Saturday, June 28, 1975

10cc “I’m Not in Love” hit #1 in UK

I’m Not in Love


Writer(s): Eric Stewart, Graham Gouldman (see lyrics here)

First Charted: May 10, 1975

Peak: 2 US, 3 CB, 2 GR, 3 HR, 5 RR, 10 AC, 1 CL, 12 UK, 12 CN, 3 AU, 7 DF (Click for codes to singles charts.)

Sales (in millions): -- US, 0.4 UK

Airplay/Streaming (in millions): 3.0 radio, 99.82 video, 244.72 streaming


Click on award for more details.

About the Song:

10cc formed in Stockport, England in 1972. All four members were singers, songwriters, and multi-instrumentalists. They found their greatest success in the UK with five consecutive top-10 albums in the 1970s. In the United States, the group’s big break came with the song “I’m Not in Love,” from the group’s third album. It landed in the runner up spot on the Billboard Hot 100 for three weeks – behind three different #1 songs. 10cc had previously only charted with “Rubber Bullets” (#73) in 1973. They would reach the top-40 only once more with 1976’s “The Things We Do for Love” (#5). In the UK, “I’m Not in Love” was the second of the band’s three chart-toppers and eleven top-10 hits.

With the suggestion that the band should write a ballad, members Eric Stewart and Graham Gouldman decided, as Stewart said, if we “were going to write a love song anyway, we decided to turn it on its head and say ‘I’m Not in Love,’ which would be very 10cc, but the songs says ‘I do love you.’ You don’t want to admit it, but you keep giving all the reasons why you are in love. It is a twist on words like that country song, ‘She Thinks I Still Care.’” KL

Stewart wrote most of the song as an apology to his wife for not telling her often enough that he loved her. WK He argued that if he said it to her too often, it would lose its meaning. Gouldman then helped him finish it. It originally had a bossa nova rhythm, but bandmates Kevin Godley and Lol Crème didn’t like it. That version was scrapped, but Stewart convinced them to give the song another try. Godley agreed, but had the idea of recording it only with vocals and no instruments. WK

By multi-tracking their voices and using tape loops, they created the backing vocals and basic melody for the song. It was only then that they added instruments, but kept them to a minimum. They included a bass drum sound which Godley played on a Moog synthesizer that “was very soft and more akin to a heartbeat” WK than a drum sound. They also added a recording of Kathy Redfern, the secretary at the recording studio, whisperingthe phrase “Be quiet, big boys don’t cry.” WK On his Freaky Trigger blog about UK #1 songs, Tom Ewing says “no other No. 1 sounds quite like it.” FT

The song won Ivor Novello Awards (the British equivalent of the Grammy) for Best Pop Song, Internatoional Hit of the Year, and Most Performed British Work.


  • DMDB encyclopedia entry for 10cc
  • KL Jon Kutner and Spencer Leigh (2005). 1000 UK Number One Hits. Omnibus Press: London, UK. Page 211.
  • FT Freaky Trigger (3/29/2008). “Popular” by Tom Ewing
  • WK Wikipedia

First posted 12/6/2022.

Thursday, June 26, 1975

Bob Dylan & the Band’s Basement Tapes released

The Basement Tapes

Bob Dylan & the Band

Released: June – September 1967

Recorded: June 26, 1975

Peak: 7 US, 8 UK, 22 CN, -- AU

Sales (in millions): 0.5 US, 0.1 UK, 1.5 world (includes US + UK)

Genre: folk rock/Americana

Tracks, Disc 1:

Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to charts.

  1. Odds and Ends
  2. Orange Juice Blues (Blues for Breakfast)
  3. Million Dollar Bash
  4. Yazoo Street Scandel
  5. Goin’ to Acapulco
  6. Katie’s Been Gone
  7. Lo and Behold!
  8. Bessie Smith
  9. Clothes Line Saga
  10. Apple Suckling Tree
  11. Please, Mrs. Henry
  12. Tears of Rage

Tracks, Disc 2:

  1. Too Much of Nothing
  2. Yea! Heavy and a Bottle of Bread
  3. Ain’t No More Cane
  4. Crash on the Levee (Down in the Flood)
  5. Ruben Remus
  6. Tiny Montgomery
  7. You Ain’t Goin’ Nowhere
  8. Don’t Ya Tell Henry
  9. Nothing Was Delivered
  10. Open the Door, Homer
  11. Long Distance Operator
  12. This Wheel’s on Fire

Total Running Time: ??

