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10CC

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10cc biography
Deriving their name from the metric total of semen ejaculated by the average male, the tongue-in-cheek British art-pop band 10cc comprised an all-star roster of Manchester-based musicians. Vocalist/guitarist Graham Gouldman was a former member of The Mockingbirds and the author of hits for The Yardbirds, The Hollies, Herman's Hermits and Jeff Beck; singer/guitarist Eric Stewart was an alumn of Wayne Fontana & the Mindbenders; and vocalists/multi-instrumentalists Kevin Godley and Lol Creme were both highly regarded studio players. All of them played on eccentric prog folk artist RAMASES' 1971 studio album "Space Hymns".

Formed in 1970, 10cc began as a session unit dubbed Hotlegs; after establishing residence at Stewart's Strawberry Studios, Hotlegs scored a surprise U.K. smash hit with the single "Neanderthal Man," subsequently issuing an LP, "Thinks: School Times", and touring with The Moody Blues.
After signing to Jonathan King's U.K. label and rechristening themselves 10cc (a name suggested by King himself), the group backed Neil Sedaka before recording 1972's "Donna," a sly satire of late-'50s doo-wop. The single reached Number Two on the British charts, establishing not only a long-running string of major hits, but also the quartet's fondness for ironic and affectionate reclamations of musty pop styles. The follow-up, "Rubber Bullets," topped the charts in 1973, and both the subsequent single "The Dean and I" and a self-titled debut LP further solidified 10cc as a major force in British pop.

While 1974's "Sheet Music" and singles, including the Brian Wilson-esque "Wall Street Shuffle," "Silly Love" and "Life Is a Minestrone" continued 10cc's dominance of the U.K. charts, they found the American market virtually impenetrable prior to the release of 1975's "I'm Not in Love," which topped the British charts and climbed as high as Number Two in the States. After 1975's "Original Soundtrack" and the next year's "How Dare You!", Godley and Creme left the band to focus on video production, as well as developing the 'Gizmo', a guitar modification device the duo invented. In the wake of their departure, Gouldman and Stewart continued on alone, enlisting the aid of session men to record 1977's "Deceptive Bends", highlighted by the perennial "The Things We Do for Love."

After recruiting guitarist Rick Fenn, keyboardist Tony O'Malley and drummer Stuart Tosh as full-time members, 10cc returned in 1978 with "Bloody Tourists", which yielded ...
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Buy 10CC Music


The Very Best of 10ccThe Very Best of 10cc
Island / Mercury 1997
Audio CD$9.77
$5.49 (used)
The Original SoundtrackThe Original Soundtrack
Import · Remastered
Universal I.S. 1997
Audio CD$5.25
$5.89 (used)
Sheet MusicSheet Music
Extra tracks · Import · Remastered
Glam / 7t's 2007
Audio CD$8.45
$17.55 (used)
Live & Let LiveLive & Let Live
Import
Glam / 7t's 2008
Audio CD$8.45
$7.20 (used)
Bloody TouristsBloody Tourists
Extra tracks · Import · Remastered
Universal I.S. 2002
Audio CD$4.47
$3.61 (used)
Deceptive BendsDeceptive Bends
Extra tracks · Import · Remastered
Universal I.S. 1997
Audio CD$6.00
$4.99 (used)
How Dare YouHow Dare You
Import · Remastered
Universal I.S. 1997
Audio CD$5.01
$4.08 (used)
Classic Album SelectionClassic Album Selection
Box set · Import
Universal UK 2012
Audio CD$22.46
$24.40 (used)
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10CC Bloody Tourists RJ-7504 OBI LP W2702 US $7.99 [0 bids]
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10CC The Songs We So for Love RJ-7347 OBI LP w6609 US $7.99 [0 bids]
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10cc "Greatest Hits 1972-1978" 1979 Polydor Comp. LP US $3.99 [0 bids]
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More places to buy 10CC music online Buy 10CC & Prog Rock Digital Music online:
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10CC shows & tickets


  • Parkpop 2014 on 29 Jun 2014
  • Hop Farm Music Festival 2014 on 4 Jul 2014
  • British Summer Time 2014 on 13 Jul 2014

