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Cliff Richard - Listen To Cliff! (1959)

Track listing:
  1. What'd I Say 3:03
  2. Blue Moon 3:32
  3. True Love Will Come To You 2:41
  4. Lover 1:48
  5. Unchained Melody 3:31
  6. Idle Gossip 2:53
  7. First Lesson In Love 1:55
  8. Almost Like Being In Love 2:05
  9. Beat Out Dat Rhythm On The Drum 1:59
  10. Memories Linger On 2:40
  11. Temptation 2:24
  12. I Live For You 2:15
  13. Sentimental Journey 2:08
  14. I Want You To Know 2:24
  15. We Kiss In A Shadow 3:27
  16. It's You 3:21

Notes

Hot on the heels of the fall 1959, hit "Living Doll," ABC picked up two Cliff Richard albums for US release, his UK sophomore Cliff Sings, and his fourth album, Listen to Cliff. (The vastly superior Me and My Shadows was inexplicably pasased over.) The label's hopes for the singer were evident in their choice of the material showcasing him for an American audience - intending to package him as a strictly English phenomenon, ABC often opted against releasing his covers of well-known American material, in favor of homegrown material. A skillful cover of "Willie & The Hand Jive," recorded as the flip to 1960's "Fall In Love With You" 45, for example, was dropped from the American release, in favor of the Ian Samwell original "Choppin' And Changin'", while the Listen To Cliff album shed four tracks - including, unfortunately, the pace setting version of "What'd I Say" which opens the UK version. A seething version of "Beat Out Dat Rhythm On A Drum," Lerner/Loewe's exotic "Almost Like Being In Love" and Fats Domino's "I Want You To Know" also departed - not only were US versions already better known, it has been remarked upon elsewhere that, of the three groups of musicians with whom Cliff recorded this album, the Shadows and the Bernard Ebbinghouse Band both lost two performances each, while long time producer Norrie Paramor's eponymous orchestra emerged from the pruning with their contributions unscathed. Politically, that one could run forever. Musically, however, the end result of such carnage is not so significant as one might expect. If there is any one major criticism to be directed at the UK original, it was that the variety and versatility sometimes became overwhelming. Trimming away four songs - two rock numbers, two jazzy pieces - leveled the sonic playing field somewhere, not only presenting a well-rounded portrait, but a well-mannered one as well. No raucous shouting, no seductive fire dancing, just a well-mannered English lad with a happy smile and a lovely voice. Or, as the American liner notes introduce us, "balladier - rock'n'roller - and swinger." Indeed.