Cliff Richard - Back from the Wilderness Singles and Albums 1975 - 1995

He, he... It shows how stupid all things computerish are. Hypereffective, flawless, indispensable... and stupid. We are inaccurate, capricious, inconsistent... and brilliant.

 

"SILVERY RAIN" has been a favourite of mine ever since I learned to love it. It took some time - it was far removed from the kind of material Cliff was recording at the time. It´s strange - when I looked up the album on AllMusic, they singled out this track as the definitive "bad" Cliff song, in a way. Here´s what they wrote: "The fourth and final Cliff Richard collection to round up his most recent singles in more or less complete and chronological fashion, Best of, Vol. 2, like its similarly titled predecessor, is scarcely the most aptly titled compilation ever issued. The period covered by the set, 1969-72, marked the lowest point yet in Richard's commercial output, as even Top 20 placings now became a bonus -- indeed, of the 14 hit singles featured, just three were Top 10 (the crass "Big Ship," the desperate "Throw Down a Line," and the perennially irksome "Goodbye Sam, Hello Samantha," compared with five which struggled to make the Top 30, and one ("Jesus") bottomed out at an unheard of number 35. Crushingly lackluster material is only partially at fault. Richard has since admitted that he had completely lost interest in recording -- a sad state of affairs which this collection makes painfully clear. Songs like the ecologically conscious "Silvery Rain" and the cloying "Flying Machine" weren't simply bad records. They were soul-destroying pap. An end to the misery, however, was in sight. Even as his lifelong residence at the top of the chart came to a grinding halt, Richard's relationship with producer Norrie Paramor was nearing its end. Both men knew it as well -- they'd been working together since 1958, and had long since settled into a comfortable routine. Now routine itself was second nature, and, finally, in 1972, Paramor suggested they part. Annoyingly absent from this set, but an integral part of it regardless, their final single together, "Living in Harmony," became the artist's biggest hit in more than two years. Then, with that achieved, it was time for him to start moving forward once again. Time alone would tell how easy that would be."

I´ll be back later with my thoughts on this single, A-side and two B-sides. Let´s just say that I don´t quite agree with this reviewer - nor Cliff.

 

I expect Cliff needed a revisionist excuse for the era, to account for and explain away the reviewers comments. This review is particularly harsh. (the only bit I agree with is about BIG SHIP).

 

He, he... Not surprised you agreed about "BIG SHIP". Not your cuppa! I sort of agree that "FLYING MACHINE" is not strong. but I think the review was a bit over the top.

I have seen the Cliff somment many times before, and yes, it´s probably a very good way of presenting the pros and cons of this period. I buy that he was a little less interested than normal, but he has commented on some of the songs over the years - favourably, in quite a few cases. I also think Cliff is so driven to be No. 1 that he never lost interest completely.

And there´s also the case of hindsight being... You know.

 

Taste in music is a funny thing. I like "Flying Machine" (45 mono mix). "Silvery Rain" is one of that period's best. Olivia even covered it later, but Cliff's remains the better version (but it could use a clearer re-mix).

 

Just to mention that the long standing Cliff collaborator, Hank B Marvin has a new album 'Without A Word' released today.

 

Indeed. Taste is a very funny thing. I´m so glad we don´t share one taste! I actually don´t mind "FLYING MACHINE". I think it´s one of the weaker tracks on the album. It´s very static and doesn´t really go anywhere, and the chorus is a bit... Well, weak, I think. I still love it - it´s part of my childhood.

I´m glad we agree on "SILVERY RAIN" - one of the best ever. (Not many people agree with us there, but there you go.) I love the lyrics and the mood, and the arrangement and Cliff´s singing is superb. Marvin, Welch & Farrar did it first, then Cliff and then, ten years later, Olivia. All versions are good, but I agree that Cliff´s one has an extra layer of magic. For me, anyway.

 

Cliff must have revised his negative opinion somewhat regarding SILVERY RAIN by the early '90s, as he performed it on tour.

 

The one from the 70s is much better.

 

Both lovely, in their own ways.

 

There's always this option.

 

Indeed there is. A good, modernised version. I like Olivia in general, and this is a good version. I prefer Cliff´s version, but like all three.

 

Finally, a little time to spare...

"SILVERY RAIN" continued the succession of diminishing chart returns for Cliff. "SUNNY HONEY GIRL" seemed to have been an omen for optimism when it reached No. 19, but "SILVERY RAIN" still languished at No. 27. I can sort of see why. Although I now think of it as a majestic and epic single, it took me a while to warm to its many qualities. For one, it´s not the sort of song you´d expect from Cliff. (For me, that is always a good sign - I tend to like the singles that are less "Cliffy" than the hits. If that makes sense.) And further, it´s many things, but a commercial pop single it ain´t. That´s why Anthony´s brilliant idea of treating "BEST OF CLIFF, VOL. 2" as an album rather than a compilation makes so much sense. Cliff has always been pretty good at keeping up with current trends, but in this period he was not releasing viable commercial singles, for the most part. And I prefer those to his hits...

