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Talk to us today at IP Telecom DOT, i.e. the Pat Kenney Show on news talk with Marter Private Network during current restrictions. Don't ignore your health concerns. Our expert team is ready to help. Now, if you're of a certain age, you may not have heard of art rock band 10 S.S., but I've no doubt that at some stage you've heard their most famous song, which is I'm Not in Love. It's a groundbreaking song from over 45 years ago.

And as the subject of this morning's installment of the lyrics, The Thing Paul Harington. Good morning.

Good morning, Patia. Indeed, it was groundbreaking and it's a tune that almost didn't happen. But the recording process was absolutely brand new. Also was over six minutes long at the time. But I can come back to that in a minute, back to nineteen seventy five.

It was released as a single it went to number one in the UK, number two in the US, and pretty much topped most of the charts around the world.

And you know, as I say, it almost didn't happen. And this was because the band just hated the whole idea of saying, you know, writing a love song and saying, I'm not in love. And they just said, look, you can't say that. And of course, they used very colorful language.

But there's a there's a lovely little story at the heart of it. And the genesis of the lyric is very much steeped in love, I have to say, because the lyricist Derek Stewart explains it in an interview with The Guardian newspaper, and he says he was 18 years of age when he met his description. Gorgeous Gloria. He was 16. They fell in love, and three years later, they got married.

But he said after a few years, Gloria said to him one day she said, You don't say I love you anymore, or at least not as often as you used to. And of course, his response was, well, if I said it all the time, it would it would sound very glib.

Now, he doesn't reveal how the rest of that conversation went afterwards.

But anyway, suffice to say, it got him thinking and his creative juices, etc. He was trying to figure out a way of saying saying it without saying it.

And anyway, within a few days, he got it together and he wrote the lyrics over a couple of days, almost as a kind of a loving riposte to Gloria's initial concerns, which was kind of almost childlike, really not in its crafting, but in its in its instinct, I suppose.

And it's a bit like, you know, it might look like I'm mad about you, but don't get carried away. It's just a silly phase I'm going through.

And that's a line I keep your picture up on the wall. It hides a nasty stain that's lying there. And other words, I'm just using a picture to cover a crack in the wall. I could've used any picture, John, with a band, football or whatever. Exactly.

Exactly right. And it was a real crack, by the way, on a real wall in his bedroom, in his parents house in Manchester. But but then, of course, he goes on to say, so don't you ask me to give it back. I know. You know, it doesn't mean that much to me. I'm not in love. No, no. It's because and so on throughout the whole song, he manages to kind of achieve what he set out to do.

And that is to tell Gloria that he loved her without using the words, I love you.

And just a little footnote here, but they've been married for 55 years and he tells her he loves her every day.

Now, I'm not in love. If you compare it to some of the other songs that Rubber Bullets Dreadlock Holiday instrumentally sparse but vocally fabulous. Huge, absolutely.

Like The Wall of sound. You know, you see it just to go back a tiny bit to initially Graham Gouldman, who's the bass player, he developed the song with Eric Stewart and they built it around it, kind of a bossa nova style thing.

And because they both like the tune The Girl from Ipanema, but the rest of the band, they didn't go for that. And of course, they've already rejected it on almost all fronts. And they're just about to wipe the tape. And then they hear the secretary singing it a bit like the old great whistle test. And this was like, this is the secretary, by the way. He went on to do the piece, Big Boys Don't Cry.

But anyway, they knew at this point they had the makings of a great song. And then Kevin Godlee, another band member, he capitulated and he said, look, the only way this will work is if we do something completely different, let's just use our voices. And they did all six hundred and twenty four of them.

This is where another band member, Cream, came in.

He was experimenting with tape loops and layering sounds with with a guy called Richard Dodd, an engineer who seven years later brought the same wizardry to planet scheme from Harry's game.

But they multilayered the band's voices over about three weeks until they had this chromatic scale and they used the mixing desk like a piano keyboard to incredible effect and was really genius. But of course, coupled with the unmistakable classic sound of the Fender Rhodes piano and painstaking work, but well worth it. And it's probably one of the best known piano ballads ever made.

1975, they released it about four or five points ahead of another fine example of Multilayer. That was Queen's Bohemian Rhapsody, which I won't be trying any time soon, but I'm happy. Happy to give this one to go without the loops.

OK, one voice, one piano. Paul, I'm not in love. Take it away. So don't forget to. It's just a silly phase I'm going through. And just because. A call you were. Don't get me wrong, I don't think you've got me. I'm not in love, no, no. It's become. That doesn't mean mean that much to me. So if I call you. Don't make a fuss. Don't tell your friends about the two of us.

A love.