10CC discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

10CC top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.53 | 10 ratings
Thinks: School Stinks (by HOTLEGS: pre 10cc)
1970
3.42 | 45 ratings
10cc
1973
3.65 | 68 ratings
Sheet Music
1974
3.64 | 80 ratings
The Original Soundtrack
1975
3.64 | 83 ratings
How Dare You!
1976
3.08 | 61 ratings
Deceptive Bends
1977
3.11 | 58 ratings
Bloody Tourists
1978
1.99 | 24 ratings
Look Hear?
1980
2.93 | 22 ratings
10 Out Of 10
1981
2.15 | 22 ratings
Windows In The Jungle
1983
2.49 | 21 ratings
...Meanwhile
1992
1.90 | 21 ratings
Mirror Mirror
1995

10CC Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.50 | 2 ratings
10cc Live in Concert
1977
3.73 | 11 ratings
Live And Let Live
1977
3.00 | 6 ratings
Alive
1993
3.00 | 7 ratings
King Biscuit Flower Hour
1996

10CC Videos (DVD, Blu-ray, VHS etc)

2.00 | 1 ratings
Alive - Classic Hits Tour
2001
2.56 | 3 ratings
Live In Japan
2004

10CC Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.56 | 5 ratings
100CC Greatest Hits of 10CC
1975
3.49 | 12 ratings
Greatest Hits 1972- 1978
1979
4.00 | 4 ratings
Two Classic Albums by 10cc
1990
2.00 | 2 ratings
Il Grande Rock
1991
4.00 | 8 ratings
The Very Best of 10cc
1997
3.75 | 4 ratings
The Complete UK Recordings 1972-1974
2004
3.04 | 4 ratings
Greatest Hits... And More
2006
3.50 | 2 ratings
10CC (Platinum Collection)
2007

10CC Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

0.00 | 0 ratings
Donna
1972
3.00 | 1 ratings
The Wall Street Shuffle
1974

10CC Reviews


Showing last 10 reviews only
 Deceptive Bends by 10CC album cover Studio Album, 1977
3.08 | 61 ratings

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Deceptive Bends
10cc Prog Related

Review by Chicapah
Prog Reviewer

2 stars I'll come clean up front and humbly confess that I know next to nothing about 10cc. Other than their unusual moniker and a few of their popular singles they remained outside my scope of awareness. (I'll readily admit the haunting, uniquely-constructed aura of their 'I'm Not in Love' is darn near irresistible and it's a genuine landmark of studio technology.) Just in case I'd been missing out on some incredible music all these years due to my ignorance of their art I picked this record at random to hear what they're all about. In my brief investigation of the group's history I've learned that, after putting out four reasonably successful albums, a sizeable rift that had been developing for some time finally ruptured in 1976 and rent the band asunder. The guys left behind, Eric Stewart and Graham Gouldman, decided to carry on the legacy. They enlisted the help of their tour-support drummer, Paul Burgess, and set out to prove that they really didn't need the other two dudes, anyway. 'Deceptive Bends' is the result. While I'm not familiar with the work of the two that made a run for it (Kevin Godley and Lol Creme), my understanding is that they've earned quite a reputation for themselves in the progressive rock universe since the split and I hope someday to sample their handiwork. Having sat through multiple plays of this particular LP, though, I feel somewhat comfortable in saying that when Kevin and Lol left the fold they must've taken most of the institution's prog inclinations with them. I can comprehend to an extent why 10cc qualifies as being prog related but in my estimation, based on this batch of tunes at least, their connection to the genre is tissue-ply thin.

