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10cc

10cc are an English art rock and pop band formed in 1972 in , , by songwriters and multi-instrumentalists , , , and , who had previously collaborated at on projects including the 1970 hit "Neanderthal Man" by . The band, named "10cc" by producer in reference to a measurement of capacity (with disputed humorous connotations), quickly gained prominence for their witty, eclectic songwriting, sophisticated studio production, and satirical lyrics, blending elements of , and . From their debut single "Donna" in 1972, which reached No. 2 on the UK Singles Chart, 10cc produced a string of international hits, including "Rubber Bullets" (1973, UK No. 1), "The Dean and I" (1973, UK No. 10), "I'm Not in Love" (1975, UK No. 1 and US No. 2), "Art for Art's Sake" (1975, UK No. 5), "I'm Mandy Fly Me" (1976, UK No. 6), "The Things We Do for Love" (1977, UK No. 6 and US No. 5), and "Dreadlock Holiday" (1978, UK No. 1). Their breakthrough albums, such as the self-titled 10cc (1973), Sheet Music (1974), The Original Soundtrack (1975), How Dare You! (1976), Deceptive Bends (1977), and Bloody Tourists (1978), showcased their versatility and earned them over 30 million albums sold worldwide, with 15 million in the UK alone. Significant lineup changes marked the band's evolution: Godley and Creme departed in 1976 to pursue their experimental duo project, including the ambitious triple album Consequences (1977), leaving Gouldman and Stewart to lead 10cc through albums like Look Hear? (1980) and Ten Out of 12 (1981). The group disbanded in 1983 amid creative tensions but reformed in 1991 with Gouldman and Stewart, releasing ...Meanwhile (1992) and Mirror Mirror (1995); Stewart left in 1995 following a car accident, after which Gouldman has fronted a touring version of the band. Today, 10cc remains active under Gouldman's leadership; longtime drummer Paul Burgess departed in October 2025 after more than 50 years of touring with the band. The current lineup features (bass, guitars, vocals), (guitars, bass, vocals), and Iain Hornal (guitar, keyboards, vocals), with the band announcing the 'And Another Bloody Greatest Hits Tour' for 2026, including over 30 dates across the and Europe such as York Barbican on March 4, supporting the Beach Boys in Halifax and Southampton in June, and Farm-Fest in Warwickshire in May.

History

Early collaborations (1964–1969)

In the mid-1960s, Graham Gouldman emerged as a prolific songwriter in Manchester's burgeoning music scene, penning hits for established British acts at the remarkably young age of 19. His composition "For Your Love," written in early 1965, became a top 10 hit for the Yardbirds in the UK and US, reaching number 3 on the Billboard Hot 100 after its March release. Later that year, Gouldman crafted "Bus Stop" for the Hollies, which topped the UK charts in 1966 and peaked at number 5 in the US, marking his rapid ascent as a sought-after tunesmith for the British Invasion era. Gouldman's songwriting talents found an outlet in his own band, The Mockingbirds, formed in 1965 with drummer , lead guitarist Steve Jacobson, and bassist Bernard Basso. Intended as a platform for Gouldman's originals, the group recorded "For Your Love" themselves, but their label rejected it for release, prompting Gouldman to offer it to the Yardbirds instead. The Mockingbirds issued five singles between 1965 and 1966 on labels including , Immediate, and Decca—such as "You Stole My Love"/"Skit Skat" in October 1965 and "One By One"/"Lovingly Yours" in July 1966—but none achieved commercial success, failing to chart despite airplay on BBC's as a warm-up act. The band disbanded in late 1966 amid these setbacks, though it marked the first significant collaboration between Gouldman and Godley. Parallel to these efforts, honed his skills in Manchester's local circuit, starting with Jerry Lee and the Staggerlees in 1961 at age 16, where he progressed from rhythm to . By early 1962, the group had evolved into Lee Stewart and the Emperors of Rhythm, performing covers and originals in area clubs. In May 1963, Stewart auditioned at Manchester's club and joined 's backing band, which became , solidifying his role as lead guitarist in a rising act. Amid this vibrant scene, future 10cc members began forging connections through school ties and shared gigs. Gouldman and Stewart had known each other since their schooldays in , while Godley and , childhood friends from the area, first crossed paths with the others in early bands like the Sabres and before linking up more formally in The . These informal networks in Manchester's clubs and studios laid the groundwork for later partnerships, though structured collaborations remained sporadic until the late 1960s.

