10cc - Dreadlock Holiday - YouTube 10cc - Dreadlock Holiday Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Apr 28, 2014 Dreadlock Holiday was written by Eric Stewart and Graham Gouldman and was the lead single from the band's 1978 album, Bloody Tourists.[2] Lead vocals were performed by Graham Gouldman. The lyrics relate the experiences of a white man lost in Jamaica. His first encounter with the locals is of being confronted in the street by an unpleasant dreadlocked man who wants the white man's silver necklace. The next encounter is when he is beside the pool of his hotel sipping a pina colada; a dark-voiced woman offers him drugs. These experiences were based on real events that happened to Moody Blues vocalist Justin Hayward and Eric Stewart in Barbados.

The reference to cricket in the first chorus, reggae in the second, and Jamaica in the third, reflects the victim trying to avoid conflict by convincing the antagonist that they share common interests. It became the group's third and final number one hit in the UK Singles Chart, and final top 10 hit, spending a single week at the top in September 1978 Having found what is clearly the original promo film for the track featuring the band members I put it together as youtube video with the original mix. Category NUMBER ONES OF THE SEVENTIES: 1978 10cc: Dreadlock Holiday NUMBER ONES OF THE SEVENTIES Tuesday, 1 September 2009 1978 10cc: Dreadlock Holiday The concept of smug white men playing reggae is not something that's going to whet too many appetites, but what about men playing ironic reggae? Now there's a niche genre.

10cc had never been a band to play anything with a straight bat, but by 1978 they had split in two after Godley and Creme quit to leave Graham Gouldman and Eric Stewart as the core of the band augmented with whatever session musicians happened to be knocking about. 'Dreadlock Holiday' was to be the last hit from a band in decline. Mention it to anyone and like as not the first thing they'll shout is the 'I don't like cricket, I LOVE it' refrain from the chorus. Amusing yes, but in the context of the song it has it's own purpose - 'Dreadlock Holiday' is the (supposedly true) tale of a hapless tourist getting out of his depth on the bad side of Jamaica and being robbed by four locals. The love of cricket cry is intended as a way to get on the good side of the muggers by identifying a common interest, the idea being that all West Indians are obsessed with cricket and they wouldn't do harm to a fellow fan (he also goes on to claim 'I don't like reggae, I LOVE it' for the same reasons).

You can take this one of two ways, which is quite neat because it also sums up the two ways you can take the song; either with a good humoured amusement, or as an offensive display of outrageous racist stereotyping. The case for the prosecution is a strong one. For a start, the song seems hell bent on not portraying Jamaican folk in too flattering a light. All have 'dark voices' with the men engaged in robbery with menaces, the women deal in dope and everybody, when they aren't mugging or getting high, are out playing cricket. Presumably with reggae blasting over the PA system. To compound this injury, Gouldman and Stewart adopt cod-patois accents throughout that hark back to the Typically Tropical affair with their "Don't you cramp me style, don't you queer on me pitch" jive. But what sounded fresh and effervescent in the mouths of Althea and Donna now sounds smug, piss-taking and yes, vaguely offensive when coming from some middle aged, middle class white men.

And to make sure these voices are heard, the reggae backing is a subdued chink chink affair instead of the genuine article's chunk chunk, suggesting that the band are parodying both Jamaicans and their music. In its defence, 'Dreadlock Holiday' is a well crafted song and, to be fair, the sheer unexpectedness of that 'I don't like cricket' yell is still amusing even when you know it's coming. At heart though, there's a mean and spiteful edge to it all that both belies and negates the sunny, feel-good nature the song aspires to. The humour lands wide of the target somewhat, making it the sound of a clever, clever band being not quite as clever as they think they are. Reggae fans will hate it on sight and if non reggae fans are looking to dip their toes in the water then there a better places to start than this. Posted by Andr3w at The Greatest Hits - The 1978 UK Favorites Here they are, the absolutely greatest top hits from the history of popular music. The very best music. These are the year's Favorites in the UK.

A Taste Of Honey - Boogie Oogie Oogie - 07-1978 Abba - Take A Chance On Me - 02-1978 (Epic) Abba - Summer Night City - 09-1978 Althia & Donna - Uptown Topranking - 01-1978 (Lightning) Baccara - Sorry I'm A Lady - 02-1998 (RCA) The Barron Knights - A Taste Of Aggro - 12-1978 (Epic) The Bee Gees - Night Fever - 04-1978 (RSO) The Bee Gees - Stayin' Alive - 03-1978 (RSO) The Bee Gees - Too Much Heaven - 12-1978 (RSO) Blondie - Denis - 03-1978 (Chrysalis) Blondie - (I'm Always Touched By Your) Presence Dear - 05-1978 Blondie - Picture This - 09-1978 Blondie - Hanging On The Telephone - 11-

1978 (Chrysalis) Blue Oyster Cult - (Don't Fear) The Reaper - 07-1978 Boney M.

- Rivers Of Babylon/Brown Girl In The Ring - 05-1978 Boney M. - Rasputin - 10-1978 Boney M.