"SILVERY RAIN" is the perfect example of this. Written by Hank Marvin for the excellent Marvin, Welch and Farrar band, who also contributed "A THOUSAND CONVERSATIONS", "THROW DOWN A LINE", "GALADRIEL (SPIRIT OF STARLIGHT", "MARMADUKE" and other songs to Cliff´s catalogue. Interestingly, it has a few things in common to other Hank Marvin-penned songs. Think of "THE DAY I MET MARIE". It starts with a dreamy, acoustic guitar-driven slow part, then the chorus is big and heavily orchestrated. (Thankfully, we are spared the "oompa" bit of "THE DAY I MET MARIE´"s chorus!) The lyrics are also very different - one deals with a chance meeting on a beach, the other deals with ecological issues.

Robert Porter:
"Hank Marvin's written but, y'know... Funnily enough, of the two or three that I really like of my own recordings, they all tend to be his, like Throw Down A Line, Joy Of Living [sic], and Silvery Rain. And Silvery Rain, I still use in my show because it's such a... just a great song, sort of anti-pollution song. And also it has good sort of memories for me 'cause it's one of the first arrangements really that Brian Bennett did for me. He took it away and said, 'I really want to spend some time.' And he really worked on it. And I think came up with a really beautiful arrangement. And, of course it reminds me of Norrie Paramor because Norrie did the whole production. [...] And Silvery Rain will remain with me, I think, for a long, long time because again, the production value of it on stage, presentation-wise, is tremendous."
Cliff Richard (1974 - The Music And Life Of Cliff Richard collection)
"Silvery Rain was a kind of new departure for Cliff. And Brian Bennett did a delightful orchestration of it. By then, of course, Cliff had kind of left kind of a group scene and a scene with strings and things. And this song was a new departure for Cliff. It wasn't one of his biggest hits, perhaps. But it certain established him, in my opinion, as an adult artist rather than an artist that was confined to, say, the very young public."
Norrie Paramor (1974 - The Music And Life Of Cliff Richard collection)

"Marvin's written but, y'know... Funnily enough, of the two or three that I really like of my own recordings, they all tend to be his, like Throw Down A Line, Joy Of Living [sic], and Silvery Rain. And Silvery Rain, I still use in my because it's such a... just a great song, sort of anti-pollution song. And also it has good sort of memories for me 'cause it's one of the first arrangements really that Brian Bennett did for me. He took it away and said, 'I really want to spend some time.' And he really worked on it. And I think came up with a really beautiful arrangement. And, of course it reminds me of Norrie Paramor because Norrie did the whole production."
Cliff Richard (August 1980 - The Cliff Richard Special on 2HCR FM in Australia)

"April 1971: Cliff's 53rd single, Silvery Rain (written by Hank Marvin), is described by reviewer Derek Johnson as 'one of the least commercial and uncharacteristic he has ever recorded'. Backed by Annabella Umbrella and Time Flies, it is a social comment on the problems of pesticides and poisons. Cliff replies to the critics: 'There is no reason why a song shouldn't have something to say and still have an infectious beat-- pop is an art form. You have to make complete use of it.'"
Mike Read, Nigel Goodall & Peter Lewry (1995 - The Complete Chronicle)

"Another interesting track is Silvery Rain; originally recorded by Cliff as a duet with Hank Marvin and released as a single in 1971, the song was also covered by Olivia Newton-John on her Physical album and television special ten years later, and with much the same arrangement as Cliff and Hank had taken into the Top 30 that April."
Peter Lewry and Nigel Goodall (March 2007 - liner notes for Help It Along Remaster CD)

"Silvery Rain was about pesticides."
Bob Stanley (September 17, 2009 - The Guardian)

Running Time: 3:46
Record Date: November 17, 1970
Record Location: Abbey Road, London
Written By: Hank Marvin
Arranged By: Brian Bennett
Produced By: Norrie Paramor
Engineered By: Peter Vince & Richard Lush
Performed By: Cliff Richard (vocals), Brian Bennett (orchestra conductor), Big Jim Sullivan (guitar), Brian Bennett Orchestra (orchestra and all other instruments)

 

I came across a duet version by Cliff & Olivia, from 1972. Here it is:

 

And here is the version recorded by Marvin, Welch & Farrar.

 

With all due respect, at the point Monument briefly "had" Cliff, they were still under independent distribution; when the label signed with CBS/Columbia come early 1971, the major apparently nudged Monument to get rid of all their "other" signings, of which Cliff would have fallen into that category. (But then, this was nothing new; Monument didn't seem to know how to promote Brian Poole and The Tremeloes, either, when they were on the label in the mid-'60's.)

