My Favorite Songs by 10cc (Part One)

“Rubber Bullets” is a 1973 single by the English art-rock/pop quartet 10cc, written and produced by members Lol Creme, Kevin Godley, and Graham Gouldman and issued from their self-titled debut album; it exists in multiple versions — the album cut runs over five minutes while shorter single and U.S. radio edits trim that down — and the track’s quirky instrumentation

(including a distinctive double-speed guitar solo) underscores its satirical narrative about a raucous prison party that escalates into a riot, prompting authorities to “load up with rubber bullets” and break it up, a lyrical conceit that references both cinematic jails-gone-wild and broader themes of authority and rebellion;

the song became the band’s first U.K. number-one hit (also topping charts in Ireland and reaching the top three in Australia) though it fared modestly in North America, and it drew some broadcast controversy at the time because listeners misread it as commentary on political unrest,

later being banned by the BBC during the Gulf War, while various artists have covered it and it has appeared in media such as the pilot of the animated series Superjail! and a film soundtrack.

“Clockwork Creep” is a quirky, suspense-tinged track by the English art-pop/rock quartet 10cc, written by Kevin Godley and Lol Creme and appearing as the fifth song on their 1974 album Sheet Music, which reached No. 9 on the U.K. charts (though the song itself was not released as a standalone charting single) and showcases the band’s

blend of clever songwriting and studio inventiveness; the lyrics unfold from the unusual perspective of a time bomb aboard a jumbo jet ticking down to detonation, mixing darkly humorous imagery with existential anxiety as the “clockwork creep” narrator frets over being wound up and unable to “unwind” while describing the doomed aircraft’s final moments, a narrative that encapsulates both literal tension and metaphorical dread about

being trapped in a mechanical fate, and elements of the song were cleverly referenced in the band’s later single “I’m Mandy Fly Me,” which incorporates a snippet of Clockwork Creep’s aviation motif; over the years it has become a cult favorite among fans for its tight arrangement

and narrative twist, though it never achieved the commercial prominence of 10cc’s bigger hits, and like much of 10cc’s early work it reflects their playful yet incisive approach to pop and rock songwriting.

“Life Is a Minestrone” is a 1975 song by the English art-rock/pop band 10cc, penned by Eric Stewart and Lol Creme and released as the lead single from their third studio album The Original Soundtrack with production by the band, appearing in a shorter single version around 4:08 and a slightly longer album cut, and built around a whimsical

metaphor equating life to a mixed-up soup of experiences with lyrics that leap from dancing on the White House lawn to contemplating “death is a cold lasagne,” capturing both absurdity and a tongue-in-cheek philosophical bent that satirizes earnest “meaning of life” songs of the era; the single became a Top 10 hit in the U.K. (peaking at No. 7) and Ireland and reached

No. 12 in the Dutch charts though it barely registered in the U.S. (just outside the Hot 100), and though it’s less globally famous than their follow-up “I’m Not in Love,” it remains a memorable example of 10cc’s clever songwriting and eclectic style with a catchy melody and offbeat lyrical imagery that reflect their playful, genre-blending approach.

“Rock ’n’ Roll Lullaby” is a track by the English art-pop/rock band 10cc written by Graham Gouldman and Eric Stewart and appearing on their fourth studio album How Dare You! (1976), where it sits among a diverse set of songs that range from quirky pop to experimental sketches; unlike other songs on the album it was not released as a single

and thus didn’t chart independently, but it remains a favorite deeper cut for many listeners for its blend of affectionate nostalgia and playful songwriting. The song’s title and lyrics play on the idea of a grown-up rock-and-roll aesthetic applied to the tender ritual of singing a child to sleep, with imagery of the Sandman and dreams in a way that combines innocence and the bittersweet passage of childhood, and its musical style nods to

1950s doo-wop and classic pop while still bearing 10cc’s studio polish. Lead vocals on the track are shared, as was typical for the band’s multi-singer approach, and the recording showcases their layered harmonies and concise arrangement within the album’s overarching art-pop context; though it never achieved commercial rankings like the

album’s singles “I’m Mandy Fly Me” and “Art for Art’s Sake,” it contributes to the eclectic character of How Dare You! and is appreciated by fans for its warmth and clever lyrical twist on the familiar lullaby trope.

“Dreadlock Holiday” is a 1978 reggae-rock single by the English band 10cc, written by Eric Stewart and Graham Gouldman and produced by the group as the lead release from their album Bloody Tourists, available in standard single form around 4:28 and a longer album version near 5:01 that blends reggae rhythm with the band’s pop sensibilities;

the lyrics — delivered with a conversational, humorous tone by Gouldman — tell the tongue-in-cheek story of a white tourist’s comic misadventures in a Caribbean setting and feature the unforgettable refrain “I don’t like cricket, oh no, I love it,” a line inspired by real encounters Stewart and Gouldman had on trips to Barbados and Jamaica

that play with outsider/insider cultural dynamics and showcase 10cc’s knack for narrative wit. The song became one of 10cc’s biggest commercial successes, reaching No. 1 on the U.K. Singles Chart and topping charts in Belgium, the Netherlands, and New Zealand while peaking at No. 2 in Ireland and Australia and making a modest showing in

North America (No. 44 on the U.S. Billboard Hot 100 and No. 45 in Canada); over the decades it has been used in films and television, sampled by other artists, and remains a defining example of the band’s ability to marry catchy hooks with clever storytelling, even as some modern listeners debate its cultural portrayals.

“Feel the Benefit” is an eleven-and-a-half-minute progressive pop/art-rock epic by English band 10cc, written by Eric Stewart and Graham Gouldman and closing their 1977 album Deceptive Bends; unlike a typical single it wasn’t released separately for radio play or charting but has become a fan favorite and a staple of their live

shows because of its ambitious structure and shifting moods. The piece is divided into three distinct sections — “Reminisce and Speculate,” which opens with a slow, Beatles-esque guitar progression and orchestral accents; “A Latin Break,” which brings in Latin and reggae-inflected rhythms and a more upbeat vocal by Gouldman;

and a reprise of the first section culminating in an extended guitar solo — demonstrating the band’s penchant for blending styles within one composition. Lyrically the song plays on the refrain about not “feeling the benefit” of choices made, juxtaposing everyday admonitions with imagery of travel, adventure and philosophical reflection,

suggesting themes of consequence, experience, and unity even as its narrative remains open to interpretation. While Deceptive Bends reached respectable chart positions as an album and spawned charting singles, “Feel the Benefit” itself

didn’t produce a chart ranking due to its album-only format, and critical and fan reception over time has recognized it as an ambitious and distinctive part of 10cc’s catalog, albeit one that divides some listeners because of its length and eclectic shifts.