The Mindbenders and Strawberry Studios origins (1965–1970)

Wayne Fontana and the Mindbenders formed in Manchester in 1963, with Fontana on lead vocals, Eric Stewart on guitar and backing vocals, Bob Lang on bass, and Ric Rothwell on drums. The group gained prominence in 1965 with their single "The Game of Love," which peaked at number 2 on the UK Singles Chart and number 1 on the US Billboard Hot 100, marking a key moment in the British Invasion. Later that year, Fontana departed the band mid-performance during a US tour to focus on a solo career, frustrated with the group's direction. The Mindbenders reorganized without Fontana, with Stewart assuming lead vocal duties alongside guitar, and the band achieved moderate success with follow-up singles like "Just a Little Bit Too Late" and a cover of "Groovy Kind of Love." They undertook extensive US tours in 1966, performing at venues such as the Fillmore West, but declining chart performance and internal challenges led to their dissolution in late 1968. During this period, Stewart began collaborating more closely with session musicians Graham Gouldman, Kevin Godley, and Lol Creme, who were active in Manchester's music scene. Gouldman, Godley, and Creme supplemented their incomes through prolific session work, contributing to bubblegum pop productions in the mid-to-late , including tracks for producers like , whose 1966 hit "Winchester Cathedral" by exemplified the novelty-driven style they engaged with. Gouldman penned several international hits for other acts, while Godley and Creme provided instrumentation and arrangements for various recordings, honing their multi-instrumental skills amid the era's commercial pop demands. In 1968, Godley, Creme, and Stewart established in a converted 18th-century building at 3 Waterloo Road in , equipping it with a basic four-track recorder and minimal setup to facilitate affordable demo recordings. The studio quickly became a creative hub for the trio, with Gouldman joining upon his return from US-based songwriting commitments; early sessions there produced experimental tracks such as "Umbrella for Two," laying groundwork for their future collaborations.

Pre-10cc projects (1970–1971)

In 1970, , , and formed the short-lived band at in , , initially as a studio project to test new recording equipment. The trio, later joined briefly by , recorded the primitive, drum-heavy track "Neanderthal Man," which became an unexpected hit, peaking at No. 2 on the and spending 14 weeks in the top ranks. The single also reached No. 22 on the US Billboard Hot 100 and achieved international success, selling over two million copies worldwide. This commercial breakthrough provided crucial funding to upgrade and sustain ' operations, allowing the group to invest in better multitrack facilities. Amid these efforts, , and Stewart adopted the pseudonym Doctor Father for bubblegum pop recordings produced at the studio, releasing the novelty single "Umbopo" backed with "Roll On" in 1970. These lighthearted, commercial tracks exemplified the era's bubblegum style, characterized by catchy hooks and simple arrangements, and helped generate additional revenue for the studio while honing the musicians' production skills. Similarly, fronted for the 1971 single "," a bubblegum-inflected release that continued their experimentation with pop formulas at Strawberry. By late 1971, the full quartet—Gouldman, Stewart, Godley, and Creme—collaborated under the name , recording a slower version of the track "Today" for a 1972 single release. These overlapping personnel experiments fostered versatility among the members, with each contributing vocals, guitars, drums, and keyboards across projects, laying the groundwork for their collective songwriting approach. The income from these endeavors not only stabilized but also enabled the group to refine their studio-based creativity without external pressures.

Original lineup and breakthrough (1972–1976)

In 1972, 10cc was officially formed as a consisting of on bass and vocals, on guitar and vocals, on drums and vocals, and on guitar and vocals, building on their prior collaborations at in , . The band's name originated from a suggestion by UK Records label founder , who signed them after being impressed by demo tapes of "Donna" and "Sea Side Opera" recorded by Gouldman's manager Harvey Lisberg. Their debut single, "Donna"—a written by Godley and Creme—became an immediate hit, peaking at No. 2 on the in 1972 and establishing their playful, eclectic style. This success led to the release of their self-titled debut album 10cc in 1973, which showcased their multi-instrumental versatility and satirical songwriting, though it initially charted modestly at No. 36 in the UK. The band's breakthrough accelerated with their second album, (1974), which peaked at No. 9 on the and featured the single "," a sardonic commentary on excess that reached No. 10 in the UK. Produced entirely in-house at , the album highlighted their sophisticated arrangements and humor, blending rock, pop, and elements. In 1975, marked their commercial peak, entering the at No. 6 and peaking at No. 3, and reaching No. 15 in the on the 200. The album's standout track, "" (written by Gouldman and Stewart), topped the for three weeks and climbed to No. 2 on the , earning three for its innovative production. The song's ethereal "choir" effect was achieved through meticulous engineering at , where the band created tape loops of their own voices, approximately 256 individual tracks across 16 synchronized reel-to-reel machines to build lush, chromatic harmonies supporting Stewart's lead vocal. This technique, involving days of recording and live mixing via faders, transformed a simple demo into a six-minute sonic landmark with minimal instrumentation beyond , guitar, and a mimicking bass drums. The album's success prompted 10cc's first major tour in late 1975, including performances at venues like the , solidifying their international appeal. By 1976, 10cc released How Dare You!, their fourth album, which peaked at No. 5 on the and continued their streak of self-produced, genre-blending work with tracks like "" (UK No. 5) and "" (UK No. 6). Despite the commercial momentum—with global surpassing 10 million units by this point—the band experienced growing internal tensions, particularly as Godley and Creme became increasingly focused on developing the Gizmotron, a custom guitar effects device, signaling their impending departure. This period represented the original lineup's creative zenith, characterized by innovative studio experimentation and hit-driven success that defined 10cc's classic era.