The Players:

  • Bob Dylan, vocals/acoustic guitar (piano on "Apple Suckling Tree")
  • Rick Danko, bass (mandolin on "Ain't No More Cane")
  • Garth Hudson, organ (sax on "Orange Juice Blues (Blues for Breakfast)," accordion on "Ain't No More Cane")
  • Richard Manuel, piano (drums on "Odds And Ends," "Yazoo Street Scandal," "Ain't No More Cane" and "Don't Ya Tell Henry," harp on "Long Distance Operator"
  • Robbie Robertson, lead guitar (drums on "Apple Suckling Tree," "You Ain't Goin' Nowhere" and "This Wheel's On Fire," acoustic guitar on "Ain't No More Cane")
  • Levon Helm, * drums (mandolin on "Yazoo Street Scandal" and "Don't Ya Tell Henry," bass on "Ain't No More Cane")

* Helm left the group in 1965 when they were Dylan’s backing band, The Hawks. He hadn’t rejoined yet when most of the material was recorded with Dylan but was back for the tunes just by The Band.


4.109 out of 5.00 (average of 28 ratings)


(Click on award to learn more).

About the Album:

“In the mid-1960s, Bob Dylan was at the peak of his creativity, having officially broken into the mainstream with his popular and acclaimed albums Highway 61 Revisited and Blonde on Blonde. In the latter half of 1965, during the interim between those two albums, Dylan began touring with The Hawks (later known as The Band).” WK

While Dylan was recuperating from a July 29, 1966 motorcycle accident, he “and the Hawks began a series of informal recording sessions [sometime between March and June 1967]. Originally taking place at Dylan’s house…these informal sessions eventually moved to the basement of Big Pink,” WK “a house rented by some members of The Band, up in West Saugerties, New York.” GM

“Much of the early months was spent on covers…[but] Dylan was soon writing and recording new compositions…In a matter of months, Dylan would record at least thirty new compositions with the Hawks, including some of the most celebrated songs of his career.” WK “Though Dylan still owed Columbia one more album, he did not want to fulfill that obligation with the songs written and recorded at Big Pink…In an interview taken in 1978, Dylan admitted that the songs…‘were written vaguely for other people.’” WK

“Peter, Paul and Mary were the first to chart with a Big Pink composition when they issued their single of Too Much of Nothing in November of 1967. Soon after, Manfred Mann topped the charts with The Mighty Quinn. When The Byrds released their groundbreaking, country-rock album Sweetheart of the Rodeo in 1968, they opened and closed it with You Ain’t Goin’ Nowhere and Nothing Was Delivered. In the UK, This Wheel’s on Fire made the top 5 for Julie Driscoll and the Brian Auger Trinity; the song was also covered by The Byrds for their second album of 1968, Dr. Byrds & Mr. Hyde…Fairport Convention would also record Million Dollar Bash on their celebrated third album, Unhalfbricking.” WK

“Rumors of Dylan and The Band’s enormous stash of unreleased recordings began to circulate” (wikipedia), “but Dylan declined to release it.” BL Rolling Stone magazine even ran a cover story in June of 1968, claiming that "there is enough make an entirely new Bob Dylan record.’” WK The material first surfaced “on a 1968 bootleg called The Great White Wonder.” STE “Bootlegs had existed for many years, mostly among other forms of music, but [now] rock music had its first commercially (albeit illegally) available bootleg ever.” WK It became “the most influential bootleg of all.” BL

