Nick R Thomas writes:
The interview with Stuart Tosh and Rick Fenn took place in
Broadcasting House on the morning of Wednesday 8th
February 1995, about a month after producer Sonia Beldom and
myself had started work on the Well Above Average
documentary.
I had never heard (or even read) any interviews with these two
long-standing 10cc musicians so I was really keen to meet them
especially having so enjoyed their contributions to the
Classic Hits
And More tour in 1993.
We chatted on the way up to the studio and, once wed all
settled in, Sonia asked each of them to say something so she
could test sound levels. Rick described what hed had to eat
that morning muesli and Greek yoghurt, the most healthy
breakfast hed had for a long time apparently!
Stuart recited a limerick:
There was a young man named Wyatt
Whose voice was incredibly quiet
Whatever hed say
Would just fade away
Until
I cant tell you how it finished because as
he said it, he deliberately made his voice fainter and fainter!
Stuart and Rick were interesting, friendly and enthusiastic
interviewees and the time flew by. There was a lovely moment when
Sonia asked them if they rehearsed! She knew perfectly well that
they did she just wanted their startled reaction to the
question on tape and got it. That sort of technique made
her an award-winning radio producer before successfully moving on
to television.
It was a shame that we were so spoilt for choice that we were not
able to use much of what they said in the final, edited broadcast
but they did at least have the penultimate words of the
documentary and Rick was also heard on the music sessions.
We carried on chatting all the way out of the building until
saying our goodbyes. We saw Rick three more times during the
making of Well Above Average and Sonia was very taken
with the way he kissed her hand when they met!
I am delighted to have the opportunity to bring the full version
of this fascinating interview to 10cc fans
(Nick) So
Stuart, can you start by saying how you were involved in Pilot, a
litle bit about them and how you came to be invited to join 10cc?
(Stuart) Yes, well, actually, it's coming on for 20 years ago.
January was at number 1 actually. It's frightening to think about
that, time passing. It evolved from doing sessions in a studio in
Edinburgh. David Paton and Billy Lyall wrote together and they'd
sent demo's to the labels that were happening at the time. And I
played drums on some of the demo's and we went down to EMI who
loved the music and it really went from there. So we put the band
together with Iain Bairnson and my involvement was about two and
a half years really and then I left. Did a few sessions here and
there and joined 10cc. I think Pilot at the time were slotted
into being a little pop band, almost teeny-bop band, which ran
against the grain with us at the time, because there was another
Edinburgh band quite popular at the moment, at the time, clad in
tartan [Editor's
note : He is referring to a pop group called the Bay City
Rollers, whose lead singer also happened to be called Eric!] and we were sort of unfortunately,
perhaps, regarded as, in the same slot. But when the band played
live, I think people realised there was more substance than just
being a little pop band. Basically it was one of these situations
once you're labelled in that category, it's hard to get out of
it. But I think since the band's disbanded, everybody has, you
know, continued to work, to this day. David's still working with
major people and he did quite a while with Elton John. Iain
Bairnson's worked with just an unbelievable list of people. So in
that respect, musicianship still carries through.
It was quite by chance that I happened to apply for the job as it
were. I was reading a music press and read of the split and
thought "Crikey, what a shame!" A great band, I was,
been a fan really...
(Rick) Yeah, I was a big fan, me
(Stuart) and just in passing I wondered if I should phone up. So
I did and just as well I did (laughs). Like Rick, I went down to
Strawberry in Dorking and the rest is history as they say. I
suppose there is a similarity in both bands in that, in my own
point of view in that, like, vocal harmony. 10cc were very much
into vocal harmony so I was sort of naturally drawn to that when
I heard they were looking for somebody
(Nick) Rick,
can I ask you what your background was before joining 10cc?
(Rick) Well, they pretty much picked me up off the street you
know (laughs). I was in a band called Gentlemen at the time. A
Manchester band who sort of modelled themselves on Yes and
Genesis and we were doing a TV. Probably the high point of our
career and we asked Paul Burgess who was living in Manchester at
the time, asked Paul Burgess to come and sit in on drums for us,
and he rehearsed with us. He couldn't unfortunately make the gig
when it came to it. But he really liked the band and we got on
really well. My band fell to pieces about 6 to 9 months later and
I suddenly got a phone call from Paul Burgess saying, you know,
"I've played Eric and Graham tapes of the band. You've got
the gig!" I thought "Yeah, yeah sure, you know!"
