I'm Not in Love
I'm Not in Love, written by Eric Stewart and Graham Gouldman, was first published in 1975 on the album The Original Soundtrack 10cc. As a single release on 24 June 1975 it rose to the top of the British charts, where it stayed for two weeks. In the U.S., the song held three weeks in second place. In Germany and Switzerland, the song went to # 8 in each
Originally designed by Eric Stewart as Bossa Nova, the song was quickly due to harsh criticism of the band members Kevin Godley and Lol Creme discarded. However, when studio employees frequently hinsangen the song in front of him, convinced his colleagues Stewart Graham Gouldman from the hit potential of the number, and they worked together to develop the final version.
Innovative engineering Studio
For the voices of the original version of the band members invented at Strawberry Recording Studios a kind of " virtual choir". For this, they were singing single notes together in a multi-track recorder, up to 256 traces were obtained. From these traces endless belts were created with the main chords of the song. With the mixer then the required chords could be displayed at the desired locations of the recording. So the band was able to simulate a large choir and achieve the Mellotron not dissimilar effect, but the latter surpass in its fullness, and that too in true stereo. Billy Joel used the same technique two years later in his ballad Just the Way You Are.
For the spoken text "Big boys do not cry, be quiet, big boys do not cry" the studio secretary was quickly won, because, as Stewart said, a " so wonderful telephone voice" did.
The million contract with Mercury Records
I'm Not in Love was the decisive reason for Mercury Records, buy up the existing contract of the band with Jonathan King's UK Records. Eric Stewart remembers that they were absolutely broke at the time, and Philips Phonogram wanted to negotiate with them.
"At did point in time we were still on Jonathan King's label, but struggling. We were absolutely skint, the lot of us, we were really struggling seriously, and Philips Phonogram wanted to do a deal with us. They wanted to buy Jonathan King's contract. I rang them. I said come and have a listen to what we've done, come and have a listen to this track. And They Came and They freaked up, and They Said ' This is a master piece. How much money, what do you want? What sort of a contract do you want? We'll do anything, we'll sign it '. On the strength of one song did, we did a five -year deal with them for five albums and They paid us a serious amount of money. "
"At that time we were in contract or in Jonathan King's label, but were struggling to survive. We were totally broke, it was really a struggle for existence and Philips Phonogram was interested to come with us to a conclusion. They wanted to buy up Jonathan King's contract with us. I called her and asked her to come over and listen to what we had produced to listen to this piece. They came, absolutely loved it and said, ' This is a masterpiece. How much money will you have? How should the contract be? We do what you want, we sign. ' Because this one piece was so strong, we were given a five -year contract for five albums and a considerable amount of money. "
The song was copied by many artists, including Richie Havens, Dee Dee Sharp, Amy Grant, Grandaddy, Stanley Turrentine, Johnny Logan, Richard Clayderman, Deborah Blando, The Pretenders, Red Red Meat, John O'Banion, Outrageous Cherry, Päivi Kautto - Niemi, The BB band, Olive (band), Geb.el, Gloritone, Tori Amos, Donny Osmond, Rick Springfield, Queen Latifah, Ultrabeat and the Japanese singer Ryohei. Ex - Supreme Scherrie Payne had a club hit with their 1982 release version. Will to Power did with their version in 1990 a number 7 hit in the United States. In the version of the Fun Lovin 'Criminals Scooby Snacks 1997 her big hit was mitveröffentlicht again, and as a double A-side single, they reached number 12 in the UK.