10cc: Difference between revisions

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"I'm Not In Love", a collaborative effort based on an idea of Stewart's, is notable for its distinctive choral backing. This ethereal sound was created by laboriously building up eight or nine overdubs of the voices of Stewart, Godley and Creme singing a single note in unison. This multitrack was then mixed down and dubbed down onto a 16-track tape. This process was then repeated across all sixteen tracks to create a 'virtual' choir that could 'sing' chromatic chords. These multitracks were then cut into a number of endless loops, each which contained the basic notes of the main chords used in the song. This rich choral effect could then be played by using the mixning desk rather like a keyboard -- each chord could be sounded by bringing up the fader for that loop. In this pre-[[sampler]] time, the group were able to simulate a large polyphonic choir, creating a tonal effect similar to that produced by the well-known choir setting on the [[Mellotron]], but with a far richer sound, and in full stereo. The LP was also notable for its epic opening track, "One Night In Paris", an 8-minute, multi-part 'mini-operetta' which is thought to have been an influence on "Bohemian Rhapsody" by [[Queen (band)|Queen]].

Their fourth LP, ''How Dare You'' (1976) included the hit "Art For Art's Sake", but by this time the formerly tight personal and working relationship between the four memebrs had begun to fracture, and it was the last album with the original lineup. After its release Godley and Creme then left the band to work on a solo project, -- which eventually became the triple LP set ''Consequences'' (1976), -- and to develop the "Gizmo", a motor-driven electric guitar effect they had invented, which would mechanically bow the guitar stings produce endless sustain. First used during the recording of ''The Original Soundtrack", Godley and Creme had originally created the device as a means of cutting recording costs -- by using it on an electric guitar with studio effects, they could simulate orchestral string sounds.

Stewart and Gouldman decided to keep going as 10CC and [[Paul Burgess]] (drums) joined in [[1976]] andaugmented the trioduo recordedon atheir newnext LP, ''Deceptive Bends'', under the 10CC name. Against expectations, it proved to be a great success inand its own right as well as yieldingyielded two more hit singles, "Good Morning Judge" and "The Things We Do For Love". After recruiting guitarist [[Rick Fenn]], keyboardist [[Tony O'Malley]] and drummer [[Stuart Tosh]] (ex-[[Pilot (band)|Pilot]]) as full-time members, the group went on the road, and during this period they recorded their next LP, the live album ''Live And Let Live'' (1977), which mixed their hits with material from the previous three LPs.

1978's ''Bloody Tourists"'', provedredorded with the new lineup, somewhatwas less consistent than its predecessor, but still enabledprovided the band to scorewith another hitUK withand Australian hit, the reggae-styled "Dreadlock Holiday".

[[Godley & Creme]] became known as a songwriting and recording duo after their departure from 10cc, but became far better-known as producers of [[music videos]] in the 1980s, having honed their skills on the series of innovative music videos for their own singles. The video to their [[1985]] song "Cry" is especially memorable as one of the first mainstream uses of [[morphing]] technology.