(laughs). But I went to, went down for an audition which more or
less was a formality, I mean, everyone seemed to get on really
well and whoosh, there it was. So it's something of a
rags-to-riches story for me. It was fabulous (laughs).
(Nick) Can I
ask basically, because you both wrote songs on the albums, how
very much they let you get involved in the production of writing
songs, you know, the whole business of being an actual member of
10cc?
(Rick) They were really... um... when then the new band first
formed, it was definitely done in the spirit of a full band.
That's how they wanted to proceed, but obviously with Eric and
Graham sort of being responsible for releasing the new band,
being responsible for, you know, the band being what it was. They
held a tight grip of the reins, which was right and proper as it,
it should have been. But they were, in a way, they were very good
at, about letting us get involved. We, Stuart and I, both
co-wrote and Stuart actually ended up singing one of the,
actually we both ended up doing lead vocals (laughs) on some of
the stuff but Stuart actually ended up on some, one of the
singles, didn't break, but, and you know, we were all in all the
group photographs and everything like that. It was very much a
band, a band spirit for the first two studio albums and the live,
the first live album we did. And all that kind of changed around
the time when Eric had his car accident. Everything changed
around then really. It came at a terribly bad time for the band
because we were really rocking at that time. I mean everything
was going so well...
(Stuart) Very much so, and that was worldwide at the time. In
fact we were due to go back to Japan and Australia
(Rick) The gear had already left on the boat (laughter)
(Stuart) That's right, stranded in Italy or somewhere, wasn't it?
(Rick) Yeah, we really feared for Eric, you know, for a while but
by the grace of God he came back. But it took nearly a year
really before we could all work together again. And it's amazing
how the wind can go out of your sails in that time. So it really,
what ultimately happened, Eric and Graham, we more or less
disbanded actually. Stuart and I had both gone off and done other
things. I'd gone off and worked with Mike Oldfield, toured around
the world with him for a while and when we came back tgether
again, it was very much Eric and Graham fronting the band and we
came in on a session basis really. Probably quite a good way to
work. We got involved in all the albums and all the tours from
that point on and we always have, ever since then, in fact,
always been involved in all the activities and stuff.
(Nick) That
period just before the accident, you were doing some massive live
shows, weren't you. Some two hours plus with the support...
(Stuart) Yeah, I think the first tour we did in 1977 with the new
line-up, I think it was 2 hours and 20 minutes or 2 1/2 hours
without a break. No intermission. And it seemed to fly by, didn't
it. We didn't realise it was that long.
(Rick) There was a lot of stuff to play, wasn't there.
(Stuart) There was, yeah. Incredible.
(Rick) The last, that one we did with the big tape recorder,
that's the one that, the last big tour we did before the band
kind of broke, broke up, we had this massive sort of tape
recorder, a model of a Technics thing, I think they were
sponsoring the tour. Must have been about 30 foot, 40 foot high
or something, wasn't it. All working, you know.
(Stuart) It was a kind of a snub to the Press perhaps, who were
claiming that the band sounded so good live it was all on tape
which was total nonsense. So we thought, well, we'll put a tape
recorder up... (laughs). In fact we could only get it in a few
gigs couldn't we, it was so big.
(Rick) Yeah, 10cc tongue in cheek.Yeah, there were some gigs we
couldn't get it in.
(Stuart) Places like Wembley and Manchester, various other places
but it was enormous.
(Rick) Great tour.
(Nick) You
were saying about the accident and the effect it had. It was over
a year before you put out another album. I've read Eric quoting,
saying he didn't think Look Hear? had the magic of the other
albums and the critics absolutely savaged it, and it just didn't
sound the way the others had. Do you think also the musical
climate had changed so much, you survived the punk thing but then
all the synthesiser bands were coming along, and they were
getting all the airplay...
