10cc's The Dean And I - genius stuff; we're rereleasing it in a few weeks time but check it out and read the reason why in the INFO section.

One of the most criminally underrated bands of the 70s, despite their high chart profile at the time.

Incredible songwriting, incredible arranging and production skills.

Unquestionably the best band ever to emerge from Manchester. Fact!

In Mancunian terms, the missing link between the Hollies and New Order (Gouldman wrote hits for the Hollies and Joy Division/New Order recorded in Strawberry Studios). Number ones with a catchy bubblegum song about prison riots and a way-ahead-of-its-time ambient love song about stalking...they were a clever lot, all right.

Classic TOTP anecdote:
Blackburn: So when are you gonna change into your stage gear, lads?
10cc (in denims and dungarees): Er, this is our stage gear, Tony...

Are you doing this as download only/physical or both?
Call me old fashioned but I still have my immaculate vinyl copy.
"Rubber Bullets", still sounds brilliant too.
Isn`t it amazing how we can simply record the sounds of instruments and they stand the test of time.
The sampled , and over the top drum sounds on many 80`/90`s tracks render them unlistenable still.

You're right about the 80's drums (those awful "syn" drums as on Eastenders make many 80's hits sound far more dated than 70's and 60's ones; I spend hours removing them from multi tracks on new mixes/fresh songs using the tracks).
Put-put-phow!

I also can't abide that treble-heavy biscuit-tin indie drumming production you get on records by the Arctic Monkeys and similar.

Bring back the Fairchild compressor I say...

I like "biscuit tin indie drumming", at the moment, but probably won`t in ten years!

Yes, that generic 80s drum sound really was dreadful, wasn't it?

I believe it was originally the invention of Phil Collins and his engineer Hugh Padgham - and made its debut on Collins' 'In The Air Tonight'.

I, too, bought 'Rubber Bullets' in 1973 (or, rather, had it bought for me - I was only six years old); I was too young to appreciate its sophistication (though the line 'it's a shame those slugs aint real' made perfect sense to me, at the time), but I loved it as a good-timey, exciting pop track that I could do my own version of idiot dancing to. 33 years later, I love it as a perfect bit of songwriting/performance/production, which you can still pop around to!

Pop music disposable? Not when it's as good as this, it aint!