Deceptive Bends was the beginning of the end for 10cc. The band had split into two bands: 10cc and Godley & Creme. "How Dare You" was the magnum opus, and in my view the best album that 10cc came out with, not to mention one of the best albums of a decade that was full of amazing albums.

But now the year was 1977 and Graham Gouldman and Eric Stewart regrouped and came back with a beautiful pop album that showed a subtle change in the 10cc sound. The interesting thing is that for all the wonderfully quirky pop art that filled the first four albums that included Godley & Creme, the music was still alive with fresh ideas and inventive productions, just a bit less cerebral. Sure, this was no "Consequences", Godley & Creme's first album that was full of high art but lacking in accessibility; but Deceptive Bends has so many infectious melodies and grooves that it intensified what made this band so attractive in the first place... The pleasure of invention.

Every song on this album has become (more or less) a highlight for me, including the bonus tracks. But the first side of the album is definitely the stronger half. It is rare to have a perfect album- in my mind there are very few of those. But I've got to give Deceptive Bends five stars nonetheless, because take away few missteps and you have a pop masterpiece.


Bloody Tourists continued the success of inventive pop music that Deceptive Bends had brought- it was the weaker of the two but still was mostly great.

I think the music declined somewhat after that for 10cc. That's not to say Look Hear, Ten Out Of 10, or Windows In The Jungle aren't strong albums- they just don't have the allure that the albums up to Bloody Tourist have; Ten Out Of 10 probably being the strongest of the three.

One note: I though it was interesting how close the guitar solo on "The Things We Do For Love" sounds like the guitar solo from "Killer Queen" by Queen.

This import version is far superior to the domestic version of DECEPTIVE BENDS. The sound sprakles and you can appreciate the engineering and production of Eric Stewart. The songwriting here is sharper than on later efforts like BLOODY TOURIST!

Of all the post Creme/Godley 10cc albums, this is the one that most captures the spirit of early 10cc, while building on the songwriting craft and humor of previous albums. Stewart and Gouldman wrote all the songs and perform all the instruments(Paul Burgess plays drums--Burgess was the band's touring drummer freeing up Kevin Godley to sing).

The last great 10cc album(there would be some fine additions after this, but nothing of the caliber of their finest work), this album, along with SHEET MUSIC, THE ORIGINAL SOUNDTRACK and HOW DARE YOU! represents the best of this underrated 70's-80's band.

Okay, if you're a fan of the zany aspect of 10cc, maybe this album isn't for you. Sure, the humor is present, but not as much as in other works.

On the other hand, if you appreciate 10cc for being a group of talented musicians capable of producing mesmerizing songs... you'll love this.

In addition to their biggest hit, "The Things We Do For Love," this album boasts the wistful ballad, "People in Love," the classic "Good Morning Judge," and "Feel the Benefit," a true masterpiece of songwriting with lyrics that will bring tears to your eyes. (Okay, not the reggae bit in the middle... but the end bit.)

I rank this album as being one of my absolute favorites (and that's out of a personal collection in excess of 1000).

Clearly the loss of Godley & Creme was a tremendous blow to 10cc. Stewar and Gouldman continued on and pushed the 10cc sound in a new direction. More overtly poppy than its predecessor(HOW DARE YOU!), this album actually seems, at first, to be more conventional than previous 10cc albums.

After repeated listenings, though, it is clear that Stewart and Gouldman were attempting another concept album--one looking at the "deceptive bends" of relationships and the things that drive us to act the way we do. "The things we do for love" is a witty review of what humanity puts itself through for companionship.

At times, the production appears too sweet(making one initially pine for more of the Zappa like odd time changes), but again, consider the theme of the album. It fits it quite well with the general concept.

Although not as groundbreaking as HOW DARE YOU!, DECEPTIVE BENDS, in its own way, is the band's most melodic and accomplished recording. ! Well worth owning!

The last truly great 10cc album ("Meanwhile... comes close behind this album with the songwriting just a notch below it), Eric Stewart and Graham Gouldman handle most of the instruments and vocals themselves coming up with a stellar follow up to "How Dare You!". The 1997 remaster isn't horrible, it's just that this one is unfutzed, not as loud/compressed and the mastertape used here isn't damaged. The 1997 remaster has tape drag on a couple of tracks most notable on part of "Feel the Benefit".

The original CD doesn't have any bonus tracks and is on the Mercury label. The remaster is an import with three bonus tracks all of them quite good that would have added to the album in terms of quality. My hesitation is that the tape drag causes a change in pitch and some distortion on at least two of the tracks here although it isn't quite as noticable as the really bad tape drag that crops up throughout "Bloody Tourists"(get the original CD release for that as well).


The bonus tracks on the remaster are nice to have so try and find them somewhere else but pick up the original Mercury U.S. issue of this fine album. I'm really surprised that the label let the 1997 reissues go out with the damage to the tapes uncorrected and/or without restoration. Roger Wake who did the remasters for the Squeeze UK reissues a number of years back can do exceptional work if he's given the proper material to work with and the go ahead to do a restoration (although audio restoration/remastering specialists such as Eroc or Steve Hoffman would be better suited to this material). It's a pity because fans will have to own BOTH editions one one should really do.