- Mary's Boy Child - 12-1978 (Atlantic/Hansa) The Boomtown Rats - She's So Modern - 05-1978 The Boomtown Rats - Like Clockwork 07-1978 The Boomtown Rats - Rat Trap - 10-1978 (Ensign) Brian & Michael - Matchstalk Men And Matchstalk Cats And Dogs - 03-1978 (Pye) Sarah Brightman & Hot Gossip - I Lost My Heart To A Starship Trooper - 12-1978 (Ariola) Elkie Brooks - Lilac Wine - 03-1978 Elkie Brooks - Don't Cry Out Loud - 12-1978 (A&M) The Brotherhood Of Man - Figaro - 01-1978 (Pye) The Brotherhood Of Man - Beautiful Lover - 06-1978 Jackson Browne - Stay - 08-1978 Kate Bush - Wuthering Heights - 03-1978 (EMI) Kate Bush - Man With The Child In His Eyes - 07

-1978 (EMI) The Buzzcocks - Ever Fallen In Love - 10-1978 Andy Cameron - Ally's Tartan Army - 03-1978 (Klub) Raffaella Cara - Do It Do It Again - 05-1978 The Cars - My Best Friend's Girl - 11-1978 (Elektra) Cerrone - Super Nature - 08-1978 Chic - Dance Dance Dance (Yowsah Yowsah Yowsah) - 01-1978 (Atlantic) Chic - Everybody Dance - 04-1978 (Atlantic) Child - It's Only Make Believe - 08-1978 Chic - Le Freak - 12-1978 (Atlantic) City Boy - 5-7-0-5 - 08-1978 The Commodores - Three Times A Lady - 08-1978 Julie Covington - Only Women Bleed - 01-1978 (Virgin) The Darts - Come Back My Love - 02-1978

 (Magnet) The Darts - Boy from New York City - 05-1978 (Magnet) The Darts - It's Raining - 08-1978 (Magnet) The Darts - Don't Let It Fade Away - 12-1978 The Dooleys - A Rose Has To Die - 10-1978 Ian Dury - What A Waste - 05-1978 Bob Dylan - Baby Stop Crying - 08-1978 Dr.

Hook - More Like The Movies - 04-1978 (Capitol) Earth, Wind & Fire - Fantasy - 03-1978 (CBS) The Electric Light Orchestra - Mr.

Blue Sky 02-1978 (Jet) The Electric Light Orchestra - Wild West Hero 07-1978 The Electric Light Orchestra - Sweet Talkin' Woman - 10-1978 Yvonne Elliman - If I can't Have You -05-1978 Eruption - I Can't Stand The Rain - 03-1978 (Atlantic) David Essex - Oh What A Circus - 09-1978 Exile - Kiss You All Over - 09-1978 Father Abraham & The Smurfs - The Smurf Song - 06-1978 Father Abraham & The Smurfs - Dippety Day - 11-1978 Scott Fitzgerald & Yvonne Keeley - If I Had Words - 01-1978 (Pepper) Free - Free (E.P.) [All Right Now] - 03-1978 Dean Friedman - Lucky Stars - 10-1978 (Lifesong) James Galway - Annie's Song - 06-1978 Crystal Gayle - Don't It Make My Brown Eyes

 Blue - 01-1978 (UA) Crystal Gayle - Talking In Your Sleep - 10-1978 Genesis - Follow You Follow Me - 04-1978 (Charisma) Andy Gibb - An Everlasting Love 09-1978 Andrew Gold - Never Let Her Slip Away - 04-1978 (Asylum) Goldie - Making Up Again - 06-1978 Marshall Hain - Dancin' In The City - 06-1978 Dan Hartman - Instant Replay - 11-1978 (Sky) Justin Hayward - Forever Autumn - 08-1978 Heatwave - The Groove Line - 02-1978 (GTO) Heatwave - Mind Blowing Decisions - 07-1978 Heatwave - Always And Forever / Mind Blowing Decisions - 11-1978 (GTO) Hi Tension - Hi Tension - 06-1978 Hi Tension - British Hustle - 09-1978 Dan Hill - Sometimes When We Touch - 

04-1978 (20th Century) Hot Chocolate - Every 1's A Winner - 03-1978 (RAK) Dee D Jackson - Automatic Lover - 05-1978 The Jacksons - Blame It On The Boogie - 10-1978 Elton John - Part Time Love - 11-1978 Elton John - Song For Guy - 12178 (Rocket) Jilted John - Jilted John - 08-1978 Billy Joel - Just The Way You Are - 03-1978 Gladys Knight & The Pips - Come Back And Finish What You Started - 08-1978 (Buddah) Lindisfarne - Run For Home - 07-1978 (Mercury) Nick Lowe & His Cowboy Outfit - I Love The Sound Of Breaking Glass - 03-1978 (Radar) Manfred Mann's Earth Band - Davy's On The Road Again - 06-1978 Manhattan Transfer - Walk In Love - 04-1978 (Atlantic

) Yannis Markopoulos - Who Pays The Ferryman - 01-1978 (BBC) Bob Marley & The Wailers - Jamming/Punky Reggae Party - 01-1978 (Island) Bob Marley & The Wailers - Is This Love - 03-1978 (Island) Johnny Mathis/Deniece Williams - Too Much, Too Little, Too Late - 04-1978 (CBS) The Michael Zager Band - Let's All Chant - 05-1978 Frankie Miller - Darlin' - 11-1978 The Motors - Forget About You - 09-1978 Musique - In The Bush - 12-1978 (CBS) Olivia Newton-John - Hopelessly Devoted To You - 11-1978 (RSO) Odyssey - Native New Yorker - 01-1978 (RCA) The O'Jays - Uses Ta Be My Girl - 07-1978 The Patti Smith Group - Because The Night - 05-1978 Plastic Bertrand

