By 1975, with hit singles equivalent to Donna, Rubber Bullets and The Dean And I, 10cc had mastered the three-minute pop track, albeit one full of extra musical and lyrical concepts than most bands managed to suit into complete albums. 10cc’s personal long-players – the self-titled debut (1973) and follow-up Sheet Music (1974) – have been dazzlingly ingenious, incomes comparisons within the music press with the easiest. “They’re the Seaside Boys of Good Vibrations, they’re the Beatles of Penny Lane – they’re sheer brilliance,” wrote Melody Maker

The one query that remained for the critically acclaimed and commercially profitable Manchester four-piece was: easy methods to maintain this degree of invention with out repeating themselves and doing what would have been unthinkable for a band who recoiled on the apparent, resorting to formulation? The reply was to make a 3rd album together with, on one facet, a heavy steel monitor concerning the return of Jesus Christ, a cartoon ditty about life and demise and certainly the primary ever instance of Mancunian gospel; and on the opposite a nine-minute tripartite song-suite a couple of night time in Paris and a six-minute love track about not being in love which was by no means supposed to be launched as a single however which, when it did come out, grew to become a landmark instance of the shape. 

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