10CC embody the history of popular music from the Sixties onward, and an audience spanning three generations were able to wallow in that for close to two hours.
Band leader Graham Gouldman is a true legend in a world where that appellation is unfortunately overused. Let’s just say Gouldman the Great.
From the early Sixties, he wrote For Your Love, Heart Full of Soul and Evil-Hearted You for the Yardbirds. (That also covers Clapton, Beck and Page). Bus Stop for the Hollies, Listen People and No Milk Today for Herman’s Hermits.
He produced the magnificent Pleasant Dreams album for the Ramones. So, he elevated Punk. In that sense he was all over Bubble-Gum music and churned it out with fellow songwriter and original bandmember Eric Stewart.
With song writing team Kevin Godley and Lol Creme all working at the Strawberry Studios in Stockport and Dorking, the band came together.
That was an odyssey worthy of an epic poem. They were mates from school and four abundantly talented artists had to disperse after reaching their critical mass. In that time they produced music, the best of which has become essential fabric in the world of Pop Art. Subsequently it appears timeless.
The rest of the band on stage tonight are long term members. Paul Burgess drums, Rick Fenn lead guitar and multi-instrumentalists Keith Hayman and Iain Hornel.
One of those classics is up early, Art for Art’s Sake. There is an extended opening coda before the full song kicks in. The percussion is out front from Hornel, and the rhythmic drive brings the drummer to the fore. The essential glue which holds their multi-faceted and sophisticated pop music together all evening. You could say he is a gravitational force, holding the ship steady. The song really is Prog Rock, and it echoes Pink Floyd’s The Wall. Except it’s a lot better.
Life is a Minestrone is also Prog and much more. Theatrical in the way the Peter Gabriel led Genesis were. Or Queen without the bombast. That band would have taken inspiration from 10CC to come up with a Bohemian Rhapsody.
Good Morning Judge rocks out from the start, opening riffs sounding like Led Zeppelin’s Trampled Underfoot.
Clockwork Creep was written by Godley and Crème and described by Gouldman as weird. Complex and cinematic, a mini theatre piece with some of the style of Bertolt Brecht and Kurt Weill.
Feel the Benefit is just as complex, and it begins with the sound of the Beatles’ Dear Prudence. It becomes an opus as three guitarists come together (here come ol’ Flat Top) and reach for peaks repeatedly. You can certainly hear some Pete Townsend’s orchestral Rock guitar from Won’t Get Fooled Again.
This is the sound that came into being with the Beach Boys Pet Sounds, through Strawberry Fields Forever, Sgt Pepper, and beyond.
Phil Spector said he wanted to create little symphonies for the kids. Brian Wilson was obsessed by this and came close to losing his mind in creating it. Syd Barrett did.
They all sacrificed themselves to this, and so have 10CC in their own way.
Hello Sailor
Hello Sailor were an obsession with me and a number of young Turks in the late Seventies. Caught them several times in many pub venues including the iconic Gluepot.
So, there was a bit of emotion as well as keen interest when I found out they were opening the show.
Harry Lyon is here, along with original drummer Ricky Ball. I would not have recognised them on the street. Their younger images are fixed permanently in my brain.
Dave McArtney and Graham Brazier have both passed away.
They are not the band as they used to be, and they are certainly not their own tribute band. It took me awhile to adjust to this, and it was not helped by a sound mix which had the low bass sound overriding most of the definition in the mid and top range.
At least from where I was, close to the stage.
Jimmy Taylor on electric and acoustic guitars, and Paul Woolright on bass (the heavy, heavy monster sound) complete the group.
Once I acclimatised to the atmosphere, I could appreciate the nuance in delivery of signature songs. We do this music, because who else will do them? Says Harry.
Gutter Black is played with two acoustic guitars. The downbeat is accented.
Blue Lady has pathos and an air of loss and regret which bring it closer to a Folk tune. I found myself a blue lady/ To help me through the night. And I am sure he sings like a vampire in the night. Lyon plays a beautiful harmonica coda at the end.
They are both touching and great to experience again.
Now I know they’re around, I would like to catch them again with a better sound mix.
10CC
The band have a mastery of their craft on-stage. It seems they can recreate the studio complexity and expand on this in person. The Beatles said they stopped playing live in 1966 as their music became more complex.
Great bands like 10CC can achieve this on stage, and I do not mean the use of backing tapes.
The Things We Do for Love and I’m Not in Love are sophisticated and superior Pop songs, expanded out with some improvising. It is hard to tell as the band is so well locked in.
Dreadlock Holiday was a monster hit in New Zealand. As a cricket tragic myself, I don’t like cricket, I love it!! They mix in a little Funk, dance-hall Rocksteady or Reggae. Take your pick.
And then we go back in time for the two closing numbers.
Donna comes from the early Seventies, where they tried to write a Doo-Wop classic. Bearing in mind Frank Zappa and his love of the genre whilst adding a little parody (Reuben and the Jets).
Performed brilliantly in four-part acapella harmony. Hornal stands out with the falsetto vocal.
Rubber Bullets was their first UK number one hit. It was the pure bottled essence sound of the Beach Boys 1963, and Surfin’USA.
10CC bring it all back home. They have feet firmly planted on the ground and they can soar effortlessly. It was a privilege to finally see Maestro Graham Gouldman and his band.
Rev Orange Peel
10CC’s last show in New Zealand is Sunday night in Hastings
Tickets available from Eventfinda
Photographs by Leonie Moreland
10CC
Hello Sailor