 - Ca Plane Pour Moi - 06-1978 Public Image Ltd - Public Image - 11-1978 (Virgin) Suzi Quatro - If You Can't Give Me Love - 04-1978 (RAK) Queen - Bicycle Race / Fat Bottomed Girls - 11-1978 (EMI) Racey - Lay Your Love On Me - 12-1978 (RAK) Gerry Rafferty - Baker Street - 03-1978 (UA) Raydio - Jack And Jill - 05-1978 (Arista) Renaissance - Northern Lights - 08-1978 (Warner) The Rezillos - Top Of The Pops - 09-1978 The Rolling Stones - Miss You - 06-1978 (Rolling Stone) Rose Royce - Wishing On A Star 02-1978 (Warner) Rose Royce - Love Don't Live Here Anymore - 10-1978 (Warner) Samantha Sang - Emotions - 03-1978

 (Private Stock) Leo Sayer - I Can't Stop Lovin' You - 10-1978 (Chrysalis) The Sex Pistols - No-One Is Innocent/ My Way - 07-1978 (Virgin) Sham 69 - If The Kids Are United - 08-1978 (Polydor) Sham 69 - Hurry Up Harry - 11-1978 (Polydor) Sheila B.

Devotion - Singin' In The Rain - 04-1978 (Carrere) Showaddywaddy - I Wonder Why - 04-1978 (Arista) Showaddywaddy - A Little Bit Of Soap - 07-1978 (Arista) Showaddywaddy - Pretty Little Angel Eyes - 11-1978 (Ariola) Siouxsie & The Banshees - Hong Kong Garden - 09-1978 Smokie - For A Few Dollars More - 02-1978 Smokie - Oh Carol - 06-1978 David Soul - Let's Have A Quiet Night In - 01-1978 (Private Stock) David Soul - It Sure Brings Out The Love In Your Eyes - 06-1978 (Private Stock) Stargard - Theme from 'Which Way Is Up' - 02-1978 Status Quo - Again And Again - 09-1978 Rod Stewart - Hotlegs/I Was Only Joking - 02-1978 (Riva) Rod Stewart

 & The Scottish World Cup Squad - Ole Ola (Mulher Brasilieira) - 05-1978 Rod Stewart - Da Ya Think I'm Sexy?

- 11-1978 (Riva) Barbra (Streisand) & Neil (Diamond) - You Don't Bring Me Flowers - 12-1978 (Columbia) Donna Summer - I Love You - 01-1978 (Casablanca) Donna Summer - Rumor Has It -12-1978 (Casablanca) Donna Summer - MacArthur Park - 10-1978 (Casablanca) The Sweet - Love Is Like Oxygen - 02-1978 (Polydor) Sylvester - You Make Me Feel (Mighty Real) - 10-1978 Tavares - More Than A Woman - 05-1978 10cc - Dreadlock Holiday - 08-1978 Third World - Now That We've Found Love - 10-1978 The Three Degrees - Givin' Up Givin' In - 11-1978 Tonight - Drummer Man - 02-1978 (Target) John Travolta & Olivia Newton-John - You're The

 One That I Want - 06-1978 John Travolta & Olivia Newton-John - Summer Nights - 09-1978 (RSO) John Travolta - Sandy - 10-1978 (Polydor) John Travolta - Greased Lightning - 12-1978 (Polydor) Frankie Valli - Grease - 09-1978 (RSO) The Village People - YMCA - 12-1978 (Mercury) Joe Walsh - Life's Been Good - 08-1978 War - Galaxy - 01-1978 Dooley Wilson - As Time Goes By - 01-1978 Wings - With A Little Luck - 04-1978 (Parlophone) Ruby Winters - Come To Me - 05-1978 Bill Withers - Lovely Day - 01-1978 (CBS) Yellow Dog - Just One More Night - 02-1978 (Virgin) John Paul Young - Love Is In The Air - 05-1978 Entourage Talent » 

10CC or complete a Booking Request 10CC Question: what do Axl Rose of Guns N’Roses, The Flaming Lips’ Wayne Coyne, TV/radio presenter Chris Evans, The Pretenders’ Chrissie Hynde, Huey Morgan of Fun Lovin’ Criminals, The Feeling’s Dan Gillespie, Sophie Ellis Bextor and at least 30 million other people around the world have in common?

Answer: they are all 10cc fans. The missing link between The Beatles and the Gorillaz, 10cc ruled the pop world at a time – the 1970s – when the charts were dominated by some of the most creative and colourful artistes in pop history. Unlike David Bowie, Queen, Elton John or Rod Stewart – all of whom they stood shoulder-to-shoulder with for a decade – 10cc worked not on image or celebrity-status, but on the art of making highly sophisticated rock masterworks into simple-sounding pop hits. As founding member Graham Gouldman says, “Our main influences were The Beatles and the Beach Boys. Then there was all the other stuff …” “For me it was people like Burt Bacharach and Hal David, Jimmy Webb, Eddie Cochran, Buddy Holly and the Everly Brothers.

Eric [Stewart] was more rock ’n’ roll, the blues and R&B; while Kevin [Godley] and Lol [Creme] were sort of Jacques Brel, more artistic and avant-garde.” “It’s what happened when we put all those things together that made 10cc.” The result was some of the greatest pop records of the 20th century. From their breakthrough No 2 hit Donna in 1972, to their final No 1 –Dreadlock Holiday – in 1978, via such landmark releases as I’m Not In Love, their worldwide smash in 1975, 10cc stood for the kind of heightened pop sensibility achieved only by the very greatest music practitioners. In truth, they could have come from any era. 10cc would have been as at home in the dynamic early days of pop in the 1950s, as they would have been in the instant-gratification download culture of today. As Gouldman points out, “It was all about the songs.