Split and second era (1976–1983)

In late 1976, following the release of the album How Dare You!, and departed from 10cc to pursue a duo career, driven by creative differences and their interest in experimental projects, including the development of the Gizmotron, a string-bending device for guitars. and retained the band name and recruited drummer Paul Burgess, who had previously been a for the group, to form a new lineup. The reconstituted duo released in 1977, which reached number 3 on the and featured the single "The Things We Do for Love," peaking at number 6 in the UK and number 5 on the US Hot 100. This album marked a shift toward a more streamlined pop-rock sound, emphasizing Stewart and Gouldman's songwriting partnership while incorporating Burgess's contributions on drums. Meanwhile, Godley and Creme issued their ambitious triple album Consequences in 1977, a conceptual work blending music with spoken-word elements, produced at the band's former . Building on this momentum, 10cc's next release, in 1978, climbed to number 3 on the and included the reggae-influenced single "," which became their third UK number 1 hit, topping the chart for one week. The album's eclectic style, ranging from rhythms to , showcased the duo's versatility and helped propel the band's global sales past 15 million records by 1980. Tragedy struck in January 1979 when Stewart suffered severe injuries in a car accident near , , including temporary blindness in one eye and damage to his , forcing a and complicating the band's touring plans. These issues affected the production and reception of Look Hear?, released in 1980, which only reached number 35 on the , reflecting a dip in commercial performance amid Stewart's recovery. The duo's final album together, in 1981, failed to chart in the UK despite contributions from additional musicians like , signaling waning label support from . By 1983, with sales declining and ongoing contractual disputes, Stewart and Gouldman parted ways after releasing Windows in the Jungle, which peaked at number 70 on the , effectively ending the second era of 10cc as a recording entity.

Hiatus and individual pursuits (1984–1991)

Following the release of 10cc's 1983 album Windows in the Jungle, which marked the end of the band's second era lineup featuring and alongside session musicians, the group entered an extended hiatus with no official recordings or tours under the 10cc name until 1991. During this period, the original members pursued divergent paths in music production, songwriting, and visual media, occasionally collaborating informally but without reviving the band. Eric Stewart, who had already released solo albums Girls (1980) and Frooty Rooties (1982), shifted focus to high-profile collaborations, particularly with Paul McCartney. He contributed guitar, keyboards, and co-writing to McCartney's Give My Regards to Broad Street (1984), including tracks like "No More Lonely Nights," and played a key role in Press to Play (1986), co-writing songs such as "However Absurd" and "Yvonne's the One." These partnerships highlighted Stewart's production expertise, honed at Strawberry Studios, and kept him active in mainstream pop without a return to 10cc activities. He also maintained occasional demos with Gouldman, exploring new material that remained unreleased during the hiatus. Graham Gouldman, meanwhile, channeled his songwriting talents into the Anglo-American duo alongside , releasing Magnetic Heaven (1986) and Thoughtful Little Angel (1988), which blended pop hooks with sophisticated arrangements reminiscent of 10cc's style. The partnership yielded modest hits like "Right Between the Eyes" and involved live performances, providing Gouldman an outlet for his RAK-era session-writing experience from the , though he contributed to fewer external projects in the 1980s. Gouldman's demos with Stewart during this time served as a low-key creative bridge, preserving their collaborative chemistry amid individual endeavors. Kevin Godley and Lol Creme, whose duo had wrapped with Birds of Prey (1983) after earlier efforts like Ismism (1981), pivoted to innovative music video direction, leveraging their experimental background from 10cc and Godley & Creme. They helmed over 50 videos in the 1980s, including Peter Gabriel's "Sledgehammer" (1986), which won MTV awards for its groundbreaking animation and stop-motion techniques, and their own "Cry" (1985) from the remix album The History Mix Volume 1, pioneering early morphing effects. Other notable works included Wang Chung's "Everybody Have Fun Tonight" (1986) and the B-52's "Love Shack" (1989), emphasizing visual storytelling that influenced the MTV era. Godley ventured into solo production, releasing the single "This Sporting Life" (1988), while Creme contributed scores to British television, such as sketches for The Kenny Everett Television Show, and appeared in minor acting roles. Their video work, often self-produced through 10cc Films, represented a creative evolution from audio experimentation to multimedia innovation during the band's dormancy.

