Cliff Richard (Lucky Lips) EP (FRA) 1963
A1 Lucky Lips 2:40
A2 You Don't Know 2:40
B1 Some Of These Days
Featuring – Norrie Paramor And His Orchestra
B2 I'm Walkin' The Blues 1:58
Ty To Original Sharer
"I hope for nothing, I fear nothing, I am free"
Cliff Richard and the Shadows – The Next Time (1963) 7"
Cliff Richard - Expresso Bongo (1960) 7"
Cliff Richard & Drifters,Cliff No 1 EP, 1959
Artist: Cliff Richard And The Drifters
Catalogue: SEG 7903
Date: Jun 1959
Title: Cliff No. 1
Chart Position: 4
"I hope for nothing, I fear nothing, I am free"
Cliff Richard (Hits From Summer Holiday) EP (1963)
Appropriate For The Weather we are Having Here in Scotland At The Moment...
"Summer Holiday" is a song recorded by Cliff Richard and The Shadows, written by rhythm guitarist Bruce Welch and drummer Brian Bennett. It is taken from the film of the same name, and was released as the second single from the film in February 1963. It went to number one in the UK Singles Chart for a total of three weeks, as had the first single from the film, "The Next Time". After "Summer Holiday" had spent two weeks at number one, The Shadows' instrumental "Foot Tapper" - also from the same film - took over the top spot for one week, before "Summer Holiday" returned to the top spot for one further week. The track is one of Richard's best known titles and it remains a staple of his live shows. It was one of six hits Richard performed at his spontaneous gig at the 1996 Wimbledon Championships when rain stopped the tennis.
A cover version of the song by Kevin the Gerbil was used as the theme from TV-am's 1984 series Rat on the Road II.
The melody of the song is used in the chorus of the 1986 rap tune "Holiday Rap", by the Dutch duo MC Miker G & DJ Sven.
Cliff Richard - The Rock 'N' Roll Years 1958 - 1963
Such an unimaginative title for such a imaginative boxful. Across four discs and 105 songs, Cliff Richard's earliest catalog comes in for precisely the kind of treatment every rock & roll star should have: an all-encompassing study of his most important period. Even more impressively, though the song titles all sound familiar, the performances rarely are. Thirty-seven tracks are bona fide unreleased (South African 78s notwithstanding), but several dozen more are culled from scarce EP-only mixes, rarely resurfacing B-sides, and unusual mixes. One cut, an undubbed take of "Willie and the Hand Jive," was hitherto available only on a mid-'80s budget-priced single disc, covering much the same period as this. It wasn't aimed at collectors, it wasn't heavily advertised, and it probably didn't sell many copies. Of such things do completists dream, but when you have a beakful of hen's teeth to sort through, do such things really matter? Discs one through three are the conventional ones. Running in strict chronology through Richard's first eight albums, 20-plus EPs, and 23 singles, highlights are sorted, then sorted again. Where a rare version exists, that's what is offered here, be it an alternate version of "It's All in the Game," an unreleased rehearsal of "Do You Wanna Dance," or the original stereo mix for the album take of "Twenty Flight Rock." Disc one is the hottest. The swagger of "Move It," the dynamics of "Dynamite," all the things that sent the New Musical Express running home to hide in 1958/1959 (screaming, "must we fling this filth at our pop kids?") are here. From this side of the ocean, the best-known tracks are the American covers, and there's a fair swathe of them to be sure. But the killers, the stompers, the real bees' knees, are the homegrown monsters that simply ripped up the form book and rewrote rocking basics. Just like the guy who sang them, in fact. Disc two, covering 1959-1961, keeps up the pace for as long as it can, but rock & roll itself was starting to flag, and Richard's energy level flags with it. By disc three, 1962-1963, Richard's post-Beatles role of mainstream pop balladeer was already in his grasp, and though he could still kick out the jams when he wanted (a soulful "Blueberry Hill," a raunchy "Reelin' and Rockin'"), it's the ballads that stick out the most -- "It's All in the Game" and "I'm Looking Out the Window." And then there's "The Next Time," stripped down to its unorchestrated basics, and still one of Richard's most impressive performances. Until you reach disc four, of course. Subtitled "Rare'n'Rockin' 1958-63," this is the album that completely rewrites history. It opens with the first recording Richard (then still laboring under his distinctly nondescript given name of Harry Webb) ever made: He rips through raucous, raw renderings of "Lawdy Miss Clawdy" and "Breathless," cuts to a 1958 live show, and hacks through broadcast tapes and unreleased acetates. And every one is a gem. His Elvis Presley covers are especially remarkable. America's rock & roll revolution, of course, was matched blow for blow by skiffle in the U.K. -- even Richard's Shadows cut their teeth in that movement, as members of Wally Whyton's Vipers. Where Richard triumphed over the rest of the pack was in the way he blended the two forms together; where "Rare'n'Rockin'" triumphs is by revealing just how seamless that blending could be. And "Jailhouse Rock" and "Heartbreak Hotel" are the apogee of his art. Suddenly it's no surprise that, for every new British band from the Beatles on down, it was Richard and the Shadows who pointed the way, not Elvis, Buddy Holly, Eddie Cochran, or Gene Pitney, and certainly none of the names who sprang up in Britain in Richard's wake. Richard did more than create a hybrid. He invented a truly British way of rocking. And from the Beatles to Blur, the Rolling Stones to the Stone Roses, that method remains fundamental to British rock.
Cliff Richard - 21 Today (1961)
Not many albums are titled after their release date, but October 14, 1961, was a significant date whichever way you look at it, as Cliff Richard finally advanced into adulthood. He could drink alcohol. He could vote. He could drive a car. He could even have sex. And the fact that he was already the single most popular and successful solo pop star Britain had (or would) ever produced did not diminish the significance of the event. His fifth album even opens with a distinctly stylized Shadows version of "Happy Birthday To You," over which Cliff, the band and sundry friends revel in his new found freedom... "we should get the young ladies a drink," says someone and, perhaps, we should be grateful that the track fades out quickly after.
In fact, it would not necessarily be a bad thing if the entire album followed suit. While by no means the nadir of Cliff's recording career, 21 Today is very much a portrait of the artist on auto-pilot, a succession of pleasant mid-tempo ballads, with Shadows-lite backing, soaring strings a-go-go and - the curse of British MOR later in the decade - the utterly wholesome oohs, aahs and echoes of an army of clean-living backing youths.
A couple of tracks buck the trend - "Without You" and "Tough Enough" are gritty Shadows-led stompers, while Hank Marvin and Bruce Welch's "Y'Arriva" at least packs an intriguingly mock-Spanish backing, to match vocal stylings lifted straight from an old Speedy Gonzales cartoon. There is also a bizarre version of "Tea For Two," Cliff giving it his best well-mannered showband vocal, while the Shadows noodle away in best smokey jazzclub style.
Cliff Richard Et Les Shadows - Please don't tease (1960) EP
Cliff Richard & The Shadows - Move It (The Best Of The Early Years)
Released just months after he celebrated his 70th birthday, Move It: The Best of the Early Years is a comprehensive overview of legendary pop icon Cliff Richard's late-'50s and early-'60s career. Featuring 75 tracks performed with both the Norrie Paramor Orchestra and the Shadows (several of which were recorded under their initial guise of the Drifters), it includes chart-toppers "Living Doll," "Please Don't Tease," and "I Love You" alongside debut single, "Move It," a cover version of Elvis' "Blue Suede Shoes," and several instrumentals recorded by his hugely successful backing band ("Apache," "Bongo Blues," "The Stranger").