‘We wanted Torvill and Dean skating in the video!’ How we made Godley & Creme’s Cry

TruthLens AI Suggested Headline:

"Kevin Godley and Lol Creme Reflect on the Creation of Their Iconic Song 'Cry'"

‘We wanted Torvill and Dean skating in the video!’ How we made Godley & Creme’s Cry analysis cover image The Guardian 8.3
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Original Article Source: https://www.theguardian.com/culture/2025/may/19/torvill-and-dean-video-how-we-made-godley-creme-cry
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AI Analysis Average Score: 8.3
These scores (0-10 scale) are generated by Truthlens AI's analysis, assessing the article's objectivity, accuracy, and transparency. Higher scores indicate better alignment with journalistic standards. Hover over chart points for metric details.

TruthLens AI Summary

Lol Creme and Kevin Godley, former members of the band 10cc, decided to leave the group at the peak of its success because they felt the creative process was becoming stagnant. With their background in art school, they were eager to explore visual storytelling through music videos. Their first foray into this medium was a short video for their single "An Englishman in New York," which led to further opportunities in the industry. After creating the video for Visage's "Fade to Grey," they received requests from notable artists such as Duran Duran and Herbie Hancock to produce videos for them. Their collaboration with Trevor Horn began in a New York hotel bar, where they conceptualized a song called "Hit the Box" based on the idea of channel-hopping. However, they soon pivoted to an older song they had partially written, which would eventually evolve into the hit track "Cry."

As they worked on "Cry," they employed innovative production techniques, utilizing state-of-the-art equipment and a collaborative approach that allowed them to create a unique sound. Although they initially envisioned the video featuring famous ice skaters Torvill and Dean, scheduling conflicts led them to cast various faces from a casting book instead. The result was a visually striking video that utilized creative techniques like wipes to transition between images, creating a magical effect. Over the years, the video became a cultural touchstone of the 1980s, with subsequent artists like Elbow recognizing its impact. The song "Cry" continues to resonate, as evidenced by its inclusion in live performances, showcasing its enduring appeal. Recently, the release of the 11CD box set "Parts of the Process – The Complete Godley & Creme" has reignited interest in their work, highlighting their innovative contributions to music and video production.

TruthLens AI Analysis

The article provides an insightful look into the creative process behind Godley & Creme's song "Cry." It reflects on the duo's artistic background and their transition from the band 10cc to exploring new visual mediums in music. The narrative highlights their collaboration with notable figures in the music industry and the innovative techniques they employed in their music videos.

Motivation Behind the Article

The piece appears to celebrate the artistic journey of Godley & Creme, emphasizing their unique contributions to music and video. By recounting their experiences and the evolution of their work, the article seeks to inspire appreciation for creativity and innovation in the music industry. This narrative may also serve to rekindle interest in their music among both old fans and new listeners.

Public Perception Creation

The article aims to cultivate a sense of nostalgia and admiration for the creative processes of 1980s music. By sharing behind-the-scenes anecdotes and the challenges faced during production, it fosters a connection between the audience and the artists. This approach can enhance public perception of Godley & Creme as pioneers in the music video domain.

Potential Concealed Information

While the article focuses on the artistic aspects, it may downplay the commercial pressures or conflicts that prompted their departure from 10cc. Furthermore, the emphasis on creative successes could overshadow any struggles faced during their transition. However, the overall tone remains celebratory, suggesting a desire to highlight achievements rather than failures.

Manipulative Elements and Reliability

The article does not exhibit overt manipulative tactics; however, it selectively portrays the duo's experiences to emphasize their artistic vision. The authenticity of the narrative appears strong, as it provides personal insights into the creative process. Yet, it is essential to recognize that such storytelling often highlights successes while minimizing the less glamorous aspects of artistic ventures.

Cultural Impact and Community Engagement

The content primarily appeals to audiences interested in music history, particularly fans of 1980s pop culture. It may resonate with communities that value artistic expression and innovation, thereby reinforcing a shared cultural identity among those groups.

Economic and Market Influence

Though the article focuses on music and art, its implications for the broader entertainment industry are significant. Increased interest in Godley & Creme's work could lead to a resurgence in vinyl sales or streaming, influencing music-related markets. The impact on specific stocks or companies may be indirect but could be felt in sectors connected to music production and media.