Partial reunion (1991–1995)

In 1991, and reformed 10cc as a duo, marking the band's return after an eight-year hiatus from studio recordings. The reunion was driven by the pair's desire to revive the project, resulting in the tenth studio album ...Meanwhile, released in 1992 on . Produced by , known for his work with , the album featured guest contributions from former members and on select tracks, though it was primarily composed and performed by Gouldman and Stewart. Recording took place primarily in and studios, including and , emphasizing multi-tracked vocals and instrumentation characteristic of the band's earlier sound. The album blended with elements, incorporating arrangements and progressive touches across tracks like "Woman in Love" and "," the latter serving as the lead released in September 1992. "Woman in Love" followed as a in April 1992, but neither achieved significant commercial success, reflecting the band's shift from their chart dominance. ...Meanwhile entered the at No. 75, underscoring a modest reception compared to prior releases. Following the album's release, 10cc embarked on a comeback tour, beginning with dates in in March 1993. The lineup featured Stewart and Gouldman alongside on guitar, Stephen Power on keyboards, on and , and Mick Wilson on . Performances from Tokyo's Mielparque Hall and Gotanda U-Port Hall were captured for the live Alive, issued later that year as a double CD capturing the band's energetic setlist of classics and new material. The tour extended into through 1995, maintaining this configuration and showcasing the duo's core songwriting synergy amid the expanded ensemble. Tensions within the partnership culminated in a split by late 1995 due to growing creative differences between Stewart and Gouldman. Stewart retired from touring and recording with 10cc, while Gouldman shifted focus to other endeavors, including session work; the band's future remained uncertain until later iterations. The period's output highlighted 10cc's enduring creative chemistry but underscored the challenges of sustaining the original vision without the full quartet.

Touring band and recent developments (1999–present)

Following the partial reunion of the 1990s, revived 10cc in 1999 as a touring-only outfit, enlisting longtime collaborators on guitar and bass and Paul Burgess on drums, alongside additional musicians to focus exclusively on live performances of the band's classic hits without producing new studio material. This configuration emphasized the group's enduring catalog, including staples like "" and "," and sustained a steady schedule of concerts rather than recording endeavors. Throughout the , the band undertook multiple European tours, including a 28-date run followed by scattered dates, solidifying their reputation as a reliable live act drawing on for their art-rock heyday. Substitutions became occasional necessities amid scheduling demands; for instance, guitarist Nick Kendall filled in for Fenn during 2020–2021 shows impacted by the , while keyboardist Ciaran Jeremiah temporarily replaced Keith Hayman on the November 2023 European leg, as Hayman was committed to touring with . In 2023, the group also completed a successful tour, performing hits across multiple cities, and made a notable television appearance on ITV's This Morning on July 19 to promote their ongoing live efforts. The band's international momentum continued with a landmark 20-date North American tour in 2024—their first major U.S. run in over three decades—kicking off on July 24 in , and spanning venues from coast to coast. Building on this, 10cc launched the "Ultimate Ultimate Greatest Hits Tour" in the U.S. in 2025, commencing August 27 in , and covering 17 cities through October, with performances highlighting their signature eclectic repertoire. That same year, on February 13, co-founders and Gouldman staged a one-off reunion for BBC Radio 2's Piano Room, accompanied by the under conductor , where they performed "I'm Not in Love" alongside a cover and a new track co-written for the occasion. As of late 2025, the touring lineup consists of Gouldman (bass, guitars, vocals), Fenn (lead guitar, bass, vocals), Keith Hayman (keyboards, guitars), Iain Hornal (guitars, vocals), and Ben Stone (drums), the latter having replaced Burgess following his departure after over 50 years with the group. These legacy-oriented shows prioritize faithful recreations of 10cc's innovative 1970s sound, maintaining the band's active presence without venturing into fresh recordings.

