10cc and Godley and Creme: Every Album, Every Song (On Track)

This book is a must for anyone that likes 10CC, what a great book this is. Excellent service from this seller. Item’s appearance was well wrapped, tidy and delivered on time. Overall, the quality is superb and the condition is as described. Really good value for money I would reccommend this seller to anyone. Welll done and thank you. ⭐️⭐️⭐️⭐️⭐️ Martin

Loved it. Really interesting to delve a little deeper into the songs on a technical level and the chart placing info and release dates are also worth knowing. I shall take this to future pub quiz nights lthink.

It is what It is. Read the description, you will know if it's for you or not.

This is another informative addition to the On Track series, covering not only the full album output of 10CC, but also Hotlegs and Godley and Creme.

Nice size book full of detail and great quality

Exhaustive and indispensable for 10cc fans. Great book

This is a fantastic book. It covers every track from Hotlegs, classic 10cc, Gouldman/Stewart 10cc and Godley & Creme, from the 1970 singles Neanderthal Man and Umbopo (the latter released under the name Doctor Father) through to the last 10cc album Mirror Mirror, released in 1995. The book is well researched, drawing on existing publications, band interviews, album reviews, and even some personal communication with band members. Moreover, Peter Kearns wields his knowledge of music history and musicology to analyse many of the most interesting tracks. For example, he often highlights the complex and innovative structures of many 10cc and Godley & Creme songs, and he notes the ways in which various tracks drew upon the work of other artists and inspired other artists in turn. He also notes how older 10cc (and 10cc-adjacent) tracks inspired later 10cc and Godley & Creme tracks, although, in my humble opinion, he is too dismissive of the apparent connection between 'Run Baby Run' and 'Art for Art's Sake', albeit a minor gripe (I had been struck by the similarity of the opening lines of both songs immediately on my first listen of 'Run Baby Run', long before learning from this book that others had noted the same thing, and so the fact that listeners have recognised a connection independently from one another must count for something). A section that I especially appreciate is the listing of Hotlegs and 10cc songs according to the writing partnerships that produced them. As Kearns highlights, the songwriting that took place between 1970 and 1976 was more complex than a simple dichotomy between Godley/Creme songs and Gouldman/Stewart songs, and that all the various writing combinations that came about in this period produced great tracks. A small correction: Kearn accidentally lists 'Speed Kills' in the Godley/Creme/Stewart section rather than the Godley/Creme/Gouldman/Stewart section, something that would easily be fixed should a second edition be produced. Some of Kearns's opinions may rankle the reader, as the reader, like Kearns, is bound to be a hardcore 10cc listener with strong opinions of their own. For example, I recoiled at Kearns's questioning of whether the atmospheric and energetic instrumental track 'How Dare You' should have been included on 10cc's 1976 album of the same name, for which it is the album opener. Although it is not nearly as complex as 'Une Nuit à Paris', the 10cc album opener par excellence, it is as fun as other great 10cc album openers (e.g. 'Johnny Don't Do It', 'Wall Street Shuffle', 'Good Morning Judge'), building considerable excitement and suspense with its bouncing tempo, relentless percussion, strange opening melody, groovy clavinet and soaring guitar harmonies. Whereas Kearns sees it as underdeveloped, as a track that never reaches its full potential, I see it as the track that deliberately builds into the rest of the album. But these are the sorts of disagreements that are bound to occur when passionate fans discuss their favourite and least favourite tracks, and no-one can deny Kearns's passion or knowledge. While Kearns does provide an account of 10cc's/Hotlegs'/Godley & Creme's origins in the mid and late 60s, one wishes that some of the Frabjoy & Runcible Spoon-era tracks from 1967-1969, the ones that were not redeveloped for Hotlegs, received entries of their own, not only because they are indeed Godley & Creme tracks, and a small number were released as singles, but especially since, as Kearns points out, some of them were recorded with Gouldman and Stewart, effectively making them 10cc tracks (e.g. the 1969 single 'I'm Beside Myself'). But admittedly, by including Hotlegs/Doctor Father/Festival tracks from 1970-1972, Kearns already spoils the reader, and so, as a spoilt reader I can't but think how he could have spoiled us even more. And it must also be pointed out that 'Frabjous Days', the Frabjoy & Runcible Spoon compilation, had not yet been released when this book was published, and so fewer tracks were known to the public at the time. Still, perhaps a second edition, should we be so fortunate, would include entries on those very early tracks. In short, this is a fantastic book. It is absolutely a must-have for a 10cc/Godley & Creme fan.

Disappointed, when I read the description, I thought this was a chord book for 10cc / Godley and Cream but it is essentially a discography.

Toll, jeder Song, für Fans von 10CC