(Rick) I guess it was a tough time
for "thinking music" really. I mean that's not putting
down punk. I think it had quite a lot to offer in a way but the
media at large, I think they weren't very, they homed in on it to
such an extent that they weren't very kind to, I mean you had,
certain people seemed to ride it but 10cc, what with everything
else that was going on, with the accident and everything else and
just trying to pick ourselves up, I mean there were other things,
the album it just, somehow the spirit wasn't there when we were
recording that album, I remember that quite well. I think it
would have been fine if there'd been just one song that was, you
know, that broke on the singles market, but nothing was, just
quite had that little extra edge. But it wasn't as good as what
was before and I think what has come since either. That's just an
opinion but it seems to be quite widely shared.
(Stuart) Yeah I agree with that.
(Nick) Was
that just in Britain? I mean, a massive following in Europe and
Japan and everywhere. Did the same thing happen there?
(Rick) Japan always seemed to like
us, didn't they?
(Stuart) Yeah, I think they're pretty loyal to us
(Rick) Holland was always very big.
Yeah, I mean even some of the singles that disappeared without a
trace over here did reasonably well in Europe didn't they. But
there was nothing that really sort of seems to have stayed in the
public's mind very much since, Dreadlock Holiday was the last sort of big hit,
international hit that we had.
(Stuart) A while back yeah, it was.
(Nick) I was
struck at the time too that there were these two film soundtracks
that Eric and Graham had done individually and they came out at
exactly the same time really as the Look Hear? album, on the same
label. It seemed crazy to be promoting all three things at the
same time.
(Rick) That was part of the problem
that was going on at that time really. The year off had made
everyone start, you know, getting involved in other things. You
know, Graham's a man who doesn't like to be inactive and he's
obviously famous and everything and he gets offers and one of
these offers was a film score. So he got involved in that and
some certain amount of energy went into that and the same sort of
happened to Eric around the same time. What happened, the energy
got dissipated. This is what I think, it was very tragic really,
the timing of the whole thing from the band's point of view. I
think that's really how it came about, because there was this
time, this void, in which we had to wait for Eric to get better.
And so a certain amount of energy and probably a certain amount
of the creative, you know, side of Eric and Graham, you know,
Eric and Graham's talents went away rather than focussing in on
the next album.
(Nick) In
1983 you did two sell-out tours of Britain in one year, within 6
months of each other. The last single Feel The Love got only 3
prime time television appearances plus a live concert on
television and it still didn't make it so presumably Eric and
Graham thought this was the time to put this to bed
(Rick) Yeah I think it was
getting to the point where we weren't playing, it just started to
feel a little like a nostalgia thing when we went out. I mean and
this was, and at the time I thought let's put it away, really.
(Stuart) I think from day
one the general feeling within the band was we'd never go out and
do nostalgia hits, cabaret type circuit, if the band went into
decline to a great degree. So maybe that was an element in it. It
was maybe not time to pack up completely but...
(Rick) Put it on ice, the
back burner
(Stuart) Yes indeed, yes
(Nick) Then
of course, after 9 years, Eric and Graham did the Meanwhile album
which I think was their biggest ever selling album in Japan and
you went and toured Japan and a live album here. And it's amazing
that this was recorded on the first two nights of the tour, that
you hadn't played together for nearly 10 years at that stage.
(Rick) That's it, the band
was smoking! I mean it really was. That's what was really good
fun about getting back together again. I was a little unsure
about how it was going to be because I wondered if it was going
to be a little nostalgic, you know, that sort of cabaret flavour
but it didn't feel like that at all. We'd also got some fantastic
people in for the tour, Gary Wallis and Steve Pigott, who are
masters of their instruments, came in and the band never sounded
so good, I didn't think it did anyway. Everyone was just digging
it so much that the album had to sound good really. A lot better
than the first live album.
(Stuart) Without a doubt!
(Nick) And
not really a nostalgia tour - you've got the hits, you've got the
Beatles cover versions and material from the meanwhile album
(Rick) Yeah but the idea of
putting the Beatles stuff in was just because it had never been
done. Eric and Graham, or 10cc, had never ever played anyone
else's songs live so it was just a good idea. Also because it was
going to be recorded, it might be nice to do that on an album as
well. It came out pretty good.