They begin with the upbeat 'Good Morning Judge.' It's semi-funky in an Alan Parsons Project way and what I mean by that is it's far too squeaky clean and pasteurized to be deemed anything close to authentic R&B fare. I'm a fan of crisp production, however, so I don't find the song to be bereft of all appreciable merit. The guitar work is performed expertly, for example. Keep in mind I do have a soft spot in my head for high-quality pop rock (which this tune is) so its minor shortcomings don't offend me too much. 'The Things We Do for Love' is next and, to be honest, I can't treat it fairly because I'm sick and tired of hearing it on the classic rock radio airwaves. It's a meticulously- designed but overly-formulaic ditty that has never done much for me because it's just too dad gum fluffy. I'm sure they were tickled that it became such a monster worldwide hit for them (it rose to #5 in the US) but to me it's an unremarkable bore. 'Marriage Bureau Rendezvous' follows and with it things improve considerably. I especially admire any ensemble that manages to toss in some melancholy humor to keep things leaning toward the bright side of life. I found this number interesting due to their taking a few detours along the way (Not unlike what Paul McCartney would often do with Wings just for grins). Unfortunately, they take a dive to the bottom on the next cut, 'People in Love.' The syrupy orchestral score only makes this buttery ballad even less substantial and interminably more wearying. This song is DOA. Nothing to see here, folks. Move along now. I suspect that Eric and Graham had been digging on Steely Dan's 'Pretzel Logic' because the Fagin/Becker influence runs throughout 'Modern Man Blues,' most noticeably in the verse structure. The chorus does deliver an abrupt change of direction, though, and all in all it's an odd little composition that's at least unpredictable.

'Honeymoon with B Troop' is one of the more enjoyable tunes on this record. I must acknowledge that they had an eclectic attitude that kept them from being corralled with the run-of-the-mill commercial acts of that era and I find their bold employment of studio tricks entertaining. In some aspects they're a slicker-sounding Electric Light Orchestra, yet not as adventurous as Jeff Lynne and his pals were. 'I Bought a Flat Guitar Tutor' is an unexpected, drastic departure from the norm. Here they plunge straight into the brand of nostalgia that Queen was fond of taking on without warning. I'll say it's short and sweet and leave it at that. 'You've Got a Cold' is a bouncy little number about, obviously, being under the weather and contagious, but it fails to charm because of the dearth of imagination involved. A big dose of satire would've helped tremendously but, as a novelty song, it falls flat. The closer, 'Feel the Benefit (Parts 1, 2 & 3),' is an eleven and a half minute musical excursion where an engaging mix of light guitar and tactful symphonic strings open the proceedings. Then the vocals enter to create some intriguing aural scenery that allows the listener to follow along effortlessly. It's without a doubt the proggiest track on the record. They eventually return to the original theme and motif but the second time around it's much more forceful and dynamic. Alas, it loses some of its momentum as it winds down to the 'swaying Bic lighters in the arena' finale but that miscalculation doesn't completely spoil the piece altogether.

Released in June of '77, this LP didn't disappoint their label one iota. I recall seeing its distinctive cover standing out from the madding crowd in the record bins and I assume its sales figures were boosted greatly by the Top Ten single it spawned. But when it comes to British Art Rock my preference would be the more consistent Supertramp, the aforementioned ELO or even the delightfully wacky Gentle Giant. This album ultimately left me unsatisfied and hungry for something with a bit more meat on the bone to chew on. 'Deceptive Bends' is clever in places but too often I feel that Stewart and Gouldman were trying too hard to be cute, adorable and marketable rather than daring to be exploratory and radical in their approach. I don't mean to be too hard on the boys but I have to call 'em as I see 'em and this disc ends up on the weak side of average. 2.4 stars.

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 ...Meanwhile by 10CC album cover Studio Album, 1992
2.49 | 21 ratings

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...Meanwhile
10cc Prog Related

Review by Evolver
Special Collaborator Crossover & JazzRock/Fusion Teams

2 stars While this isn't the worst 10CC album, it is certainly the most disappointing. In 1977 Lol Creme and Kevin Godley left the band, to promote their invention the Gizmo (an electric device that imitated a violin bow effect on guitar strings). They recorded the exceptional (and critically panned) "Consequences", followed by "L". Then, like Eric Stewart and Graham Gouldman in what was left of 10CC, their output began to run off of the interestingly creative track, and more toward the mundane AC pop. In 1992 Polydor announced that the band had reunited for the recording of "Meanwhile".

Reunited was a bit of false advertising. Godley & Creme are here, but as barely noticable supporting musicians. Both sing backup here and there, and Godley takes the lead on The Stars Didn't Show. But neither has any hand in the songwriting, nor do they play any instruments. Mac Rebenack (Dr. John) has more of a presence, playing piano on three tracks.

Musically, the songs are the same sort of MOR pop blandness that 10CC had been heading toward on their last few albums. There are a handful of decent pop tunes. Woman In Love has an okay melody, although the lyrics are trite. Wonderland is my favorite song on the album, and the one where Godley and Creme's background vocals are the most evident. Welcome To Paradise, the obligatory reggae track and Green Eyed Monster are the closest they get to the humor of the old 10CC, but not very close.