Musical style and legacy

Songwriting and production innovations

10cc's songwriting process was highly collaborative, characterized by two primary creative partnerships within the original lineup: and focusing on melodic pop structures, and and exploring more experimental elements. Once an initial idea emerged, the full quartet would refine it collectively, ensuring songs reflected a unified band identity rather than individual egos. This approach allowed for fluid contributions, with credits often shared, as seen in "," written primarily by and but enhanced by input from and . A key innovation was the rotation of lead vocals among members, enabling diverse timbres and perspectives on each track. For instance, handled leads on "," on "," and on "," all UK number-one hits that showcased this democratic vocal strategy. This rotation not only maximized the band's multi-vocal strengths but also prevented any single voice from dominating their eclectic catalog. In production, 10cc pioneered dense, layered arrangements at their in , utilizing the facility's 16-track 3M machine and custom console to create immersive soundscapes without relying on session musicians. All four members were proficient multi-instrumentalists—capable of handling guitars, keyboards, bass, drums, and more—allowing them to build complex textures internally, as evident in the self-contained recordings of their early albums. Techniques included tape loops and multitracking; for "," they recorded 624 individual vocal performances (16 takes by three singers across 13 chromatic notes) over three weeks, mixed down into 12-foot loops on a machine to form an "" backing that mimicked a or . This resulted in over 250 separate vocal tracks, transforming the mixing desk into an instrument itself. They also incorporated effects like vocoders for synthetic vocal timbres and subtle tape manipulations, enhancing their leanings. Lyrically, 10cc infused parody and satire into their compositions, often masking sharp commentary with upbeat melodies. "Rubber Bullets," for example, satirizes prison riot tropes from classic films like those starring James Cagney, depicting a chaotic jailhouse "party" quelled by non-lethal force, complete with ironic lines about "balls and chains." Their early work drew from bubblegum pop influences—honed during rapid-fire sessions producing disposable tracks at Strawberry Studios in the late 1960s—which evolved into sophisticated art pop by the 1970s, blending witty deconstructions of genres with emotional depth in songs like "The Things We Do for Love." This progression underscored their ability to elevate pop conventions through technical ingenuity and humorous insight.

Influences and genre evolution

10cc's early musical influences were deeply rooted in the pop sounds of the , particularly the harmonious arrangements of and , which shaped the band's initial approach to melody and vocal layering. , a founding member, drew from the pop tradition through his songwriting successes in the decade, including hits like "For Your Love" for the Yardbirds and "Bus Stop" for , emphasizing concise, hook-driven structures that informed 10cc's formative style. The band's genre evolved significantly during the 1970s, transitioning from straightforward pop-rock to incorporating progressive elements on their 1975 album The Original Soundtrack, where extended compositions and conceptual themes marked a shift toward art rock experimentation. Following the original lineup's split, the second era introduced diverse influences, such as the reggae rhythms in "Dreadlock Holiday" from 1978's Bloody Tourists, blending tropical grooves with the group's satirical edge amid the era's disco trends. In later phases, 10cc returned to pop-oriented sounds with the 1992 album ...Meanwhile, reviving their melodic roots in a more mature, varied context after a prolonged hiatus. The touring era from 1999 onward has focused on performing classic hits and select album tracks, maintaining the band's established repertoire without venturing into new genre experimentation. Overall, 10cc's style represents a unique blend of , , and satirical lyricism, often drawing comparisons to for their witty, eclectic pop and to for intricate arrangements within accessible frameworks. Production innovations at enabled this versatility, allowing seamless integration of diverse influences into cohesive tracks.

Critical reception and cultural impact

During the 1970s, 10cc received widespread critical acclaim for their innovative songwriting and production, particularly with albums like (1974), which was praised for its sly humor and witty lyrical twists that blended pop accessibility with progressive experimentation. The band's breakthrough hit "I'm Not in Love," from the 1975 album , earned a Grammy nomination for Best Engineered Recording, Non-Classical, highlighting their groundbreaking vocal layering techniques. In the UK, 10cc achieved six gold album certifications from the BPI for sales exceeding 100,000 units each, including , , How Dare You! (1976), (1977), (1978), and Greatest Hits (1975). The 1980s saw mixed reviews for 10cc's output amid a commercial dip, with albums like Look Hear? (1980) and (1981) criticized for lacking the spark of their earlier work, though still noted for occasional flashes of their signature eclecticism. The band's reunion efforts, including the 1992 album Meanwhile, were often viewed as nostalgic cash-ins rather than creative renewals, receiving lukewarm reception for relying heavily on past glories. More recent tours, however, have been lauded for their high energy and tight performances; for instance, U.S. shows were described as vibrant and engaging, with the band delivering timeless hits in a playful, audience-pleasing manner. 10cc's cultural impact endures through their songs' appearances in media and influence on subsequent artists, such as their track "The Things We Do for Love" featuring in films and TV series, contributing to a revival among younger audiences via streaming platforms. The band's witty, genre-blending style has inspired acts like The Divine Comedy, whose frontman has echoed 10cc's sophisticated pop humor in his orchestral arrangements. Ongoing tours from 2023 to 2025 have boosted visibility, culminating in a milestone Piano Room session on February 13, 2025, featuring a reunion performance with former member and the , including a new track, to celebrate the 50th anniversary of .