Not the image or who the singer was or who played which instrument.” Like The Simpsons, 10cc could be appreciated on several levels: pure entertainment delivered by pop-sophisticates. As Rolling Stone put it in 1975, ‘There is more going on in one 10cc song than on the last ten Yes albums.’ It wasn’t anything the group built towards either, it was all there on their very first record Donna. You didn’t have to be conversant with the doo-wop-channelled-through-Frank Zappa influence to appreciate its inventiveness. “We were just trying to amuse ourselves,” says Gouldman now. “That was why it worked. The fact was we had our own recording facility, Strawberry Studios in Stockport. We actually started writing together just for a laugh, really. We weren’t consciously trying to make hit records.” The early-‘70s was an intense period of creative activity for the guys, on multiple fronts, with Gouldman having already notched up hit song-writing credits with groups such as the Yardbirds, Hollies and Herman’s Hermits.

When the studio wasn’t being used, Gouldman and song-writing partner and studio co-owner Eric Stewart – a talented multi-instrumentalist and recording whiz, formerly of Wayne Fontana and the Mindbenders – along with Creme and Godley, who Gouldman had known since school days, would use the downtime, “to mess around and make our own sounds”. They also became the studio house band. Gouldman even spent time in New York, writing for bubblegum kings Jerry Kazenetz and Jeff Katz (“don’t ask …,” he says). But, fed up with being away from home, he returned to the UK to record the songs he had written Stateside, with his chums at Strawberry. Meanwhile back in Stockport, Stewart, Godley and Creme had also been busy, with Stewart particularly keen on testing a new four-track recorder. Experimenting with the device lead to the recording of Neanderthal Man, a track that went on to enjoy 14 weeks in the UK charts in 1970, peaking at No 2. The band was called Hotlegs and comprised Godley, Creme, Stewart, and briefly Gouldman.

As if that wasn’t enough, in 1972 Gouldman’s manager Harvey Lisberg (later to become the band’s manager too), met Neil Sedaka who was playing a residency at Batley Variety Club in Yorkshire. Sedaka’s career was in decline and Lisberg suggested he worked with the guys at the studio. The result was Sedaka’s hit comeback album Solitaire, with Top 30 singles in the UK and US, recorded at Strawberry and produced by Gouldman, Stewart, Godley and Creme, with Stewart acting as engineer. “We all learnt so much from those sessions,” says Gouldman. “Neil’s sheer professionalism, musicianship and song-writing were inspiring.” As the four worked together more, says Gouldman, “We’d done a few tracks and we needed a B side for Waterfall [a Gouldman/Stewart composition]. There was a possibility that it would come out on the Apple label, which we were very excited about, because any connection with the Beatles was great.” A Godley and Creme song, Donna, was chosen, “but as we were recording it, we sensed that we were doing something special. Really, all these things came together by chance.

We didn’t even have a name for the band and weren’t bent on world domination or anything. But Donna made us sit up and notice ourselves, that we actually had something special here.” And so 10cc was born, Donna became the A side and reached No 2 in the UK charts. Right from the start it was obvious they weren’t like other groups. All four could sing and were adept in the recording studio, and all were seasoned musicians more interested in pleasing themselves than writing to a formula. Not long after Donna was released, Sedaka returned to Strawberry to record a second album, The Tra-La Days Are Over, with the same team, and his career took off again. 10cc comprised essentially two song-writing camps, Gouldman and Stewart, and Godley and Creme, though that would sometimes change too. “Our principle was always the music,” says Gouldman, “whatever’s best for the song. That means if I can sing better than you on it, that’s what happens. Or if Lol can play lead guitar better than you, he’ll do it. Consequently we had four singers in the band, four instrumentalists and four producers, plus Eric also engineered the sessions.

“The other thing was whoever wrote the song, it kind of became the property of the four of us. You couldn’t say, ‘That song is crap, I don’t want anything to do with it’. What you had to say was, ‘I don’t like that part of the song, but I think we could make it better by doing this’. You always had to come up with something positive.” “It was the combination of all four of us that made the difference, not only in the song-writing, but in the production values as well,” says Gouldman. No two 10cc records ever sounded the same. Gouldman chuckles, “There were so many influences flying around and they all found their way onto the records and we loved pastiche.” The result might be the eight-minute pop opera Une Nuit a Paris , which opened their third album, The Original Soundtrack (1975). Or it might be a landmark pop masterpiece, from the same album, like I’m Not In Love. “A very important element,” explains Gouldman, “was we were completely self-contained. There wasn’t even a producer. If Eric was singing one of us would work the board.

We used to just give the tracks straight to the record company.” The only comparable situation previously had been with The Beatles – and they had producer George Martin to help them. “We didn’t even have an A&R man,” says Gouldman. “No one was going to tell us anything.” Indeed, they didn’t even have a recognisable frontman. “Eric was a very good-looking guy who sort of took the role quite often, and Lol was also brilliant out front. But you’d never know on the record who was playing guitar or even who was singing sometimes. We weren’t like Queen, where you knew instantly it was Brian May on guitar and Freddie Mercury on vocals.” The first time they played live, at the Isle of Man Casino in 1973, they were taken aback at the response. “We went onstage and girls started screaming! It was like, what the f**k is going on? We imagined ourselves as professors of pop who were going to give a lecture on pop music, but it wasn’t like that at all.” The critical plaudits also rolled in. Rolling Stone calling The Original Soundtrack, “better than anything the Beach Boys have done of late”.