 

"ANNABELLA UMBRELLA" was the first song on the B-side. It is often ridiculed for its lyric, and yes, it is rather twee and cheesy. Written by the saem duo who wrote "DON´T MOVE AWAY", that was, perhaps, inevitable. (Check back a few pages - I covered Valerie Avon and Harold Spiro when I wrote about "DON´T MOVE AWAY" in the context of its appearance on the "HAD TO BE" single in 1995.)

If you divorce the lyric from the melody, I kind of like the latter. It is sweet, and the arrangement is delicate. It would have made more sense as an A-side, but then again, there are those pesky, honey-dripping lyrics attached to it...

Robert Porter:
"April 1971: Cliff's 53rd single, Silvery Rain [is released and is backed] by Annabella Umbrella and Time Flies..."
Mike Read, Nigel Goodall & Peter Lewry (1995 - The Complete Chronicle)
"Silvery Rain, another maxi-single, featured both Time Flies and Annabella Umbrella as B-sides..."
Nigel Goodall & Peter Lewry (2008 - liner notes for Rare B-Sides 1963 - 1989 album in the ...And They Said It Wouldn't Last! {My 50 Years In Music} set)

Running Time: 2:49
Record Date: February 12, 1971
Record Location: Chappell Studios, London
Written By: Valerie Avon & Harold Spiro
Arranged By: Nick Ingman
Produced By: Norrie Paramor
Engineered By: Unknown
Performed By: Cliff Richard (vocals), Nick Ingman (orchestra conductor), Nick Ingman Orchestra (orchestra and all other instruments)

 

The second B-side of this single, "TIME FLIES", has to be considered for the title of "THE MOST BORING SONG EVER RECORDED BY CLIFF... EVER!". Other than that, I love it... It´s a tell-tale sign that someone must have agreed with me on this. The recording had been languishing in the vaults since its recording in April 1969, during the sessions that produced the (in)famous "BIG SHIP" single. Not much more to say, as far as I´m concerned, apart from the factoid that the title is a complete lie... At least when listening to this song.

Robert Porter:
"April 1971: Cliff's 53rd single, Silvery Rain [is released and is backed] by Annabella Umbrella and Time Flies..."
Mike Read, Nigel Goodall & Peter Lewry (1995 - The Complete Chronicle)
"Silvery Rain, another maxi-single, featured both Time Flies and Annabella Umbrella as B-sides..."
Nigel Goodall & Peter Lewry (2008 - liner notes for Rare B-Sides 1963 - 1989 album in the ...And They Said It Wouldn't Last! {My 50 Years In Music} set)

Running Time: 2:54
Record Date: April 30, 1969
Record Location: Abbey Road, London
Written By: Brian Bennett & Mike Hawker
Produced By: Norrie Paramor
Engineered By: Peter Vince & Richard Langham
Performed By: Cliff Richard (vocals), Brian Bennett Orchestra (orchestra and all other instruments)

 

SILVERY RAIN has certainly been well represented by the 'gang' - Cliff, Olivia, MWF, Cliff and Olivia, Hank Marvin Guitar Syndicate...

 

It´s the song that refuses to go away! Working on the assumption that it´s not an "immediate" song, maybe the philosophy is that "If we play it enough times, they´ll get it". So far, it doesn´t seem to have worked out that well. Some of us here love it, but most people won´t have heard it, and they would certainly not know it as a Cliff single. Which is sad.

 

I don't think I'd properly listened to TIME FLIES until now. It's a pleasant, nicely orchestrated ballad, much in the style of Cliff's late 60s ballads. I think it also shows how much more 'with the times' those early '70s singles (71-73) are than we often give them credit for. They certainly sound much more 'early '70s' compared to this.

 

John Tobler writes in his book "25 Years With Cliff" that the first song to sound as if it were a 70s song, was "IT´S ONLY ME YOU´VE LEFT BEHIND". In a way, I agree with him. But there were songs that sounded like MOR/easy listening songs of the 70s before that, and many of the songs on "BEST OF CLIFF, VOL. 2" shows that. And "TIME FLIES" does show its age, even as early as 1971.

 

Still prefer this to I'll Love You Forever Today, the real most boring song recorded by Cliff....Ever!

 

I disagree in some ways - there's definitely a '70s sound' to those 71-73 singles. The '70s sound' of IT'S ONLY ME YOU'VE LEFT BEHIND is a different '70s sound', taking the first influences of disco and synth for a Cliff single. I'm thinking that disco started around 1972 (perhaps tracks like the Bee Gees JIVE TALKIN'), though I could be well out - I'm not that genre's biggest fan... and Cliff usually lags behind trends a couple of years or so.
Cliff's early 70s, I agree have a hint of MOR, a hint of easy listening and a bit of bubblegum pop mixed in. I like the one's with Hank's influence the best, as he seemed to be going through a heavier guitar phase at that time THROW DOWN A LINE, JOY OF LIVING and writing SILVERY RAIN which could have worked in the same style. Not sure where the influence on the likes of FLYING MACHINE and SUNNY HONEY GIRL were. The Archies perhaps...

 

He, he... Duly noted.