Band members

Core and original members

Graham Gouldman (born May 10, 1946) is the bassist, vocalist, and primary songwriter of 10cc, serving as a co-founder and the only continuous member since the band's formation in 1972. He has remained active with the group through various lineups and reunions up to the present day. Gouldman's contributions include co-writing major hits such as "Donna," "Rubber Bullets," "I'm Not in Love," and "Dreadlock Holiday," which helped propel 10cc to international success with over 30 million albums sold. His songwriting prowess, honed from earlier work with acts like the Yardbirds and the Hollies, defined the band's eclectic pop style during its original era. Eric Stewart (born January 20, 1945) co-founded 10cc in 1972 as the lead guitarist, vocalist, and producer, playing a pivotal role in the band's studio innovations until his departure in 1995. Stewart retired from music activities around 2018 following a long career. He co-wrote key tracks like and engineered the band's early recordings at , which he co-owned. His production expertise contributed to 10cc's sophisticated sound, including the multi-layered vocals on their breakthrough albums. Kevin Godley (born October 7, 1945) was the original drummer and vocalist for 10cc from 1972 to 1976, when he left alongside to form the duo . He has made occasional returns for reunions and recordings. In February 2025, Godley reunited with Gouldman for a 50th-anniversary performance of and released new music together for the first time in nearly two decades. Godley's innovations included co-inventing the Gizmotron, a device used on 10cc's tracks to create orchestral effects, and co-writing songs like "Donna" and contributions to the album How Dare You!. His experimental approach influenced the band's elements before shifting to the duo's successful video-directed career. Lol Creme (born September 19, 1947) served as guitarist, vocalist, and in 10cc's founding lineup from 1972 to 1976, departing with Godley to pursue their joint project. Like Godley, he has participated in sporadic reunions. Creme co-wrote early hits including "Donna" and collaborated on the Gizmotron, enhancing 10cc's sonic experimentation on albums like . His versatility as a supported the band's complex arrangements during its breakthrough years. Paul Burgess (born September 28, 1950) joined 10cc as a session and touring in 1973, becoming a full core member from 1977 to 1995 and rejoining in 1999 until his departure in October 2025. He provided percussion support on albums such as and , stabilizing the rhythm section post-1976 split. Burgess's long tenure, spanning over 50 years of live performances, extended the band's touring legacy through multiple eras.

Touring and session members

Rick Fenn (born 23 May 1953) joined 10cc as lead guitarist in late 1976, coinciding with the release of the album Deceptive Bends, and has remained a key figure in the band's second era and subsequent tours, contributing guitar, bass, and vocals to both studio and live performances. Keith Hayman has served as the band's keyboardist since the mid-2000s, providing keyboards, guitar, bass, and vocals on tours, with occasional substitutions such as Ciaran Jeremiah filling in during 2023 while Hayman toured with Cliff Richard. Iain Hornal joined the touring lineup in the , handling vocals, guitar, bass, keyboards, and percussion, and has become an integral for live shows. In earlier reunion periods, session musicians included Stephen Power on keyboards from 1991 to 1995, supporting recordings and tours during that phase. Recent changes have included Nick Kendall substituting for on guitar from 2020 to 2021 due to health issues, while the 2024–2025 tours have seen increased stability with the core touring ensemble. Ben Stone was added as drummer and in late 2025, replacing longtime member Paul Burgess after over 50 years.

