The other potential problem with “cleverness” is that it can be paradoxically undemanding of its audience: it can create a sense of “well done, you’re in the club that can appreciate this, now put your feet up” (I get this from a lot of indie with ostensibly smart lyrics, but maybe I’m being chippy and looking for it).

For me, clever = sexy. Which is probably why I’ll be right out on a limb when we come to discuss punk.

However, and one or two people have alluded to this already, to me its cleverness has always slightly spoiled the overall effect. It’s as if they have tried to do too much here, the song challenges you to think about it… and when you do you come up with some things you don’t quite like, the messy stain, big boys don’t cry etc..

I can acknowledge that, at 14 at the time, I maybe didn’t really understand it all but even now it sounds hackneyed and clumsy to me - not just the emotions of the person singing, but the SONG itself.

Much like other “clever” English writers such as Elvis Costello, and Difford/Tilbrook, 10CC’s cleverness often got in the way and diminished from what could have been fantastic songs.

As someone stated earlier, this is a song I can admire and appreciate, rather than a song I like.

For me, the song is clearly about a person who’s heart has been broken by someone, who is in love with someone who doesn’t love him (anymore). So he tries to convince himself - in vain - that he hasn’t really been in love and truly committed anyway. While he is enumerating the things he does which reflect being in love: “I call you up”, “I like to see you”, “I keep your picture”, Maybe also because his pride is hurt, and he desperately tries to keep his head above the water emotionally.

He even tries to swap “sides” and feel superior by swearing that he would never love the other person (again), even if the feeling was mutual (”You’ll wait a long time for me”).

In some circumstances, this would be rather nice. Gwen Cooper from “Torchwood”, for example. Trouble is, I’d probably end up with Captain Jack Harkness “belling” me.

Down, Mike!!!!

I had a cassette of the Johnny Logan album - no idea why, and no idea where it is now - that his cover appeared on. It was the rush-release to accompany his second Eurovision winner ‘Hold Me Now’ and my vague recollections suggest it was fairly faithful. It was hardly going to be radical.

I also noted a most impressive list of others who have recorded it. Some of the names boggle the mind, but having thought that Billie Holiday would have sent the song into orbit, she’s not on the list. All the same, Julie London gives it a silky menace that would be hard to match.

Swerving, I had an idea for a collection of short stories based on songs (yes, yes, I’ve no doubt it’s been done before.) CMAR would make a good basis for one, and so, returning to topic, and taking the current debate into account, would INIL.

I’m with Mike and Brian above on the stalker angle and preference for 10cc’s other, sparkier, singles (particularly I’m Mandy), and for me the subtle bass line under the “Big boys don’t cry” section is the best thing about this one. But that’s the joy of Popular, in that people who care deeply about a song can express just why it moves them so, and the analysis and discussion open up entire new vistas on the songs and the music. More power to its elbow.

But then again, maybe it was a different song…