Consequences (Godley & Creme album)
| Consequences | ||||
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| Studio album by Godley & Creme | ||||
| Released | 1977 | |||
| Recorded | Strawberry Studios, | |||
| Genre | Progressive rock | |||
| Length | 110:59 | |||
| Label | Mercury | |||
| Producer | Kevin Godley, Lol Creme | |||
| Godley & Creme chronology | ||||
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| Allmusic |    |
Consequences is the debut album by English pop artists Godley & Creme. It was released in 1977 as a boxed triple-LP.
Created as a concept album, it incorporates a play, with all characters voiced by comedian Peter Cook, and singing by Sarah Vaughan, who was brought into the project by Phonogram after trying to secure Ella Fitzgerald.
The album was released in two abbreviated, single-album versions: an eight-track album, Musical Excerpts from Consequences (1977) and a 10-track album, Music from Consequences (1979). A single was also released, "Five O'clock in the Morning" / "The Flood".
The concept of the album was described at the time as "the story of man's last defense against an irate nature".
The album began as a demonstration record for the 'Gizmotron', or Gizmo. This was an electric guitar effect device that Godley and Creme had invented a few years earlier as a means of providing orchestral textures, because the band at that stage could not afford to hire orchestral players to augment their recordings. The Gizmo was an electro-mechanical device which was clamped over the bridge of an electric guitar; it contained six small motor-driven toothed plastic wheels that, when pushed into contact with the strings, created a 'bowing' effect, producing notes and chords with endless sustain that, with additional audio effects treatment and overdubbing, could emulate violins, violas, cellos and basses. Godley and Creme had begun work on songs for the Gizmo before leaving 10cc, but quit the band when they realised the songs could not comfortably appear on 10cc albums.
The album was recorded over 18 months at Strawberry Studios in and The Manor in Shipton-on-Cherwell, Oxfordshire, with Godley, Creme and engineer Martin Lawrence going to extraordinary lengths to create its special effects. At one point, to create the impression that the listener is inside a coffin during a burial, a binaural "head" microphone unit was placed behind a board at the foot of a flight of stairs, while Godley shovelled sand on to it. Three days were spent producing a saxophone sound from an electric guitar; each note of a guitar solo was recorded separately and faded in on the track, which was then sent through a speaker and out of a rubber hose with perforated cigarette paper at the end. Enough pressure was displaced by forcing the sound through the holes of the cigarette paper to give the rasp of a saxophone.
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