Discography

Studio albums

10cc's studio discography spans eleven albums released between 1973 and 1995, with the band frequently self-producing their work at in , . Their output during the , particularly the five consecutive top-ten albums from to , forms the core of their catalog and established their reputation for eclectic and pop experimentation. Later releases saw shifts in lineup and labels, but no new studio albums have appeared since 1995. The band's debut, 10cc, was released in July 1973 on Records and produced by the group themselves; it peaked at number 36 on the and was certified silver by the BPI for 60,000 units sold. , their sophomore effort, arrived in May 1974, also on Records and self-produced; it reached number 9 on the chart. In 1975, The Original Soundtrack marked their move to Mercury Records, with the band again handling production; the album climbed to number 3 in the UK and earned gold certification from the BPI for 100,000 units. How Dare You!, released in late 1976 on Mercury and self-produced, peaked at number 5 on the UK Albums Chart and was certified gold by the BPI. The 1977 album , the first following the departure of and , was produced by the remaining members on Mercury and reached number 3 in the , achieving status from the BPI. followed in September 1978 on Mercury, self-produced by the duo of and ; it hit number 3 on the chart and received certification from the BPI. Switching to Warner Bros. Records, Look Hear? emerged in 1980, produced by Stewart and Gouldman, and peaked at number 35 in the UK. The 1981 release , produced primarily by on Warner Bros., failed to chart on the . (Note: Using secondary source as primary chart data limited; position per historical records) Windows in the Jungle, issued in 1983 on Warner Bros. and co-produced by Stewart and Arthur Baker, charted at number 70 in the UK. The 1992 reunion album ...Meanwhile, reunited Stewart and Gouldman on Polydor Records, with production credited to the pair; it narrowly missed the UK top 75 Albums Chart. (Note: Position per alternative chart records as it bordered official top 75) MirrorMirror, the final studio album, was released in 1995 on Carrere/Avex and produced by Graham Gouldman following Stewart's departure; it failed to chart.

Live albums and compilations

10cc's live recordings capture the band's energetic performances and multi-layered arrangements, beginning with their debut live album in 1977. Recorded at London's during their May tour dates, the double album features extended versions of hits like and ," showcasing the original lineup's vocal harmonies and instrumental prowess. It peaked at No. 14 on the and earned gold certification in the UK for sales exceeding 100,000 copies. Following a period of lineup changes and reduced activity, 10cc returned with Alive in , a double-CD set documenting their comeback tour. Captured at Mielparque Hall and Gotanda U-Port Hall in on March 22 and 24, it was initially released exclusively in , highlighting tracks from their 1992 album ...Meanwhile alongside classics such as "" and a medley of early hits. The album reflects the band's resilience post-1980s, with and leading a reformed group. No or chart entry was recorded for this release. Subsequent live efforts include Clever Clogs (2008), recorded at the Festival in , , on June 30, 2007. This single-disc album emphasizes the touring band's tight execution of fan favorites like "" and "," produced by the post-Godley/Creme era lineup. It received positive reviews for preserving 10cc's whimsical pop style in a setting but did not chart prominently. In 2011, a compilation-style live release Greatest Hits Live emerged from tour recordings, offering a two-CD overview of their setlist staples, available primarily through fan channels and digital platforms. Compilations have played a key role in sustaining 10cc's catalog, starting with in 1979, which assembled their era singles and reached No. 5 on the . The collection, featuring 11 tracks including "Donna" and "," marked the end of the classic lineup's commercial peak and was reissued digitally in the for streaming services. Later, (1997) curated 18 essential songs from their output, peaking at No. 37 in the UK and emphasizing their satirical songcraft. Regional and thematic compilations expanded accessibility, such as : The Essential Collection (2002), a two-CD set focusing on ballads and hits like the , released by Spectrum Music and charting modestly in . Box sets in the , including 20 Years: 1972–1992 (2024) from Edsel Records, bundle studio and live albums across 14 CDs, totaling 145 tracks from the band's formative decades, with remastered audio for archival appeal. These releases, alongside streaming-era digital reissues like expanded greatest hits packages, have introduced 10cc's innovative pop to new audiences without new studio material.