(Nick) And
then a sell-out tour of Britain following that. The two I went to
I know were sold out, as I'm sure the whole tour was. It was a
fantastic response, people recognising everything.
(Rick) Yeah it was really
good fun, yeah.
(Stuart) We played a few
venues we hadn't done before as well. One that springs to mind is
Lincoln. A bit of fun there, oh yeah, it was hanging off the
ceilings.
(Rick) Yeah I hope we do it again, you know.
(Nick) And
there is this enormous following as I saw on that tour. But
without getting the airplay, the album has been pretty much
ignored. But there's this huge following that loves the songs and
go to the concerts.
(Stuart) Well that's it,
they remember the songs.
(Rick) It's such a tricky
one really. You know, you've got to in the end just take things
as they come, and you can't really blame anyone for these things
and it could all come back again. There's a lot of bands out
there having record success that they haven't had, a record, I
mean, Simple Minds, they've just had a record. I mean, I know
they, wasn't that long ago but probably 7 or 8 years ago since
the last hit, that's off the top of my head, but Human League,
there's another band that just got another hit. I mean it does
happen and I think it could easily happen. There's a very good
energy at the moment. Eric and Graham just made a lovely album.
And it could easily happen again.
(Stuart) Let's hope so.
(both laugh)
(Nick) Are
there any particular memories you've got. We've got one or two
stories from Peter Tattersall about the sort of practical jokes
the band are always playing. Any memories of that sort of thing?
(Stuart) I remember a near
disaster. Do you remember in the early days we had the 10cc logo
- rotating mirror ball. And it was, it came in, it was lowered in
and I can't remember where it was but it almost took my head off
(laughs) And I was aware of this thing just about crowning me on
the head and I thought "My God!" I literally had to get
off my drum stool and I think they were shouting at this old
fellow "STOP!!!" Look, no drummer! I remember that, I
can't remember where it was but I'll never forget that.
(Rick) I can remember, this is the practical joke the crew used
to do...
(Stuart) Oh I remember them
using a harmoniser on the vocals.
(Rick) Oh God, yes. They're sending the vocals down the monitors
through a harmoniser through a delay line...
(Stuart) ...your voice would
go up and down an octave. The audience would never hear it, just
you through the monitor. So you're either sounding like Mickey
Mouse or Barry White.
(Sonia) Have
you got a particular track that you, or record, song that you
like playing the best gig-wise, live-wise?
(Stuart) I remember one of
the hardest songs to play live and it was a single which
unfortunately didn't really happen. It was the Nouveaux Riches.
(Rick) The Nouveaux Riches was great, I don't know why it didn't
do better actually, a great song.
(Stuart) Not the easiest one
to play and sing at the same time.
(Rick) We played it probably
on one tour. It's always very demanding when you've got to play
and sing something complicated at the same time, quite funny.
We've had to do a lot of that as well, because Stuart and I'd
always been involved in the backing vocals and that one was
pretty hard when you're trying to play one rhythm and sing
sincopated backing vocals...
(Stuart) I think when you record, obviously you're playing the
instrument independently of doing the vocal and you do the vocal
once all the back track is done...
(Rick) You try and put them
together.
(Stuart) ...and you don't
realise until you come to a rehearsal situation and you get them
together and you think "Oh good grief!"
(Rick) It's like trying to
learn the piano one hand at a time and then put them together.
(Stuart) A bit more
difficult than walking and chewing gum at the same time.
(Sonia) Is there anything sort of
"off the record", is there one number that you just
sail through, it just goes over you when you're on stage, sort of
becomes very mechanical?
(Stuart) I don't think any
of them. That's the beauty of 10cc songs. They're all so varied.
(Rick) What's the name of
that one I play piano on? There's one I play piano on and I mean,
I'm quite a good sort of honky tonk pianist but this was, you
know, quite awful lot of chords and it modulates in the middle,
and I was really like on my own with this. You know, Vic used to
play keyboards on that particular tour and he used to do all the
strings and everything. But I was sort of stuck on the piano and
I really used to get the jitters about that on that tour. I never
normally get nervous on tour, i really look forward to the gigs,
I never used to get nervous, but that tour I used to get terribly
nervous. Mmm, wouldn't like to do that again.
