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

Speaking of "TRACK´N´GROOVES" - this is a track from his pre-purple patch that I always liked. ove the line "you wonder as you wander".

 

For the next single I shall make an exception from my modus operandi. I stated earlier that I would start every year with a rundown of the singles, A- and B-side, then the studio albums and finally the EPs. For 1960, I´ll start with an EP. This might seem random, but there is an - I think - valid reason for this. You´ll see.

Single No. -: 1960 January (Recorded September 1959 - January 1960) (SEG 7971)
A1: "LOVE" (Written by Norrie Paramor & Bunny Lewis) Running time 2:24
A2: "A VOICE IN THE WILDERNESS" (Written by Norrie Paramor & Bunny Lewis) Running time: 2:13
B1: "THE SHRINE ON THE SECOND FLOOR" (Written by David Henneker, Monty Norman, Julian More and Wolf Mankowitz) Running time: 2:27
B2: "BONGO BLUES" (Norrie Paramor)
Produced by Norrie Paramor





The reason I include this amongst the many singles of 1960 is the fact that this EP not only topped the first ever published EP charts in January 1960; it also sold well enough to chart in the singles charts, peaking at No. 14. Not bad!

I like this EP. The most successfull track was released as a single - more about that later. "LOVE" is a swinging rocker, and "THE SHRINE ON THE SECOND FLOOR", the only song carried over from the musical version/stagde play of 1958, would be an embarrassment for Cliff in later years. Since we have commented upon Cliff´s album covers of late, I could add that I think the cover for the EP is quite nice. Cliff at his most smoulderingly attractive as a youngster. Couldn´t rreally go wrong with that.

From Wikipedia:
Expresso Bongo is a 1959 film satire of the music industry directed by Val Guest, shot in an uncredited Dyaliscope and starring Laurence Harvey, Cliff Richard, and Yolande Donlan. It is adapted from the stage musical of the same name, which was first produced on the stage at the Saville Theatre, London, on 23 April 1958.
In the film, Cliff Richard and the Shadows made their second screen appearance in a film released during 1959, the first being the much darker Serious Charge. The later film was made at Shepperton Studios, near London, with certain scenes shot on location in London's Soho district.

The music for the 1959 film was produced by Norrie Paramor. With the exception of one song, it was entirely different from the music that was used in the 1958 musical. The music and the plot were rewritten to downplay the satire and showcase Richard and his band. In the best ironic traditions of Tin Pan Alley, a satire became a tribute. Only The Shrine on the Second Floor — a song that was intended to drive a sharpened stake into the heart of all sentimental ballads about mother – made it into the movie, but Richard sang it straight.

In January 1960, an EP made up of all the Cliff Richard and the Shadows' tracks from the album was released. On the tenth of March, Record Retailer published the first UK EP Chart with Expresso Bongo topping the chart. Prior to this, the EP had also made the UK Singles Chart reaching number 14.

And who was this mysterious composer Bunny Lewis?
Bunny Lewis (12 November 1918 – 7 September 2001) also known professionally under various pseudonyms was a London-based manager, record producer and composer and music manager whose songwriting abilities were used in a number of films. Sometimes this coincided with involvement in films of musicians whom he personally managed, most notably the actor and singer, Craig Douglas. He also co-composed the song, "Cara Mia". Authorship was accredited to 'Tulio Trapani and Lee Lange'; Lee Lange was the pseudonym for David Whitfield's producer, Lewis, and Tulio Trapani was the nom de plume of the song's other co-writer and arranger, Mantovani.

Born Bridges George McGibbon Lewis, in Kensington, London, he served in World War II in the Black Watch and was awarded the Military Cross.
After being demobbed in January 1946, Lewis worked at Decca Records. His major work was connected to three late 1950s and early 1960s productions; Expresso Bongo (1959), The Frightened City (1961), and also It's Trad, Dad! (1961), which co-starred Douglas.

Lewis managed Doug Sheldon, Tony King, Bourbon Street, Christine Quaite and Douglas, giving the singer previously known as Terry Perkins, the name under which he would become famous. Sheldon was discovered by Lewis while acting on stage, and was offered a recording contract with Decca.
As a composer, Lewis contributed the song, "A Voice in the Wilderness", to the Cliff Richard film, Expresso Bongo. Lewis also wrote a handful of songs that figured in the repertoire of early 1960s UK pop star Helen Shapiro; specifically "Kiss 'n' Run", "Let's Talk About Love", "Little Miss Lonely", and "Marvellous Lie". Craig Douglas' cover version of "Oh Lonesome Me" (1962) was produced by Lewis. As well as Lee Lange, Bridges also wrote and produced his songs under the pseudonyms of Johnny May and Emile Reisdorff.