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 Windows In The Jungle by 10CC album cover Studio Album, 1983
2.15 | 22 ratings

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Windows In The Jungle
10cc Prog Related

Review by Evolver
Special Collaborator Crossover & JazzRock/Fusion Teams

2 stars The original 8 song release of this album starts out with it's only high note. 24 Hours is a decent, but not great attempt by Eric Stewart (who seems to almost completely overshadow Graham Gouldman here) to recapture the magic of the earlt 10CC albums. This is a suite in their classic style, adeptly moving from one song style to another. It is by no means a masterpiece, but it is the only track worth owning on an otherwise completely forgettable album.

As you might guess by the comments above, the remainder of the original pressing fall into the cookie cutter style Stewart and Gouldman had been creating for the last few albums. Far too many reggae beats, gratuitous insertion of some of the old 10CC instument sounds, without the creativity and spontaneity that made those early albums a joy.

If you have the luck of owning the 2006 limited edition release, you get the addition of three radio edits of songs from the album. These are completely worthless, as they are castrated tracks, cut down for the short attention spans of the average listener. Also, there are the two live tracks, Dreadlock Holiday and I'm Not In Love, both decent but not outstanding.

Then there are the two tracks that were releases as B-sides to singles. She Gives Me Pain is an upbeat instrumental, alittle reminiscent of Speed Kills, from the debut album. Then there's Secret Life Of Henry. I'm curious as to why this was left off of the original album. It must have been a stupid record company executive (Isn't that term redundant?) decision. This track is easily the best on the album. In fact, it may be the best track 10CC recorded since Lol Creme and Kevin Godley left the band.

The original version gets 2 stars, the expanded version 2.75. Average that out...

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 10 Out Of 10 by 10CC album cover Studio Album, 1981
2.93 | 22 ratings

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10 Out Of 10
10cc Prog Related

Review by Evolver
Special Collaborator Crossover & JazzRock/Fusion Teams

3 stars This album is a step up from the dismal "Look Hear?". Eric Stewart and Graham Gouldman have dumped their entire band, and have brought in only Andrew Gold on keyboard, percussion and some backing vocals. And the album is somewhat of a success.

The 10CC sound is back to a point. The guitar and keyboard sounds are very familiar, although I do get somewhat bored with the reliance on reggae rhythms (something they have used as a crutch since their success with the song Dreadlock Holiday).

Lyrically, the album is better than the previous one, as well. There are puns ("I got a message from my broker. he said he broker than me"), self depreciating humor ("I started with nothing, and worked my way down"), and even a steamy vignette (No tell Motel).

This album is by no means up to par with the records they made before the band split, but it shows that Stewart and Gouldman still had some life left.

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 Look Hear? by 10CC album cover Studio Album, 1980
1.99 | 24 ratings

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Look Hear?
10cc Prog Related

Review by Evolver
Special Collaborator Crossover & JazzRock/Fusion Teams

2 stars This album is where I completely gave up caring about 10CC's new releases. There are some nice sounds. As usual, the production is exquisite, but the wry humor that made 10CC so enjoyable in the past was just about gone.

The album begins with One-Two-Five, a self-referental song that makes me long for the intelligence and quirkyness of The Worst Band In The World. This one is just too simplistic and strained. The next song starts out on a bright note: the intro to Welcome To The World is reminiscent of Gentle Giant's For Nobody. But once the first verse begins, the song descends into normalcy. After that, there is just maudlin tracks with strained efforts to reclaim the 10CC sound.

Here and there is a passage that might cause a fan to perk up and say "That sounds like...". But each moment is fleeting as the songs return to drivel.

It's also sad to not that the other half of the original 10CC, Godley and Creme, by this time were also nearly out of good ideas. It's a shame.

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 Bloody Tourists by 10CC album cover Studio Album, 1978
3.11 | 58 ratings

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Bloody Tourists
10cc Prog Related

Review by Evolver
Special Collaborator Crossover & JazzRock/Fusion Teams

3 stars I have to give the band 3RDEGREE for send me their latest album, which reminded me why I liked 10CC back in the seventies. They had a combination of cleverness, crudeness and sophistication that has rarely been matched.