“Dylan saw the error of his ways in 1975” BL and a 24-track official album was released. “Compiled and produced by Robbie Robertson, eight of the twenty-four songs did not feature Dylan, and of those eight, only four actually dated from the Big Pink sessions. All of the tracks were ‘remixed’ to mono while Robertson and other members of The Band overdubbed new piano, guitar, and/or drum parts over four of the original Dylan-Band recordings.” WK On their cuts, The Band “play it a little straight, on both their rockers and ballads…but that ultimately…is nitpicking, since the music here (including the Band's) is astonishingly good.” STE “The open spirit of the songs is as straightforward as their unmatched vitality and spunk.” GM

“The party line on The Basement Tapes is that it is Americana” STE and “almost the birth of country-rock;” BL the material “summon[s] sea chanteys; drinking songs, tall tales, and early rock and roll” GM and “pick up the weirdness inherent in old folk, country, and blues tunes.” STE “Neither John Wesley Harding, made later that year, nor Music from Big Pink (for which all of The Band’s numbers here were at one time intended), sound much like The Basement Tapes, but there are two elements the three sessions do share; a feeling of age, a kind of classicism; and an absolute commitment by the singers and musicians to their material…As Dylan and The Band fiddled with the tunes [on The Basement Tapes], was less a style than a spirit – a spirit that had to do with a delight in friendship and invention.” GM “You can feel the warmth and the comradeship that must have been liberating for all six men.” GM

The Basement Tapes was initially hailed by critics, with Robert Christgau giving it a rare A+ in his ‘Consumer Guide’ column… ‘We needn’t bow our heads in shame because this is the best album of 1975. It would have been the best album of 1967 too’” WK said Christgau.

Just below the surface of songs like Lo and Behold! or ‘Million Dollar Bash’ are the strange adventures and poker-faced insanities chronicled in such standards as ‘Froggy Went A-Courtin’’ ‘E-ri-e,’ Henry Thomas’s ‘Fishing Blues,’ ‘Cock Robin,’ or ‘Five Nights Drunk.’” GM

‘Lo and Behold!’ and ‘Million Dollar Bash,’ along with Yazoo Street Scandal and Don’t Ya Tell Henry exemplify how these songs are sometimes “more than a little crazy, at times flatly bizarre.” GM “There is Levon Helm's patented mixture of carnal bewilderment and helpless delight in ‘Don’t Ya Tell Henry’ (and the solos he and Robbie stomp out on that tune).” GM On ‘Yazoo Street Scandal,’ a song featuring “Rick Danko’s loping bass,” GM Levon tells “a comic horror story wherein the singer is introduced, by his girlfriend, to the local Dark Lady, who promptly seduces him, and then scares him half to death.” GM

“Lo and Behold!” and Crash on the Levee (Down in the Flood), which seems to feature “the ghost of Rabbit Brown’s sardonic ‘James Alley Blues,” GM also offer “rhythms in the music that literally sing with compliments tossed from one musician to another.” GM

Another example is on “the unassuming passion of The Band's magnificent Ain't No More Cane.” GM It “an old chain gang song that ought to be a revelation to anyone who has ever cared about The Band’s music, because this performance seems to capture the essence of what they have always meant to be.” GM

“One hears a pure, naked emotion in some of Dylan's writing and singing -- in Tears of Rage, especially – that can't he found anywhere else…the musical sympathy Dylan and The Band shared in these sessions…gives ‘Tears of Rage,’ and other numbers, their remarkable depth and power.” GM

Also here is “Garth Hudson's omnipresent merry-go-round organ playing (and never more evocative than it is on Apple Suckling Tree); the slow, uncoiling menace of ‘This Wheel’s on Fire;’ Bob Dylan's singing, as sly as Jerry Lee Lewis, and as knowing as the old man of the mountains.” GM The Band “recorded their own version on their celebrated debut, Music from Big Pink, an album that also featured I Shall Be Released and ‘Tears of Rage.’” WK

“There's the kind of love song only Richard Manuel can pull off, the irresistibly pretty Katie's Been Gone;…There's the lovely idea of Bessie Smith, written and sung by Robbie and Rick as the plaint of one of Bessie's lovers, who can't figure out if he's lost his heart to the woman herself or the way she sings.” GM