TheNME described I’m Not In Love as “a John Lennon song with a Paul McCartney vocal”. In an age where critics spent an inordinate amount of time trying to identify the new Beatles, 10cc increasingly seemed to fit the bill. “Because we existed in our own world, we didn’t need anyone to tell us how good we were. We listened to the records and went, this is everything we want it to be and more.” Even after the astonishing success of I’m Not In Love, they refused to play the game and followed it up with the acidic Art For Art’s Sake – and scored another Top 5 hit. “’Art for art’s sake, money for God’s sake’, was something my late father used to say to me, although he wasn’t cynical like that at all – he was very artistic. But it’s such a lovely phrase. Eric had this riff and I just started singing that, and the song came.” The biggest surprise of all was the departure of Godley and Creme after their next album, How Dare You? “It was horrible,” Gouldman confesses. “It was an absolute disaster.

Like getting a divorce.” Godley and Creme had become preoccupied with the Gizmotron – from the word ‘gizmo’ – a device they had invented which when applied could bring new sounds and textures out of an electric guitar. Obsessed with devising a showcase for it, they began recording a triple album together, Consequences. Says a reflective Gouldman now, “Kev and I, who stayed quite close, have talked about this since and have decided what should have happened; he and Lol should have gone go off and done their thing for a year or so, then allowed 10cc to resume. “But that’s just not how things were done in the ‘70s. No one had a year off. Plus I think the record company were probably expecting another album, tours were booked and so on.” Instead, Gouldman and Stewart continued as 10cc and scored more notable successes with their next two albums, Deceptive Bends (1977) – featuring their next worldwide hit single Things We Do For Love – andBloody Tourists (1978), which spawned another international hit, Dreadlock Holiday.

“We were on a mission to prove ourselves,” says Gouldman, “This wasn’t like a couple of guys leaving the band who just played their instruments. This was two of the producers going, two of the singers going, two of the songwriters going. So it was a real 50 percent gone.” Ultimately, the split took its toll and when Stewart was badly injured in a car crash in 1979, the writing was on the wall. “It flattened me completely,” Stewart later recalled. “I damaged my left ear and 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 [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.” As history now records, all four original members enjoyed very successful post-10cc careers. Godley and Creme continued as a partnership, recording their own hit records and becoming Grammy-winning video directors for acts such as Ultravox, The Police, Duran Duran and Frankie Goes To Hollywood.

Stewart collaborated on three Paul McCartney albums in the 1980s and continues to record sporadically as a solo artiste, his most recent collection being Viva La Difference in 2009. Meanwhile Gouldman spent the 1980s concentrating on recording soundtracks for films such as Farah Fawcett’s Sunburn and the American animation Animalympics. He also worked as a producer with The Ramones and Gilbert O’Sullivan. He then formed Wax with American songwriter Andrew ‘Lonely Boy’ Gold and had hits with Right Between The Eyes and Bridge To You Heart. There were two final Gouldman-Stewart directed 10cc albums in the ‘90s, the first …Meanwhile (1992), featured contributions from both Godley and Creme, while the last, Mirror Mirror (1995), despite featuring contributions from McCartney and Gold, was more a collection of Gouldman and Stewart solo songs. That same year, 10cc received a BMI citation for three million plays on US radio for I’m Not In Love (since risen to five million).

This followed the BMI citation for two million plays (since risen to 3.5m) of Things We Do For Love. Then, with 2002 being the 30th anniversary of the band’s debut hit, Donna, 10cc began to creep back into the national consciousness. With Gouldman fronting a new touring band, a 28-date UK tour was followed by a series of one-off events across Europe. 10cc has since toured the world again, including shows in Australia, New Zealand and Japan and appearances at numerous festivals. In 2006, Universal records released the TV-advertised, double CD 10cc: Greatest Hits … And More, featuring the obvious band numbers, plus hits Gouldman wrote for others, and collaborations including two new tracks written with Kevin Godley. In June 2007, the Mail On Sunday newspaper produced a special 10-track Best of 10cc CD, distributing more than 2.4 million copies throughout the UK and Ireland. The paper said sales rose by 232,000 on the day of publication.

During 2010 the band toured Australia and Japan again, played more festivals and toured Norway, Sweden, Denmark, Germany and Belgium, with national TV shows in Sweden and Italy thrown in for good measure. Now in 2011, Gouldman leads 10cc through their next 33-date UK headline tour, followed by eight shows in Holland, concerts in Canada (Montreal and Quebec), a host of summer festivals across Europe and a Scandinavian tour in the autumn. Says Gouldman, “The audiences these days are very gratifying. You get the people you would expect, who grew up with 10cc, but you also get young kids. “Now whether they’ve discovered 10cc for themselves, via the internet or radio, or just grown up with their parents playing it in the house, I don’t know. But we get a great mix of people from the generations. “Also the band, as it stands now is absolutely fantastic. And of course our main strength and what we’re selling is the songs, nothing else.” It was ever thus. As he adds, “This is as near as you’re ever going to get to hearing the perfect 10cc. Hit after hit after hit.

It’s relentless. We show no mercy.” Commenting on the UK concert dates, Gouldman explains, “I come out before 10cc and sing a hit I wrote for another artiste. Then I bring on Rick and we’ll sing another hit I wrote before 10cc, with acoustic guitars. Mick comes on and the three of us sing another and then Mike joins us and we do four-part harmony on another. Then they go off and I finish the opening set alone.” That’s what you call a complete show. “It’s a great evening,” he acknowledges, “and do you know, I’ve been to every single one and loved it!” The live band’s line-up is: Graham Gouldman – bass, guitars, vocals Rick Fenn – lead guitar, vocals, bass Paul Burgess – drums, percussion Mick Wilson – vocals, percussion, guitar, keyboards Mike Stevens – keyboards, guitar, bass, sax, vocals Paul has worked with 10cc from the beginning and Rick joined the live band in the mid-‘70s. Mike is occasionally replaced by Keith Hayman, when Mike tours as musical director with Take That. • 10cc has sold more than 15 million albums in the UK.

