dreamers, who were breaking the US market in a huge way. We played on some of the package tours with them and released The Game of Love while touring there. It went to Number 1.

We were now Big Time, with both markets conquered. We didn't, however, move to London, as many Northern bands, including The Beatles, had done. There was something that felt safer staying in familiar surroundings, with the same musical friends and clubs, same management. But we did buy bigger houses and moved to better districts around Manchester, and some of us even dragged our parents along with us whether they wanted to move or not! (I didn't move to London until 10CC were well established in the mid 70s).

We then moved up that big notch on the ladder and started doing bigger and better gigs, playing at wonderful places like The Cavern in Liverpool and ‘The Star Club’, Hamburg, and we mingled with all the great groups around at the time. We gigged with The Stones and played all the same gigs as The Beatles, toured with wonderful American artists like Del Shannon and Roy Orbison, nicking numbers and ideas from all around us.

We were on such a "Roller"’ at the time. It was all happening so fast, like a speeded up movie and being wired without drugs: rehearsing, recording, touring, interviews, photo sessions in London, down to Carnaby Street and our guy in Stockport to order new stage clothes, buying better instruments etc, checking what The Beatles and The Stones were wearing, and what they were playing in their shows. Plus the big thrill of meeting our heroes, these great American artists who had influenced music all my life. The big bonus was that they were all really nice guys too!


I must say that I was truly knocked out that they were all so normal, no Star Heads amongst them, and all very helpful in showing us their stage tricks in what they played and how to handle an audience etc.

Roy Orbison even took my guitar back to the States to have his guy in Nashville fit some special pick-ups on it; a real gentleman. While we were touring with him in the tour coach, he screamed at the driver to stop, jumped out of the coach and stopped a guy in a 1950s Jaguar XK150 and offered to buy it from him there and then. The guy looked stunned to say the least, but Roy bought it!
When we played The Cavern in Liverpool, Brian Epstein, "Eppy", came to watch us and at a meeting after the show he said he loved the band and offered us a management deal that, with hindsight, could have made us much, much bigger and much more quickly, because Brian, having The Beatles in his stable, could pull many strings. But, being very young and very green, we didn't know or realise that he was gay and, at a later meeting in London, he made a pass at Wayne, who told him to "F..k off Brian, I'm not a queer". He lost interest in the group very quickly after that little episode.

My parents were amazed by the success and shocked by our ability to earn serious money at such a young age. I suppose they couldn't believe that the rewards were so vast after what was really a very short apprenticeship and I remember thinking at the time that my father, an aircraft engineer, was earning less in a week than I could earn in a night. But everybody benefited in my house. Some of our neighbours were really pleased for us and some, sadly, were not. C'est la vie.
The decision makers in the recording industry, the record label managers, publishers, agents etc. were nearly all middle aged and very, very experienced, with exceptions like Andrew Oldham, who was, I suppose, the first independent Whizz Kid in the biz.

It stayed that way through the 60s until some of the brighter guys in the groups started realizing that they were being financially drained by some of these experienced players and they took the first steps to handle their own affairs. The horror stories, such as The Beatles being sold to an American company by Brain Epstein for just 10% of their earnings, are all true.
I cannot truly describe the excitement of the Beat Boom‘ in the 60s because you really had to be there to feel it, not just in the Brit-Pop Music War on the World, but in fashion, art, political attitudes; we were a group of people on the crest of a giant wave and, for the first time in history, people of our age, youngsters in fact, were in total control of our own futures.

Some blew it, some were screwed by bad management, some disappeared into drugs and others just faded, but lots carried the 60s banner on into the 21st century. There has never been a decade anything remotely like it before or since and most of the people I saw or knew in those days are still far sighted and still in control of their lives.

Умеют люди веселиться, не то, что наши уныло-пафосные торжества и праздники:

As Manchester's Cow Parade draws to a close (if you don't know what this is see http://manchester.cowparade.com) it is nice to report that the cow dedicated to Manchester achievements (located by the City Art Gallery) lists 10cc as one of the major bands that the city has produced. I have attached a full length picture of the cow (called Moocunian) and a close up of the list of bands on it. The Cow Parade also allows for all sorts of puns and wordplay, such as 'Latest Moos - 10cc's moosic celebrated in Manchester', that kind of thing!

Крупный план со списком групп:

Умер Джон Пил, легендарный английский диск-жокей. На обложке первого диска 10сс были приведены его слова: I’d love to hear a 10cc album. Спасибо ему и вечная память.