Global Relevance

While the article is centered on a specific musical work, its themes of creativity and collaboration are universally relevant. In today's context, where innovation in music and media continues to evolve rapidly, the article serves as a reminder of the importance of artistic exploration amidst commercial constraints.

Use of Artificial Intelligence

There is no indication that artificial intelligence was utilized in the writing of this article. The narrative appears to reflect genuine human experiences and emotions, which AI may struggle to authentically replicate. If AI were involved, it would likely manifest in the structure or language but does not seem evident in this case.

Ultimately, the article provides a reliable account of Godley & Creme's artistic journey, celebrating their influence in the music video landscape while inviting reflection on the nature of creativity in the arts.

Unanalyzed Article Content

Source URL: https://www.theguardian.com/culture/2025/may/19/torvill-and-dean-video-how-we-made-godley-creme-cry

Lol Creme and I left 10cc at the height of the success because we felt things were starting to become repetitive. We came from an art school background and we were thinking visually. Even at that stage, there were two film-makers waiting to come out.

We made a short video to promote our single An Englishman in New York, and thought the medium was brilliant. After we made theFade to Greyvideo for Steve Strange’s Visage, people like Duran Duran and Herbie Hancock asked us to make videos for them.

We were in New York editing a Police concert film when we met Trevor Horn in the hotel bar, and we decided to make some music together. We had this idea for a song called Hit the Box based on channel-hopping in the US but realised it wouldn’t work in the UK because there were only three channels. Then we remembered a song we’d started to write 15 years previously. All we had was the first verse – “You don’t know how to ease my pain” – but Trevor liked it.

We had always produced ourselves, but Trevor and his crack team were revolutionising the way records were being made. We laid down a 20-second backing track and a guide vocal and were told to go and play table tennis while their machinery ingested it. When we came back they’d created this lovely bed of sound. Lol added some delicious chords and I was told to “Just sing something” to fill four minutes. The lyrics were stream of consciousness, but we knew we had something special.

We wanted Torvill and Dean to skate in the video! But their diaries didn’t match. So we picked loads of faces from a casting book and filmed them all singing Cry. Some said they could lip-sync but couldn’t, but it all looked great in 35mm black and white. This was before morphing, so we used these things called “wipes” which meant one face could dissolve into another. A man might turn into a woman or a punk into an aged person, creating an entity that didn’t exist before. It felt magical. Of course, Lol and my faces are in it. Our “plan B” ended up becoming one of the most talked about videos of the 1980s. Years later Elbow asked me to recreate the Cry video for their songGentle Storm. Guy Garvey said that when he was a kid it had been a “seismic event”.

I was in New York trying to produce Foreigner when Thereza Bazar from Dollar rang to tell me she was hanging out with Godley & Creme in the bar at the Meridien, and asked if I’d like to come over. Someone in the Foreigner crew had been trying to turn me on to ZZ Top by making me smoke this really strong weed called “Thunderfuck”, so I was pretty spaced out. Kevin and Lol said: “Don’t worry, so are we.”

We started hanging out and one night I started to manipulate the dial on the hotel room TV rhythmically, like scratching, which was the beginnings of Hit the Box. I had the studio set up for Foreigner so that weekend we used it to record that Godley & Creme track. But on the Monday morning Foreigner said: “We heard you came in at the weekend and we heard what you did. It’s fucking awful.” They were so angry with me that I suggested to Kevin and Lol that we put the project to one side and reconvene in England.

By then I’d done loads of 12-inch singles and was getting sick of abstract electronic stuff so I asked them: “Haven’t you just got a nice song?” They found this very funny – “A ‘nice song’?!” Kevin and Lol were like a comedy duo in those days, but they got a guitar and played me Cry.

We were in Surrey Sound Studios with Nigel Gray, a brilliant engineer/producer who made Andy Summers’s guitar sound so good on the Police records. Nigel got Lol a great guitar sound. Kevin always had a beautiful voice. JJ Jeczalik from the Art of Noise did the rhythm track and Steve Lipson engineered it. We used Fairlight and Synclavier synths.

It was all done very quickly and I thought it came out well. Once you saw the video you couldn’t hear the song without imagining it.

In 2017 my band played Cry live at Fairport’s Cropredy festival, with a guy called Jamie Squire singing. I just thought: “God, this track sounds really great.” It’s been in our setlist ever since.

The 11CD box set Parts of the Process – The Complete Godley & Creme is out now on Demon/Edsel. Trevor Horn plays the Cropredy festival on 8 August

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Source: The Guardian