Lewis' record production tally extended to David Whitfield's "Cara Mia" and "Answer Me"; Eden Kane's "Well I Ask You"; plus Craig Douglas' version of "Only Sixteen". All of these songs were number one hits in the UK Singles Chart. Lewis' UK chart-topping effort of four production credits exceeds those notables such as Phil Spector, Mickie Most, Denny Cordell, Phil Coulter and Albhy Galuten, all of whom managed only three such Number Ones.

In 1999, Lewis was presented with a Gold Badge award by the British Academy of Songwriters, Composers and Authors (BASCA). Lewis died in Westminster, London, in September 2001, at the age of 82.

 

I have already given a few facts about the opening track on the EP, "LOVE". It has often been said that Norrie Paramor didn´t really understand rock´n´roll, but this track sounds like a swinging Bill Haley & His Comets number. It is often forgotten that swing was one of the musical genres that influenced the early rock´n´roll songs, and I think this is pretty evident in this song. It´s a fun track, and belongs on comilations of Cliff´s early rock´n´roll successes.



Robert Porter:
An instrumental swing version of Love was used in the Expresso Bongo film.
"Once again, a soundtrack EP was released with three of the songs Cliff performs in the movie, plus an instrumental track from The Shadows. It is from this film and the EP that Love is taken."
Nigel Goodall & Peter Lewry (2008 - liner notes for Stage And Screen album in the ...And They Said It Wouldn't Last! {My 50 Years In Music} set)

Running Time: 2:24
Record Date: September 8, 1959
Record Location: Abbey Road, London
Written By: Norrie Paramor & Bunny Lewis
Produced By: Norrie Paramor
Engineered By: Malcolm Addey & Alan Kane (mono) / Stuart Eltham & Norman Smith (stereo)
Performed By: Cliff Richard (vocals), Hank Marvin (guitar), Bruce Welch (guitar), Jet Harris (bass), Tony Meehan (drums)

 

"A VOICE IN THE WILDERNESS" gave Cliff another big hit, but not everybody realised that the single and EP versions were two different recordings/mixes. I hope to find the EP version on YouTube. Wish me luck... (Edit: I found it!)



Robert Porter:
The EP version of "A Voice In The Wilderness" is a different take of the song than the single version, although the arrangement is basically the same. There are a small amount of subtle differences to the vocals, including the following: Cliff sings the beginning of the fourth verse on the single version as "My darling forgive me" and the EP version as "Come back to me darling". The end of the fourth verse is the line "The voice of true love" on the single version and "A voice of true love" on the EP version. Finally, on the second line of the fifth and final verse, Cliff sings "That voice from above" on the single version and "The voice from above" on the EP version.

Running Time: 2:13
Record Date: September 8, 1959
Record Location: Abbey Road, London
Written By: Norrie Paramor & Bunny Lewis
Produced By: Norrie Paramor
Engineered By: Malcolm Addey & Alan Kane (mono)
Performed By: Cliff Richard (vocals), Hank Marvin (guitar), Bruce Welch (guitar), Jet Harris (bass), Tony Meehan (drums)

 

"THE SHRINE ON THE SECOND FLOOR" is meant as a satirical kick in the general direction of pop music´s exploitation of all that is sacred - here religion and affection for one´s mother, the alst of which we all more or less share. When Cliff became a Christian in the mid-60s, this gentle satire from 1960 became something of an albatross around his neck. No one remembers this today, I´d guess. Cute song, though not exactly hit material.



Robert Porter:
"The film showed that it was pretty obvious that Bongo Herbert did not get on with his mum at all. And suddenly, y'know, this-- The manager gets the idea of sort of the-boy-and-his-mother type image, you know. And so you see me singing this thing about 'the shrine on the second floor, there's a grey-haired madonna.' It's meant to be his mother and everything and he brings a tear to everybody's eye. And it was really a sort of snarky, sort of cynical kind of song. But a lot of people-- I mean, I went on tour and because it was on that Expresso Bongo EP, I got requests to sing it. And I thought, 'I can't really sing it out of context.' Not just like that on stage, it seemed ridiculous. But people took it seriously. Which is quite often what the public do, actually. A number that really was meant to be a gag."
Cliff Richard (1974 - The Music And Life Of Cliff Richard collection)
"In another prescient scene [in Expresso Bongo] Johnny Jackson (whose character was modelled on that of Larry Parnes) tries to add a fresh dimension to Bongo's image. He suggests a song about mother love but the songwriter hired to supply the material can't come up with anything that gels. 'So far, what have we got?' asks Johnny. 'Sex. Beat. Violence... we've got it all except for one thing -- religion! We've got to get religion!' 'I put that in because religion is always exploited in the common music hall reference out of which this type of music came,' says Mankowitz. 'Mothers and religion have always gone very well together. This suited Cliff too, I think.'"
Steve Turner (2008 January - Cliff Richard - The Biography (revised edition))
"In those days I had a flat at 6 Danvers Street in Chelsea and it became known as The Shrine On The Second Floor after the song of Cliff's.
Running Time: 2:27
Record Date: October 19, 1959
Record Location: Abbey Road, London
Written By: David Heneker, Julian More & Monty Norman
Produced By: Norrie Paramor
Engineered By: Malcolm Addey (mono) / Stuart Eltham & Alan Kane (stereo)
Performed By: Cliff Richard (vocals), Hank Marvin (guitar), Bruce Welch (guitar), Jet Harris (bass), Tony Meehan (drums)

