Melody Maker 1977 review

The Consequences of going it alone

LOL CREME/KEVIN GODLEY: “Consequences” (Mercury CONS 017/6641 658). Written, arranged and performed by Lol Creme and Kevin Godley (guitars, percussion, Gizmo, vocals), with dialogue written and performed by Peter Cook. Guest appearances by Sarah Vaughan, Judy Huxtable, Peter Wheeler and Andy Peebles. Produced by Godley and Creme and engineered and mixed by Martin Lawrence at Strawberry Studios, Cheshire, and the Manor Studios, Oxon.

IMAGINE a play-cum-musical that has among its principal characters Derek and Clive, the London Symphony Orchestra, the entire effects department of the BBC, the Atlantic Ocean, Beethoven, and, of course, the zanier side of the old 10cc, Lol Creme and Kevin Godley, with their magical puppet, the Gizmo.

Weird, eh? Well, that should give you a very vague idea of what “Consequences” is like. After a spell when a thousand question marks and doubts hung over my head about the album, I feel without a shadow of a doubt that it is the most important, and best, album released in years. And frankly, I don’t think that is going over the top.

From an attitude of indifference about the theme of the album, I have grown to understand and appreciate it. Above all, however, “Consequences” succeeds because it works on all levels. It contains some of the best pop music and songs that you're likely to hear; Cook’s contributions are often stunningly witty and occasionally hilarious; but the serious implications of the story are never lost.

It is very experimental, sometimes taking the accepted concept of a song apart and still succeeding.

And, of course, there is the Gizmo, which caused the split in the first place, and the sounds that little machine creates when attached to Lol Creme’s Fender Stratocaster are simply breathtaking.

I still think that Creme and Godley could have taken a more objective stance when making the album and that, particularly on the first two sides, they could have disciplined their indulgence a bit more, but that doesn’t detract from the enjoyment of the work.

The story tells of parallel battles, one in an office where two solicitors and a husband and wife prepare to settle a divorce (Cook plays all the characters, apart from the wife, played by Judy Huxtable) while outside the elements have turned on the world and are wreaking havoc, slowly approaching the solicitors’ office.

One insignificant little man, whose office is downstairs, has composed a concerto which can conquer the elements. “Consequences,” through the spoken and sung word, tells what happens.

Sides one and two of the triple album display the Gizmo’s vast instrumental range,
but it is quite needling to think that Creme and Godley may have used those as a demo record. Still, it is fascinating.

Three tracks in particular stand out: “Wind,” “ Sleeping Earth” and “The Flood,” which uses water as the percussion section, while ‘“Honolulu Lulu” is the closest on the two sides to the sound connected with 10cc.

Talking of 10cc, I have to remark that Creme and Godley, as opposed to Stewart and Gouldman, who retained the name after the split, were responsible for the band’s unique sounds. ‘ Consequences’’ shows that Creme and Godley were the driving force behind 10cc.

On to the rest: of the album. After the general comment on disasters that is the theme of the first two sides, the story focuses on the divorce proceedings, which brings in Cook.

His pieces are marked by some interesting musical back-drops from Creme and Godley, as well as punctuated by some brilliant songs, which again reinforce their claim as the more creative side of 10cc.

There’s “Five O’Clock In The Morning,” a poignantly simple but effective tune; “When Things Go Wrong,” with Creme’s vocal racing over a mellow backing track; and the magnificent “Lost Weekend,” which features jazz songstress Sarah Vaughan and Kevin Godley on vocals, It’s a beautiful song, with gospel chorus by the dynamic duo.

Side four features the best track on the entire album, “Cool Cool Cool,” which would be a number one single if it’s released. It jumps from one pace to another before dropping into an enchanting chorus that will leave you stunned.

“Sailor” (side 5) again demonstrates the golden texture of Godley’s vocal, while “Please Please Please” is incredible, with Cook begging while Godley and Creme churn out a crazy riff in the background.

The entire sixth side is devoted to “ Blint’s Tune,” the concerto that saves the world, and it’s very different from anything you would expect to hear in the rock idiom, approaching something of a cross between a classical piece and experimental electronic music (care of the Gizmo). It’s another highlight of the album.

Many people will be astounded by Godley and Creme’s creation. It takes a long time to get into; the instrumental pieces, especially, demand concentration, and Peter Cook’s dialogue will prove an immediate stumbling block.

The best way to approach “Consequences” is with no preconceived ideas, difficult though that may be. With those out of the way, you'll enjoy a magnificent album.

Honestly, I don’t think that any review could do the album justice, and I certainly can’t imagine another album being released this year that could remotely match it for inventiveness, originality and great songwriting.

Buy it. Borrow it. Steal it. Just make sure you hear “Consequences” before attempting to condemn it. That’s the least artists of Godley and Creme's stature deserve. — H.D. [Harry Doherty]

Huge thanks to Paul Hamilton for sending me these scans of Melody Maker interviews and reviews from the time of Consquences' orginal release.