The prototype for the later Cliff Richard Collection U.S. release, Private Collection is, in fact, a dramatically public one, compiling 24 of Cliff Richard's 31 British chart entries spanning the decade 1979-1988. Chronologically, "Green Light" and the monster "We Don't Talk Anymore" open the show; the festive "Mistletoe and Wine" closes it, and in between times, Richard's journey through some distinctly Elton John/Billy Joel-shaped territory finds him alternately unleashing some startlingly memorable material, and some surprisingly lackluster muck – just like Elton and Billy, in fact. From 1981, the awful "Daddy's Home" would not have been out of place flapping around his late '60s dog days; from 1980, "Carrie" stands proudly among his finest ever performances.
Wanda Jackson was the first female rock and roll singer in the United States, releasing her debut record in 1956. She is often hailed as the "Queen Of Rockabilly." Inducted into Rock And Roll Hall of Fame in 2009 (Early Influence)…
"From a Distance: The Event" is a live album by Cliff Richard, released in 1990 by EMI. The album was recorded in June 1989 at Richard's "The Event" concert, held at Wembley Stadium in London. The album peaked at number 3 in the UK albums chart and was certified double-platinum in the UK. Three singles were released from the album; "Silhouettes" (UK #10), "From a Distance" (UK #11) and "Saviour's Day", which was the 1990 UK Christmas number one.
"Stronger" is the twenty-sixth studio album by British singer Cliff Richard, released in October 1989. The album was produced by Alan Tarney and includes the singles "The Best of Me"(UK #2), "I Just Don't Have the Heart" (UK #3), "Lean On You" (UK #17) and "Stronger Than That" (UK #14). The album reached Platinum, peaking at #7 in the UK Albums Chart.
"Just... Fabulous Rock 'n' Roll" is a studio album by Cliff Richard, released November 2016. The album continues the rock 'n' roll theme of his previous studio album The Fabulous Rock 'n' Roll Songbook. It comprises covers of 14 classic rock 'n' roll songs and one new song "It's Better to Dream". It features Elvis Presley in duet with Richard in "Blue Suede Shoes" and Peter Frampton on guitar in "Dimples". The album reached number 4 on the UK Albums Chart and has been certified Silver for sales over 60,000 in the UK.
"I'm No Hero" is a 1980 album by Cliff Richard. Following the success of his 1979 single "We Don't Talk Anymore" which was written and arranged by Alan Tarney, the record company were keen to use his services again. For the follow-up album in 1980, he was employed as producer for the entire album. This gave I'm No Hero a cohesive sound but was criticised at the time for being too unadventurous. The songs on the album were similar in style to "We Don't Talk Anymore", but it was also a success, generating two top 20 singles, while the album itself made the top five in the UK.
Now You See Me, Now You Don't is a rock gospel album by English singer Cliff Richard released in August 1982 on the EMI label. It reached No. 4 in the UK albums chart, No. 1 in Denmark, No. 21 in Australia and No. 19 in New Zealand. It was certified Gold in the UK. The lead single from the album, "The Only Way Out" was released in July 1982, and following on from the top 5 successes of Richard's previous singles "Wired for Sound" and "Daddy's Home", it managed to reach No. 10 in the UK Singles Chart. With this foundation, the album peaked at No. 4 on debut in early September - matching Richard's previous two studio albums. However the album did not receive a significant chart boost from the follow-up singles. The next single "Where Do We Go from Here" was released in September, but failed to have much impact, only managing to reach No. 60. In Germany, "It Has to Be You, It Has to Be Me" was released as a single instead, and did a little better, reaching number 36 in a five-week chart run.
This is the first volume in an elaborately ambitious five-CD series, with each disc dedicated to one of the decades that Cliff Richard has held in his thrall – and each one throwing up so many surprises that no conscientious listener could ever wonder how he's managed to stick around for so long. In terms of sheer impact and novelty, 1950s is the killer, a survey of the less than three years during which Richard first blueprinted, and then rewrote, the rules of British rock & roll. Where would it have been without "Move It" to prove that there was more to life than Tommy Steele and skiffle? And how could things have progressed from there, without Richard's career to both signpost and shape the next five, pre-Beatles years?