(Stuart) I think my nerve-wracking thing was when I sang that
thing I co-wrote with Eric, Reds In My Bed, where I was from the
security of behind the drum-kit, I was...
(Rick) We'd drag him down
the front with an acoustic guitar
(Stuart) ...and put a guitar
on. And I'm no guitarist and when you've been playing percussion
and drums all evening, your fingers are sort of fattened up or
whatever, or swollen, and you're trying to shape chords and sing
at the same time. Feels like you've a hand with a bunch of
bananas. Nightmare! That was on the Canadian/US tour.
(Rick) Yes, I used to get,
because I've only ever sung one song for 10cc. It was one of my
own songs and used to get quite nervous about that too. But it
was fun.
(Stuart) Well it was
certainly a change from being stuck at the back to be out front
there.
(Sonia) The acoustic version at
the moment of I'm Not In Love that's about to come out, is that
the version that you'd always perform on stage?
(Rick) No, no. It did
actually change, I mean, what Stuart said about the tapes. 10cc
were actually one of the first people I think to use backing tape
on tour. I mean it did actually happen, but it only used to
happen on that one song. Basically it was just the voices which
would, especially when the record first came out, really was
impossible to reproduce that sort of thing. Nowadays, with the
sort of digital technology, it's a lot easier to do. On the last
tour we went out, we did it, we reproduced it really well. (to
Nick) I don't know what you thought, you saw the last tour. There
was no tapes on that tour at all, but most of the band's career
there was that one song that did use the vocals on tape. We used
to get a click track through or soemthing to play with but the
audience used to get these massive voices out the p.a. And this
new version is the first time they've ever really done that. I
think the novelty value really when they recorded it for radio,
came in, listened to it and thought mmm it does actually sound
really good like that but, and it really did go down exactly like
you hear it. They just sat and played the whole thing and sang it
as it came out. We played it on stage except for those voices but
on the last tour it was particularly satisfying 'cause I'd always
really, really, you know, wanted so much to have to play it for
real but it's so much a part of the sound of that record, these
mass voices and it wasn't just like 3-part harmonies, it's just
like a wash of voices. In fact what they did is have every note
in the octave on a separate track on a multi-track and they had
it, they moved them all up a little bit and they sort of waved
them in and out so it really was an impossible job to reproduce
literally live, but on the last tour we had ratehr more
sophisticated keyboards then we've ever had a chance to have
before and we just found ways of getting, also we had Steve
Pigott's, the magic fingers of Steve Pigott who done a marvellous
job of reproducing that part of the record. So that, I'm sure,
that's the way we'll always do it if we go out again. I'm sure
we'll always do it live again from now on, I mean, and it was
only that that wasn't live, I mean, everything else was, it was
still quite a hard song to put out live.
(Nick) Feel The Benefit live was
10cc's Stairway To Heaven. It's a very classic album track, 11
minutes long, can you tell us something about that, playing...
(Rick) We've played it every
single tour we've done.
(Stuart) We've done it ever
since it was on the album, every time. Still goes down very well,
doesn't it!
(Rick) What can I tell you about it really? It's a good un that's
for sure. Always enjoy it.
(Sonia) Can I ask about whether
you rehearse?
(Rick) Do we rehearse? (laughter) What? Before we go on tour?
(Stuart) Oh yeah (more
laughter).
(Rick) I mean, yeah, no more
than anybody else, but it probably takes 2 or 3 weeks, to you
know, new songs. Every time we've gone out on tour, we've always
played some new material and you have to learn that but I mean,
the last time we went on tour, we hadn't done it for nearly 10
years. And I mean I didn't know whay key I was in. Fortunately
Eric and Graham could still remember. No I had to really relearn
the lot, you know.
(Stuart) Yeah, it's two to three weeks of fairly intensive study.
(Rick) Honestly, I thought it was gonna take more but when you
actually get rolling, it didn't actually take more than, a lot, 4
weeks amd actually doing it in 2 weeks and the rest of the time
you just sort of...