Notable singles

10cc achieved significant commercial success through their singles in the 1970s, scoring three number-one hits and a total of 11 top 10 singles during that decade. Their debut single "Donna," released in , peaked at number 2 on the and marked the band's breakthrough with its pastiche style. "Rubber Bullets," issued in 1973, became their first number-one single, holding the top spot for one week and reaching number 23 on the Hot 100. The track's satirical lyrics on prison riots contributed to its cultural resonance as a commentary on social unrest. In 1975, "" topped the for two weeks and climbed to number 2 on the US , where it spent 17 weeks. Renowned for its innovative production using a 256-voice vocal loop, the song exemplified 10cc's studio experimentation and became a staple of radio. "," released in late 1976, peaked at number 6 in the UK and number 5 on the US , showcasing the band's melodic pop sensibilities post the departure of and . The 1978 single "" secured 10cc's third number-one position, lasting one week at the top, while reaching number 44 on the US . Its reggae-infused narrative about a tourist's mishaps in highlighted the band's genre versatility and international appeal. Later releases included "" in 1992, which charted at number 80 in the during a brief reunion period. Additionally, "Cry" by former members Godley and Creme in 1985, often associated with 10cc's legacy due to their foundational roles, peaked at number 16 on the US and number 19 in the . 10cc's singles often featured notable B-sides, such as "4% of Something," the flip side to "Johnny Don't Do It" in , which showcased their humorous, experimental side without charting independently. In the , streaming has led to digital re-entries for classics like on various platforms, sustaining their chart presence through renewed popularity on services like .

Filmography and media appearances

Feature films and soundtracks

10cc's music has been prominently featured in several feature films, primarily through the inclusion of their signature 1975 single "I'm Not in Love" from the album The Original Soundtrack. This track, known for its innovative multi-tracked vocal arrangement simulating a 256-voice choir, has been licensed for its evocative, introspective quality, enhancing emotional and nostalgic scenes across genres. In Sofia Coppola's 1999 coming-of-age drama The Virgin Suicides, "I'm Not in Love" appears on the official soundtrack and plays during pivotal moments that capture the film's themes of adolescent longing and isolation among the Lisbon sisters. The song's dreamy, ethereal production complements the period setting and the narrative's hazy recollection of 1970s suburbia. The same year, the track was incorporated into the comedy Deuce Bigalow: Male Gigolo, where it underscores a scene of romantic pursuit and vulnerability, providing ironic contrast to the film's humor and highlighting the protagonist's emotional turmoil after a confrontation. By 2004, "I'm Not in Love" resurfaced in the sequel Bridget Jones: The Edge of Reason, contributing to the 's eclectic mix of pop classics that mirror Bridget's chaotic love life and personal growth during her travels and trials. Its placement emphasizes themes of denial and unspoken affection central to the story. The song's enduring appeal extended into superhero cinema with its feature in the 2014 Marvel film , where it opens the narrative by accompanying young Peter Quill's abduction scene, setting a poignant, otherworldly tone amid the sci-fi action and blending seamlessly with the film's retro aesthetic. While 10cc contributed no original scores to feature films, the recurrent use of "" underscores the band's lasting influence on cinematic , particularly in evoking 1970s without direct band appearances or cameos in productions.

Television and other media

10cc made several notable television appearances during their 1970s peak, frequently performing on the BBC's to promote their hit singles, including "Donna" in 1972, "" in 1973, and "" on the Christmas special aired December 25, 1975. In 2023, the band returned to British television with a live performance on ITV's This Morning, marking the launch of their 50th anniversary Ultimate Greatest Hits Tour and featuring classics like "." In February 2025, co-founders and reunited for a special orchestral session in BBC Radio 2's Piano Room, accompanied by the under conductor ; the performance, including reimagined versions of "I'm Not in Love" and "I Don't Want to Go to Heaven," was recorded for radio broadcast and released as accompanying video content on platforms like and . The band pioneered early music videos in the 1970s, producing innovative promotional clips that showcased their studio experimentation, such as the stylized 1979 performance video for "I'm Not in Love," which captured the song's layered vocal production through lip-sync footage of the band. Former members Kevin Godley and Lol Creme, after leaving 10cc in 1976, became influential music video directors, helming iconic clips for artists like Peter Gabriel ("Don't Give Up," 1986) and Duran Duran ("A View to a Kill," 1985), as well as the 1989 video for Band Aid II's "Do They Know It's Christmas?" In other media, 10cc's music has appeared in advertisements and modern content; for instance, "I'm Not in Love" has been licensed for various commercials since the , contributing to its enduring cultural presence. In 2023, the track was sampled by in her song "Shutcho" from the album , introducing it to a new generation of listeners, as noted by in 2025 interviews. The band's story features in streaming documentaries, including the 2015 I'm Not in Love: The Story of 10cc, which remains available on and has been referenced in 2020s podcasts like The Consequences Podcast for its insights into their creative process. The Official 10cc maintains an active online presence, sharing exclusive videos such as rare archival footage and live clips on to engage fans. More recently, fan-recorded and professional footage from the band's 2024 Ultimate Greatest Hits Tour has proliferated on , including full concerts from venues like the Wellmont Theater in , on July 24, 2024, highlighting their ongoing live appeal.

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