• 10cc has sold more than 30 million albums worldwide. • I’m Not In Love has been played over five million times on US radio. • A YouTube video clip about the making of I’m Not In Love circulated the globe in late-2010, resulting in increased name-checks by bloggers and DJs. • Things We Do For Love has been played over 3.5 million times on US radio. • Gouldman, Godley and Crème won two Ivor Novello Awards for the 1973 hit single Rubber Bullets. The Ivor Novello Awards, established in 1955, are the highest song-writing accolades in the UK. • In 1993, Will To Power hit the Top 10 in the UK with its version of I’m Not In Love. It has also been recorded by, among others, The Pretenders (for the film Indecent Proposal), Peggy Lee, Richie Havens, Fun Lovin’ Criminals, and most recently The Flaming Lips. • Axl Rose of Guns N’Roses says of I’m Not In Love, “that song messes with my life, man.

It’s one of my favourite songs of all time.” • Chris Isaak’s huge hit album Blue Hotel featured his version of Gouldman’s 1965 song Heart Full of Soul, written for the Yardbirds. • Bus Stop (written by Gouldman for he Hollies) has been played over four million times on US radio. He also wrote the Yardbird’s hit For Your Love, which has been played over two million times on US radio. • Wax, featuring Gouldman and Andrew Gold, has sold two million albums worldwide, spawning the hit singles Right Between The Eyes and Bridge To Your Heart. 10cc – Songs & Albums : Napster and 14 other albums About 10cc An art rock supergroup of sorts, 10cc were major stars in 1970s England, best known in the States for their 1975 soft rock masterpiece "I'm Not In Love." Originally formed as Hotlegs, they released the surprise hit single "Neanderthal Man" in 1970.

A year later Eric Stewart and Graham Gouldman (of Wayne Fontana & the Mindbenders) and Kevin Godley and Lol Creme (hot shot session guys) configured as 10cc and released a chart-topping, extremely playful take on doo-wop called "Donna." A string of similarly styled explorations of odd pop forms marked at times by bizarre vocal techniques was followed by their explorations in super artsy production. Godley and Creme left the group in 1976, to work as a duo and to pursue high profile production work. After their defection, Stewart and Gouldman scored two more hits, 1977's "The Things We Do For Love" and 1978's "Dreadlock Holiday." Mike McGuirk Similar Artists 10CC - a short history - Wickham Festival · Share Presenting... Wickham Festival: August 3-6, 2017.

Levellers; Seth Lakeman; Show of Hands; Eliza Carthy and The Wayward Band; Lau; Oysterband; Fisherman's Friends; The Selecter; Peatbog Faeries; 3 Daft Monkeys; Spooky Mens Chorale; Dhol Foundation; Kathryn Tickell and The Side; Phillip Henry & Hannah Martin; Miranda Sykes & Rex Preston; Banter; Gilmore & Roberts; Duncan Chisholm: The Gathering; Tankus The Henge; Wizz Jones; The Goat Roper Rodeo Band and many, many more t.b.c. Voted Britain's Best Small Festival at the 2015 Live UK Music Awards. Earlybird Season Tickets now on sale, save £40 by booking now. ... See MoreSee Less Wickham Festival youtube.com A short film about Wickham Festival. Recorded at the 2016 festival. Music : Back to the Ocean - Winters Hill soundcloud.com/wintershill A Modern Worl... 2 weeks ago · We're delighted to say Levellers are our first confirmed headliner for the 2017 Wickham Festival. We'll be announcing more artists this afternoon.

Save £40 on earlybird season tickets now onsale at bargain rates. ... See MoreSee Less 2 weeks ago · 3rd July 2015 by Graham Hiley Among the most inventive and influential bands in the history of popular music, 10cc are one of the very few acts to have achieved commercial, critical and creative success in equal measure. Testament to 10cc’s ongoing appeal, the band can count a generation straddling array of fellow artists, everyone from Chrissie Hynde to The Feeling’s Dan Gillespie and Axl Rose to Sophie Ellis Bextor, among their many millions of fans. I’m Not In Love, co-written by Graham Gouldman and Eric Stewart, features prominently in the soundtrack to the 2014 blockbuster film Guardians of the Galaxy, which grossed $635 million in its first two months in US cinemas and spawned a No 1 album. Meanwhile, a key element of the soundtrack to 2010’s Facebook feature film The Social Network is Dreadlock Holiday, which is also the Sky Sports cricket reports theme in Australia.

10CC are still going strong 10cc has sold more than 30 million albums around the world and the band’s longevity is testament to their timeless songs, and reflecting Gouldman’s status as one of the world’s leading songwriters, he was inducted into America’s Songwriter’s Hall of Fame at a ceremony in New York in June. Previous inductees include Noel Coward, Burt Bacharach, Neil Sedaka, John Lennon, Paul McCartney, Bob Dylan, Bruce Springsteen, Leonard Cohen, Elton John and Sting. The band continues to traverse the globe and play countries as disparate as Iceland and South Africa, Latvia and Japan, as well as across Europe, Australia and New Zealand, Canada and the US. Following a 23-date UK tour in October-November, early 2015 will see the band play three concerts in Japan before a 12-date tour of major UK concert venues in February, when the first half of the show will feature the band performing the Sheet Music album in its entirety, with a special video contribution from Kevin Goidley. Gouldman attributes 10cc’s lasting appeal to the quality and individuality of the band’s songs.

