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10CC Live And Let Live (1977) (2-CD)

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catalog number: CDGLAM55

weight in Kg 0,120


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10CC: Live And Let Live (1977) (2-CD)



10CC - Live And Let Live (1977) (2-CD) Medium 1
1: The Second Sitting For The Last Supper
2: You've Got A Cold
3: Honeymoon With B Troop
4: Art For Art's Sake
5: People In Love
6: Wall Street Shuffle
7: Ships Don't Disappear In The Night
8: I'm Mandy Fly Me
9: Marriage Bureau Rendezvous
10CC - Live And Let Live (1977) (2-CD) Medium 2
1: Good Morning Judge
2: Feel The Benefit
3: The Things We Do For Love
4: Waterfall
5: I'm Not In Love
6: Modern Man Blues


Artikeleigenschaften von 10CC: Live And Let Live (1977) (2-CD)

  • Interpret: 10CC

  • Albumtitel: Live And Let Live (1977) (2-CD)

  • Format CD
  • Genre Beat

  • Music Genre Rock 'n' Roll
  • Music Style Beat - 60s / 70s
  • Music Sub-Genre 259 Beat - 60s - 70s
  • Title Live And Let Live (1977) (2-CD)
  • Label GLAM

  • SubGenre Beat 60s-70s

  • EAN: 5013929045521

  • weight in Kg 0.120

Artist description "10cc"

10cc, formed in Manchester, comprises Eric Stewart (vocals, guitar), Lol Creme (vocals; guitar) and Kevin Gogley (vocals, drums) who had played together as Hotlegs, a group which had a surprise British Top Five hit with 'Neanderthal Man' (Fontana) in 1970, and Graham Gouldman (vocals, bass), a successful songwriter of the Sixties who had written hits for the Yardbirds and Hollies among others. All from Manchester, the group were based at Strawberry Studios, where they recorded a series of self-produced hits on Jonathan King's UK label : 'Donna' (1972), 'Rubber Bullets', 'The Dean And I' (1973) and 'The Wall Street Shuffle' (1974), all of which showed total mastery of pre-vious rock styles, performed with a wit and polish that marked a new self-consciousness in British rock. All the members of the group write and produce equally. In 1975, after two equally fine albums, 10cc (1973) and Sheet Music (1974), they left UK for Mercury where they had a transatlantic hit with the ambitious The Original Soundtrack and the single from it, 'I'm Not In Love', a fra-gile ballad that epitomized both their inventive use of the studio as a musical instrument and their craftsmanlike atti-tude to song construction. Their second Mercury album, How Dare You (1976), which was even more ambitious, saw them less sure of themselves. None the less, it and its single, `Art For Art's Sake', were enormously successful.

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