"Bloody Tourists" was the last 10CC album I purchased right when it was released (later albums I either bought used, or received promos). At the time, I listened to it a few times, and then filed it away. It really did nothing for me. A new round of listening now reveals that the album isn't the complete waste that I thought it was at the time.

When "Deceptive Bends", the band's previous album, was released, Eric Stewart and Graham Gouldman proved that they could carry on the group's tradition of humor and fun arrangements. The lyrical cleverness was there, even though there was a slight trend toward maudiln ballads. "Bloody Tourists" take another step away from the cleverness and fun.

Dreadlock Holiday is the most famous track on the album. It, for obvious reasons is a reggae laden pop song that displays the dark side of visiting the Carribbean island. It has some humor, excellent production, but it somehow lacks the allure of earlier songs. But the 10CC sound does appear throughout the album. The highly compressed guitar sound, the spacious harmonies, instruments and sound effects emphasizing lyrics. It just isn't consistent.

Shock On The Tube is a dream encounter with a girl on a subway. It has a similarities to I'm Mandy, Fly Me, but unfortunately give away the punch line at the beginning of the song. Anonymous Alcoholic is actually a very good portrait of an addicted drinker. Tokyo has some cool fretless bass, and a sort of proggy middle section. abd Everything You Wanted To Know About!! has a classic 10CC feel.

I certainly wouldn't recommend this to the 10CC newbie, but it does have merits. I rate this one just barely a 3.

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 Mirror Mirror by 10CC album cover Studio Album, 1995
1.90 | 21 ratings

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Mirror Mirror
10cc Prog Related

Review by Evolver
Special Collaborator Crossover & JazzRock/Fusion Teams

1 stars I must admit, I was a huge 10CC fan for their first few albums. After kevin godley and Lol Creme left the band, I still gae them a chance. "Deceptive Bends" was actually a very good album. It managedto retain the cleverness and quirkyness that made 10CC the kings of art-pop. But soon after that, whatever made the group destinctive, both in lyrics and in songwriting, began to fade. I purchased "Look Hear?" at a used record store for fifty cents, and gave up on the band.

In 1995, while managing a record store, I received a promo of "Mirror Mirror", and gave it a listen. It confirmed my decision to not follow their releases up until that point (although revisiting them recently I found that they were bad, but not devoid of value, as this album is).

Musically and lyrically, the group had become at this point typical soft rock fodder. The words are schmaltzy and trite, and the arrangements are bland and boring. Many of the tracks seem to have completely uninspired sequencing, devoid of ay emotion.

The focal point of the album appears to be a remix of the band's classic hit I'm Not In Love. the remix to me is unnecessary, and was probably added as a way to get Godley and Creme in the credits. Later reissues have some single edits, and an acoustic version of I'm Not In Love. This version misses the best part of the song, the lush vocal overdubbed harmonies tha made up the backing track.

It is unfortunate that the band's recording career ended on such a low note, but it does appear tha Graham Goulding has been touring recently as the only original member under the band's nae.

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 Alive - Classic Hits Tour by 10CC album cover DVD/Video, 2001
2.00 | 1 ratings

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Alive - Classic Hits Tour
10cc Prog Related

Review by Matti
Collaborator Neo-Prog Team

— First review of this album —
2 stars The main reason to give value to this concert DVD is the fact that (as far as I and PA know) there simply aren't any 10cc DVD's featuring the band in its glory days. Filmed in 1993, this features only Eric Stewart and Graham Gouldman from the classic line-up. Not that it should necessarily matter so much, but I felt this concert to be rather dull and lifeless, as if there wasn't a real 10cc on stage but just a tribute band led by Stewart who wears sun glasses and remains sort of distanced from the audience. Like the rest of the players, bass-playing Gouldman is almost out of the picture all the time, except when he sings (with audible uncertainty) the Beatles cover 'Across the Universe'. Both camera work and stage setting lack any inspiration. DVD doesn't include any extra material and even the concert representation gives an impression of low-budget release. If I remember right, there were some misspellings on track titles.