“Columbia has issued only three more Big Pink recordings since The Basement Tapes (‘I Shall Be Released’ and ‘Sante Fe,’ both issued on The Bootleg Series Volumes 1-3 (Rare & Unreleased) 1961-1991, as well as take 2 of ‘Quinn the Eskimo (The Mighty Quinn)’ issued on Biograph in 1985.” WK “A nearly-complete collection of the known recordings was eventually bootlegged as a 5-compact disc set known as The Genuine Basement Tapes.” WK In Greil Marcus’ The Old, Weird America: The World of Bob Dylan's Basement Tapes, “the Basement Tapes are compared to Harry Smith’s Anthology of American Folk Music. The thesis of Marcus’ book is that both collections accurately describe an alternate weirder history of the United States.” WK The material is "no more likely to fade than Elvis Presley's ‘Mystery Train’ or Robert Johnson’s ‘Love in Vain.’” GM Indeed, The Basement Tapes “rank among the greatest American music ever made.” STE


Check out The Genuine Basement Tapes, Volumes 1-5 for information and track listing of the bootleg 5-disc version of The Basement Tapes.

Resources and Related Links:

Other Related DMDB Pages:

First posted 2/18/2010; last updated 5/15/2024.

Saturday, June 21, 1975

Captain & Tennille hit #1 with “Love Will Keep Us Together”

Love Will Keep Us Together

Captain & Tennille

Writer(s): Neil Sedaka, Howard Greenfield (see lyrics here)

First Charted: Arpil 5, 1975

Peak: 14 US, 12 CB, 13 HR, 16 RR, 11 AC, 32 UK, 11 CN, 14 AU (Click for codes to charts.)

Sales (in millions): 1.0 US, -- UK, 1.0 world (includes US + UK)

Airplay/Streaming (in millions): 3.0 radio, 17.20 video, 98.34 streaming


Click on award for more details.

About the Song:

Daryl Dragon (aka “The Captain”) and Toni Tennille married in 1974 after meeting in 1971 when she needed a pianist for the musical Mother Earth, which she co-wrote. They They both backed the Beach Boys on tour and then performed together at the Smoke House restaurant in Encino, California. They paid to record their first single, “The Way I Want to Touch You,” spent $250 to have 500 copies of the song pressed, and then drove through 22 states promoting it. A&M then signed them, re-released the song and it went top ten. RC

They were almost done recording their debut album when they decided they needed one more uptempo song to show off Dragon’s keyboard playing. The problem was solved when Kip Cohen from the A&R department had them listen to Neil Sedaka’s “Love Will Keep Us Together.” They knew it was the right song and spent two weeks arranging it. When they played it for label heads Herb Alpert and Jerry Moss, everyone knew they had a hit. FB

Sedaka wrote the song not about romantic love, but his songwriting collaboration with high school buddy Howard Greenfield. SJ Sedaka first recorded the song in 1973 and released it as a single in France. It was released in the United States on his 1974 Sedaka’s Back release. He said the main chord progression was lifted from the Beach Boys’ “Do It Again” with some augmented chords inspired by Al Green. In addition, the melody was written with Diana Ross in mind. WK

When the song became a hit, the duo recorded a Spanish version. “Por Amor Viviremos” charted on August 16, 1975, giving the Captain & Tennille the distinction of being the only act to have two versions of a #1 song on the Billboard Hot 100 simultaneously that were recorded by the same act in two different languages. FB

Interestingly, Dragon wanted the first single to be “I Write the Songs,” which was written by Bruce Johnston of the Beach Boys. The Captain & Tennille did record the song for the album, but it wasn’t released as a single. However, Barry Manilow’s rendition became a #1 song in early 1976. SF Things turned out okay for the duo, though. Their version of “Love Will Keep Us Together” topped the year-end chart, was the best seller of 1975, WK and was certified by BMI as the most performed song of 1975. SF It also won a Grammy for Record of the Year.


First posted 3/11/2021; last updated 4/16/2024.