“They don’t seem to date; they are original, we never followed any trend we simple wrote for our own pleasure. The fact that the songs are being played as often on the radio today as they ever were shows how true that is,” he says. 10cc ruled the pop world at a time – the 1970s – when the charts were dominated by some of the most creative and colourful artistes in pop history. Unlike David Bowie, Queen, Elton John or Rod Stewart – all of whom they stood shoulder-to-shoulder with for a decade – 10cc’s energies were not centred on image or celebrity-status, but on creating highly sophisticated rock masterworks with mainstream appeal. Early influences on the band included The Beatles and the Beach Boys, but their palate proved wide. Says Gouldman: “For me it was people like Burt Bacharach and Hal David, Jimmy Webb, Eddie Cochran, Buddy Holly and the Everly Brothers. Eric [Stewart] was more rock ’n’ roll, the blues and R&B; while Kevin [Godley] and Lol [Creme] were into more artistic and avant-garde acts including Jacques Brel.

It’s what happened when we put all those things together that made 10cc.” The result was some of the greatest pop records of the 20th Century. From breakthrough hit Donna in 1972 to their final No 1, Dreadlock Holiday in 1978, via landmark releases including 1975 worldwide hit I’m Not In Love, 10cc stood for the kind of heightened pop sensibility achieved only by the very greatest music practitioners. As Rolling Stone magazine put it in 1975, ‘There is more going on in one 10cc song than on the last ten Yes albums.’ With hit song-writing credits with bands including the Yardbirds, Hollies and Herman’s Hermits under his belt, the early 1970s saw Gouldman and his compatriots reach new levels of creative endeavour. He spent time in New York writing for bubblegum kings Jerry Kazenetz and Jeff Katz., but fed up with being away from home, he returned to the UK to record the songs he had written Stateside with his friends at Strawberry Studios in Stockport.

Back in Manchester, Stewart, Godley and Creme had also been busy, with Stewart testing a new four-track recorder that lead to the recording of Neanderthal Man, a track that went on to enjoy 14 weeks in the UK charts in 1970, peaking at No 2. The band was called Hotlegs and comprised Godley, Creme, Stewart, and briefly Gouldman. In1972 Gouldman’s manager Harvey Lisberg (later to become 10cc’s manager) met Neil Sedaka, who was playing a residency at Batley Variety Club in Yorkshire. Sedaka’s career was in decline and Lisberg suggested he worked with the guys at Strawberry. The result was Sedaka’s hit comeback album Solitaire, produced by Gouldman, Stewart, Godley and Creme, with Stewart acting as engineer. “We all learned so much from those sessions. Neil’s sheer professionalism, musicianship and song-writing were inspiring,” says Gouldman. “We’d done a few tracks and we needed a B-side for Waterfall [a Gouldman/Stewart composition].

There was a possibility that it would come out on the Apple label, which we were very excited about, because any connection with the Beatles was great,” says Gouldman. A Godley and Creme song, Donna, was chosen. “We didn’t have a name for the band and weren’t bent on world domination or anything, but Donna made us sit up and notice ourselves, that we actually had something special.” And so 10cc was born, Donna became the A side and reached No 2 in the UK charts. Right from the start it was obvious they weren’t like other groups. All four could sing, were adept in the recording studio, and were seasoned musicians more interested in pleasing themselves than writing to a formula. Not long after Donna was released, Sedaka returned to Strawberry to record a second album, The Tra-La Days Are Over, with the same team, and his career took off again. 10cc comprised essentially two song-writing camps, Gouldman and Stewart, plus Godley and Creme, although they would sometimes intermingle. “Our principle was always the music,” says Gouldman, “whatever’s best for the song. That means if I can sing better than you on it, that’s what happens.

Or if Lol can play lead guitar better than you, he’ll do it. Consequently we had four singers in the band, four instrumentalists and four producers, plus Eric also engineered the sessions. “The other thing was whoever wrote the song, it kind of became the property of the four of us. You couldn’t say, ‘That song is crap, I don’t want anything to do with it’. What you had to say was, ‘I don’t like that part of the song, but I think we could make it better by doing this’. You always had to come up with something positive.” “It was the combination of all four of us that made the difference, not only in the song-writing, but in the production values as well,” says Gouldman. Whether it’s the eight-minute pop opera Une Nuit a Paris, or the No.1 hit pop masterpiece I’m Not In Love, both from The Original Soundtrack (1975) album, no two 10cc records sound the same, “A very important element,” explains Gouldman, “was we were completely self-contained. There wasn’t even a producer. If Eric was singing one of us would work the board.

We used to just give the tracks straight to the record company.” Indeed, they didn’t even have a recognisable frontman. “Eric was a very good-looking guy who took on the role quite often, and Lol was also brilliant out front. But you’d never know on the record who was playing guitar or even who was singing sometimes.” The first time 10cc played live, at the Isle of Man Casino in 1973, they were taken aback at the response. “We went onstage and girls started screaming! It was like, what the hell is going on? We imagined ourselves as professors of pop who were going to give a lecture on pop music, but it wasn’t like that at all.” The critical plaudits also rolled in. Rolling Stone calling The Original Soundtrack, “better than anything the Beach Boys have done of late”. The NME described I’m Not In Love as “a John Lennon song with a Paul McCartney vocal”. In an age where critics spent an inordinate amount of time trying to identify the new Beatles, 10cc increasingly seemed to fit the bill. “Because we existed in our own world, we didn’t need anyone to tell us how good we were.