As the title suggests, this is mostly a cavalcade of their most accessible (and less artistic and original) stuff, hits like 'Things We Do for Love', reggaeish 'Dreadlock Holiday', sleek 'I'm Not in Love' and Slade-reminding 'Rubber Bullets'. I can't say to be an advanced 10cc connoisseur, but to me there weren't many highlights. Sadly the choise from my fave album How Dare You! is probably its dullest track 'Art for Art's Sake'. The playing is OK and maybe towards the end the contact with the audience gets a bit warmer, but frankly I got bored on the way there. Not recommended, listen to their classic albums instead.

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 Windows In The Jungle by 10CC album cover Studio Album, 1983
2.15 | 22 ratings

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Windows In The Jungle
10cc Prog Related

Review by Sean Trane
Special Collaborator Prog Folk

1 stars Having more or less given up on the band since the two-way split, although the 10 CC name still managed a few good tracks and a major hit in Dreadlock Holiday, the post-split albums didn't quite reach the quality of the original foursome. The aptly-titled Deceptive Bends, the poor Bloody Tourists (saved by their last huge hit), and the miserable Are You Normal (of yes, you are), the remaining duo of Stewart and Gouldman pulled this one out of their bag in 83, but sadly it was clear by now that the band had over-stayed its welcome. Despite an impressive cast of guest proggy musicians (drummers Gadd, Phillips, saxman Collins, etc.), the album doesn't manage anything exciting or even enthralling, partly because of the AOR sound ala Toto or Don Fagen flattening this album's dynamic curves.

Indeed, out of the 8 tracks, none really manage to stand out from the almost-insipid pop, even the longer tracks not being really successful to arouse the progheads' interest. Despite that last remark, it is the two longer tracks that are slightly less soporific, but the 8- mins 24 Hours never allows for the pure pop brilliance of yesteryears to happen. Sappy and atrocious ballads like the 6-mins interminable Yes I Am (could be subtitled I Am Ready For Love) are abusing of your patience by being twice length it needed to. The worst part is that outside the Toto soundscapes, we get some pretty bad Foreigner vibes (circa the 4th album), but without the energy of Gramm's voice, even in faster tracks like City Lights. To keep the dancing thing going, the band plays out one or two reggaes (like Feel The Love, or Food For Thoughts) to emulate the success of Dreadlock Holidays, but sadly fails in doing so. Even worse, "Working Girls" emulates the horrible electro-pop new-wave ala 2Duran that had conquered the airwaves.

It's rather obvious that part of the failure of this album (still a tad better than its predecessor from what I recall) is its 80's AOR production (let alone a boring artwork on the cover), but at least we're not dealing (not that I know of, anyway) with cheap digital synths and rhythm boxes. Don't get me wrong, even insipid 10CC albums like this one are worth twice any Toto album of any era (and not just IMHO). Best avoided, just in case you hadn't understood yet.

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 Bloody Tourists by 10CC album cover Studio Album, 1978
3.11 | 58 ratings

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Bloody Tourists
10cc Prog Related

Review by UMUR
Special Collaborator Honorary Collaborator

3 stars "Bloody Tourists" is the 6th full-length studio album by UK pop/art rock act 10cc. The album was released through Mercury Records in September 1978. The album was commercially successful and spawned the hit single "Dreadlock Holiday" which reached No.1 in the UK in August 1978, prior to the albumīs release in September.

"Bloody Tourists" is a continuation of the compositionally clever and lyrically "tongue in cheek" pop music that the band are known and loved for. Itīs slightly less challenging than earlier releases or in other words more mainstream. One of the things that always stood out on earlier releases was the sound production and this time around itīs no different. These guys are just as accomplished producers as they are musicians. The trademark vocal harmonies and choirs are there in abundance too. The slightly silly Caribbean/reggae influenced "Dreadlock Holiday" is a track that is sometimes much criticised, but looked upon objectively itīs a damn catchy, memorable and very well produced pop song. The same can be said about the rest of the material. Some of the tracks are sometimes lacking the compositional depth and oddball attitude of earlier material, but thereīs nothing offensively bad on "Bloody Tourists".

Overall itīs an enjoyable release that might not reach the hights of their best output, but certainly delivers entertainment on a satisfactory level. Iīd say a 3 - 3.5 star (65%) rating is deserved.

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Thanks to Sean Trane for the artist addition. and to memowakeman for the last updates

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