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Sheet Music
Sheet Music
Genres: Pop, Rock, Classic Rock
  •  Track Listings (10) - Disc #1

Digitally remastered, German reissue of 1974 album featuring'The Worst Band In The World'. Includes 2 bonus tracks '18 Carat Man Of Means' & 'Gismo My Way'. 2000 release. Standard jewel case.


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CD Details

All Artists: 10cc
Title: Sheet Music
Members Wishing: 4
Total Copies: 0
Label: Original Masters UK
Original Release Date: 1/1/1974
Re-Release Date: 5/16/2000
Album Type: Original recording reissued
Genres: Pop, Rock, Classic Rock
Styles: Progressive, Progressive Rock, Album-Oriented Rock (AOR)
Number of Discs: 1
SwapaCD Credits: 1
UPC: 636551560528


Album Description
Digitally remastered, German reissue of 1974 album featuring'The Worst Band In The World'. Includes 2 bonus tracks '18 Carat Man Of Means' & 'Gismo My Way'. 2000 release. Standard jewel case.

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CD Reviews

Somewhere, anywhere near Burbank
T. A. Smith | iowa city | 08/01/2007
(5 out of 5 stars)

"This album made a really horrible summer over into a great one for me in 1974. Fresh out of hospital, supposedly dying from pulmonary emboli in both lungs, new apartment, beautiful summer evening, a young girl, and a tab of something strawberry...Totally unlike me, NOW, but THEN, I dug this album the most since chicks seemed to dig it. Rolling stone dug it. Clapton's release from Miami sucked, period. These guys were like evil twin genius Lennon-McCartney clones gone horribly wrong and kind of glam, corny, and gay all at the same time, an arrow shot straight into the heart of where rocknroll was headed. Springsteen was the other dude who was gonna rock the cradle a bit. But do not forget! No! Not once, ever! To facetiously quote a lamented recently impeached president--these guys were Cambridge and Oxford material who happened to dig music too. So, panegyric re the music business, natch, forthright economically sound "Shufflin" on "Wall Street", some what politically incorrect "Oh Effendi" and "Hotel" and perhaps "Baron Samedi" as well, but these guys were Brits, a mad, Monty Pythonesque, pop sensibility twisted like Terry Gilliam's, predicting disco and ridiculous dance crazes("Sacro-Iliac") forecasting the Western World's Waterloo in the Middle East, all over that black gold ("Oh Effendi") and even using the Republican's war words "liberate the region" some thirty years in advance...breathless as I am, so is the music. It just never stops. The "Silly Love" song, pre-Sir Paul, and much better, thank you, because it really is silly, and monstrously guitarish at the same time, will play in your head for days. "Samedi" and "Hotel" are a hoot, listened to uncritically, like on the beach, smearig the lotion on yr sunglasses...that kind of music. Have a beer. "Clockwork Creep" is a tense little totally pop masterpiece dialog betwixt a plane and a bomb. Did I say prescient? Well, I suppose if one were only smart enough, we woulod have seen all this coming, but... These guys were very intelligent, very musical, I suspect they had read Kenneth Anger and Robin Wood, and out popped "Somewhere in Hollywood" which would absolutely outdo any other genre mashup, satirical piece ever written before or since. Brian WIlson got in here as well,in "Wild Old Men", as someone else mentioned, but these guys were simply encyclopedic in their musical knowledge, both pop and theoretical, and not too proud to show it. Every single beat of every song has been absolutely marbleized by tiny little fingers. Whew. Frank Zappa finally took a bath."
10cc At Their Best
Mike B. | 07/25/2008
(5 out of 5 stars)

"The British rock band 10cc was comprised of four exceedingly clever musicians and songwriters, all of whom brought considerable gifts to the table. They'd all been working in various capacities since the mid-60's - most notably Graham Gouldman (who had written hits for the Hollies, Herman's Hermits, and the Mindbenders), and Eric Stewart (who was a member of the latter group). These two were the pop oriented half of the band, while Kevin Godley and Lol Creme contributed the more experimental, offbeat flourishes and compositions. All four sang and were multi-instrumentalists.

Their terrific debut album "10cc" got them off to a roaring start in their homeland. Two singles from it - "Donna" and "The Dean And I" - made the U.K. Top Ten, and "Rubber Bullets" hit number one. "Rubber Bullets" was a regional hit in parts of America, and gained them their first exposure here. It was about a prison riot, and sounded like the Beach Boys parodying Elvis' "Jailhouse Rock". Other tracks also had a comical slant, sometimes sung 1950's doo-wop style. Even some of the song topics were 50's-centric. The title character in "Johnny Don't Do It" became a teen angel in a motorcycle crash - "Sand In My Face" is about being picked on by a bully and invokes the Charles Atlas ads found in comic books of the era. As a whole, the album portended great things to come.

That would happen with the release of "Sheet Music" (1974). I love their first 3 albums equally, but I'm spotlighting this one because I think it's the most neglected and forgotten. "Wall Street Shuffle" was the British top-tenner off this one, while "Silly Love" only cracked the top 30. In America some of these songs received FM airplay, but none were hit singles.

10cc came into their own and found their voice on "Sheet Music". It wasn't just parodies of 50's song styles and subject matter. The humor continued unabated, but was in the service of their own concepts (less obvious and more original). It rocked harder than the previous album, and featured heavier guitars and instrumentation. "Somewhere In Hollywood" was their first Queen-esque mini-opera, a "trial run" they would build upon on later efforts. The whole album is perfect.

Same goes for their highly acclaimed third album "The Original Soundtrack". It's widely acknowledged as a masterpiece, and deservedly so. "I'm Not In Love" was surely the most fussed-over song since Brian Wilson obsessed with "Good Vibrations". Stories of the band layering the vocal chorale in the studio are legendary, and it was a worldwide smash. The "One Night In Paris" suite was their second encroachment on Queen territory, and exquisitely well done.

After their rather lackluster fourth album "How Dare You", Godley and Creme left the band. Gouldman and Stewart would carry on as 10cc with new members, and issued the wonderful "Deceptive Bends" album. "The Things We Do For Love" was a big hit, and "Feel The Benefit" was another exemplary song suite. It was the last great 10cc album. While "How Dare You" and later albums contained some good hit singles, they no longer cohered as well as earlier work, and featured too much mediocre material.

If you want to collect their best, buy "10cc", "Sheet Music" (these 2 are available singly, or together on a two-fer CD), "The Original Soundtrack", and "Deceptive Bends". To get significant singles like "Art For Art's Sake", "I'm Mandy Fly Me", and "Dreadlock Holiday" - just invest in one of the many greatest hits collections.