We listened to the records and went, this is everything we want it to be and more.” Even after the astonishing success of I’m Not In Love, they refused to play the game and followed it up with the acidic Art For Art’s Sake – and scored another Top 5 hit. “Art for art’s sake, money for God’s sake, was something my late father used to say to me, although he wasn’t cynical like that at all – he was very artistic. But it’s such a lovely phrase. Eric had this riff and I just started singing that, and the song came.” The biggest surprise of all was the departure of Godley and Creme after their next album, How Dare You? “It was horrible,” Gouldman confesses. “It was an absolute disaster. Like getting a divorce.” Godley and Creme had become preoccupied with the Gizmotron – from the word ‘gizmo’ – a device they had invented which when applied could bring new sounds and textures out of an electric guitar. Obsessed with devising a showcase for it, they began recording a triple album together, Consequences.

Says a reflective Gouldman now, “Kev and I, who stayed quite close, have talked about this since and have decided what should have happened; he and Lol should have gone off and done their thing for a year or so, then allowed 10cc to resume. “But that’s just not how things were done in the ‘70s. No one had a year off. Plus I think the record company were probably expecting another album, tours were booked and so on.” Instead, Gouldman and Stewart continued as 10cc and scored more notable successes with their next two albums, Deceptive Bends (1977) – featuring their next worldwide hit single Things We Do For Love – and Bloody Tourists (1978), which spawned another international hit, Dreadlock Holiday. “We were on a mission to prove ourselves,” says Gouldman, “This wasn’t like a couple of guys leaving the band who just played their instruments. This was two of the producers going, two of the singers going, two of the songwriters going.

So it was a real 50 percent gone.” Ultimately, the split took its toll and when Stewart was badly injured in a car crash in 1979, the writing was on the wall. “It flattened me completely,” Stewart later recalled. “I damaged my left ear and 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 [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.” All four original members enjoyed very successful post-10cc careers. Godley and Creme continued as a partnership, recording their own hit records and becoming Grammy-winning video directors for acts including Ultravox, The Police, Duran Duran and Frankie Goes To Hollywood. Stewart collaborated on three Paul McCartney albums in the 1980s and continues to record sporadically as a solo artiste, his most recent collection being Viva La Difference in 2009.

Meanwhile Gouldman spent the 1980s concentrating on recording soundtracks for films such as Farah Fawcett’s Sunburn and the American animation Animalympics. He also worked as a producer with The Ramones and Gilbert O’Sullivan. He then formed Wax with American songwriter Andrew ‘Lonely Boy’ Gold and had hits with Right Between The Eyes and Bridge To You Heart. There were two final Gouldman-Stewart directed 10cc albums in the ‘90s, the first … Meanwhile (1992), featured contributions from both Godley and Creme, while the last, Mirror Mirror (1995), despite featuring contributions from McCartney and Gold, was more a collection of Gouldman and Stewart solo songs. That same year, 10cc received a BMI citation for three million plays on US radio for I’m Not In Love (since risen to five million). This followed the BMI citation for two million plays (since risen to 3.5m) of Things We Do For Love, In 2002, the 30th anniversary of the band’s debut hit Donna, 10cc began to creep back into the national consciousness.

With Gouldman fronting a new touring band, a 28-date UK tour was followed by a series of one-off events across Europe. The band have continued to regularly tour the world ever since. 10CC with Graham Gouldman centre In 2006, Universal records released the TV-advertised, double CD 10cc: Greatest Hits … And More, and the following year national newspaper the Mail On Sunday produced a special 10-track, cover-mount Best of 10cc Live CD, distributing more than 2.4 million copies throughout the UK and Ireland. The paper reported that sales rose by 232,000 on the day of publication. For the band’s 40th anniversary year in 2012, Universal Records released a new five-CD box set entitled Tenology, featuring 80 tracks chosen by the four original and members. A world tour took 10cc as far and wide as Iceland and Australia, and saw them play London’s Royal Albert Hall for the first time. The landmark concert saw Kevin Godley guest on several numbers including a capella version of Donna.

After 50 concerts with 10cc that year, Gouldman decided to tour as an acoustic outfit, Heart Full of Songs, which included10cc’s Rick Fenn, Mick Wilson and Mike Stevens. Their set included hits Gouldman wrote for The Hollies, Herman’s Hermits, the Yardbirds and film soundtracks, along with material from his new solo album Love And Work. And in a triumphant end to 2013, 10cc joining Status Quo for a tour of UK arenas, including London’s The O2. This year has seen the band play New Zealand and a host of summer festivals across the UK and Europe, including the 60,000-capacity British Summer Time in London’s Hyde Park. “Year on year we get busier and busier. It’s great, we love touring and playing together and we get on really well. The audiences these days are very gratifying. You get the people you would expect, who grew up with 10cc, but you also get young kids who know the songs too,” says Gouldman.

With four decades of song-writing excellence and a crack band of musicians behind him Gouldman confidently promises, “This is as near as you’re ever going to get to hearing the perfect 10cc. Hit after hit after hit. It’s relentless. We show no mercy.” The live band’s line-up is: Graham Gouldman – bass, guitars, vocals Rick Fenn – lead guitar, vocals, bass Paul Burgess – drums, percussion Mick Wilson – vocals, percussion, guitar, keyboards Mike Stevens – keyboards, guitar, bass, sax, vocals Paul has worked with 10cc from the beginning and Rick joined the live band in the mid-‘70s. Mike is occasionally replaced by Keith Hayman, when Mike tours as musical director with Take That or Gary Barlow. Similarly, Mick is occasionally replaced by Iain Hornal, when Mick is otherwise engaged. 10cc – Top UK Chart Positions I’m Not In Love 1 Dreadlock Holiday 1

Question: Which group had a 1978 UK No. 1 hit with "Dreadlock Holiday"?
Answer: 10cc