(Sonia) Sorry, I just wanted that
reaction (laughter) People always assume that yeah, just get up
on stage and do it, but do they ever think 'I wonder if they
rehearse this?'
(Rick) It was a very technically demanding set actually, but I'm
sure a lot of bands play technically demanding sets but I mean
probably because we used to have so much vocal stuff, and it
really is, does split your brain you know, trying to do both.
It's fine when you get the hang of it but trying to make that
happen requires a little more rehearsal than I think, perhaps.
(Stuart) Panic factor.
(Sonia) And the usual old one...
do you get the jitters before you go on stage or are you too old
and hardened?
(Stuart) Oh no every time.
(Rick) I've already answered
that one. No, I only got the jitters on that tour 'cause I
absolutely, you know, crapped myself about thatone piano thing, I
mean, I love it.
(Stuart) I mean you do relax
to a certain extent but I think you're always nervous, aren't
you? It's a good thing, gets the adrenalin going.
(Rick) Adrenalin rush, but I
wouldn't say I've ever got fears, more excitement from my point
of view.
(Stuart) I mean, still, to this day, doing this theatre thing at
the moment every night even though I've been doing it for about a
year. It's Roy Orbison's story, Bill Kenwright, Only The Lonely,
Picadilly Theatre...
(Sonia) ... talk about that
afterwards
(Nick) If you could just say
something about the perfectionism of Eric and Graham in the
studio and live as well, we've heard they've this reputation...
(Stuart) Well, yes, I mean...
(Rick) Healthy
perfectionism...
(Stuart) I remember a sign
in Strawberry Studios... "In the pursuit of perfection there
can be no compromise". That kind of summed it up, hasn't it.
(Rick) Yes, sounds like a
political thing.
(Stuart & Rick together)
In the pursuit of perfection there can be no compromise
(Stuart) I think it goes for
everybody when you listen to a band like 10cc you can hear what's
going into the music. It is very involved and it is very precise.
(Rick) Classy pop songs
(Stuart) Thinking man's pop
(Rick) Yeah, yeah, a band
I've always been very proud to be associated with.
(Sonia) When are you next on the
road, do you know?
(Rick) I dunno, I'm doing
this little acoustic gig with them next week but Harvey's a, is
always, that's their manager, he's always very hot to get the
band out and now Eric and Graham have, are sort of free and
working together and got such a great album, I'm sure they'll be
very een to make it happen. So I have pretty high hopes, one way
or another. It's an expensive band to take out because there
really isn't any compromising. I think it has to have a good
sound system, it has to have a good crew and it all costs money.
So it, the economics are all, that's what's got to work. But I
think that'll probably happen. Enough interest in the band, it's
just a matter of making it, putting it all together but I'm sure
it will happen.
(Sonia) In the summer maybe??
(Rick) There's hope
(Stuart) Maybe perhaps
earlier than that. It could coincide with the release of the
album.
(Rick) I think it's very
likely we'll go back to Japan again because the band seems to be
in big demand over there and so even if it starts with that, once
that's happened, you know it's an up and running band, you know.
Which is half the battle really with, once the band's sort of
more or less rehearsed, it's that much easier to take it out
again. And this time, playing territories we've never been to. I
mean, South Africa's a territory which hads not been politically
sound to go to for years, even though they wanted us out there. I
mean, we didn't obviously want to do it. Now it's all changed and
that's a territory where they have showed a lot of interest and
so maybe we'll go there or we haven't been back to Australia for
a very long time. But God knows what will happen. I just feel
pretty good about, you know, the band. Well, you know, the band's
getting relaunched with an acoustic version of I'm Not In Love
and with a bit of luck, that will relaunch the band onto the road
in the very near future, eh Stuart?
(Stuart) Indeed. Well, it's
on the new album.
(Sonia) Smashing!
(Rick) That alright? That sort of thing?
(Sonia) Lovely,
that's great because we've sort of run out of time I'm afraid. We
could have talked and talked for ages. Nothing desperate we've
missed?
(Nick) No, no
(Sonia) It's great, well, thanks
for being so pliable.
(Stuart) That's okay
(Rick) Pliable is my middle
name
(Sonia) That's great!