 

The last track on the EP was given to The Shadows, who performed the Norre Paramor-penned instrumental in their now famous musical style. It´s extremely close to "LOVE" - you´ll see why in a few minutes. It´s basically an instrumental version of that song. This si the film version.

 

This is the film version of "A VOICE IN THE WILDERNESS". "Listen to this brilliant boy."

 

And here is the film version of "THE SHRINE ON THE SECOND FLOOR". Yes, this could be construed to have been embarrassing later on!

 

I don't think I've seen Expresso Bongo but by coincidence it was on the Talking Pictures TV channel yesterday and I recorded it!

 

Single No. 7: 1960 January 15th (7XCA 25029) Columbia 45-DB 4398
A-side: "A VOICE IN THE WILDERNESS" (Written by Norrie Paramor & Bunny Lewis) Running time 2:10
B-side: "DON´T BE MAD AT ME"" (Written by Sid Tepper & Roy C. Bennett) Running time: 2:08
Produced by Norrie Paramor



This is the single version of "A VOICE IN THE WILDERNESS", which peaked at No. 2 in the UK charts in January 1960. A pleasant enough little ditty - sorry for sounding condescending; I don´t intend to be - this always seems to be to belong to the lower echelon of Cliff´s big hits. Good enough to make the charts, and good enough to deserve to, but not his most memorable hit recording, IMO. Still, I tend to sing along when it comes up on my playlist, so it does have a certain quality.



Charts
UK: No. 2
Norway: No. 8
Sweden: No. 8
Ireland: No. 1
Australia: No. 95
Belgium: -
Germany: -
The Netherlands: No. 14
US: -

Robert Porter:
This is the last regular single issued as a 10" 78 RPM single.
A Voice In The Wilderness was simultaneously released on the mono and stereo "Expresson Bongo" EPs, however, the versions on these EPs are different takes of the song than the 7" single version.

Except for a mock stereo mix of this mono track, the single version of this track has only ever been released in mono format. The mock stereo version is created from the true mono mix.

The song "A Voice In The Wilderness", backed with "Don't Be Mad At Me" was Cliff's last record issued as a 78 RPM (Columbia DB 4398).
"A Voice In The Wilderness, previewed by Cliff on the Palladium TV show before he left to undertake an American tour and a TV appearance with Pat Boone, entered the Charts in January, 1960-- just as Cliff had completed his pantomime debut in Babes in the Wood. Featured by him in his second film, "Expresso Bongo" (starring Lawrence Harvey and Yolanda Donlan), it was a double hit for Cliff-- for an EP of songs from the film was a simultaneous success."
Derek Johnson (July 1963 - liner notes for Cliff's Hit Album)
"EMI issue souvenir 'Golden Discs' to all artists who sell one million copies of one number. If all are called, few are chosen. Cliff has four of these, for "Living Doll", "Bachelor Boy", "The Young Ones" and "Lucky Lips". They also issue souvenir 'Silver Discs' for sales of 250,000 and over, and Cliff has some seventeen of these, for such numbers as "Living Doll", "Travelling Light" [sic], "Voice in the Wilderness" [sic], "Fall in Love with Me" [sic], "Please don't Tease", "Nine Times out of Ten", "I Love You", "Theme for a Dream", "Girl in your Arms" [sic], "Looking out the Window2 [sic], "It'll be Me", "Lucky Lips", "Don't Talk to Him", "All in the Game" [sic], as well as the four million-sellers."
Bob Ferrier (1964 - The Wonderful World of Cliff Richard)
David Winter:
""Expresso Bongo" was a good film by any standards, and enjoyed tremendous success. One of Cliff's songs in it-- a ballad, "Voice In The Wilderness" [sic]-- reached No. 2 in the hit parade.
It would probably have reached the top spot but for a bad error of judgement by Cliff himself. Cliff was not enthusiastic about the song-- rock 'n roll was still his first love-- and all along he had felt that the 'B' side, "Don't Be Mad At Me", was the better number on the record and would be more popular than "Voice In The Wilderness".
Just before leaving for his first tour in Canada and the United States, he was invited to record three songs for the B.B.C. radio show Top Of The Pops. Although "Voice In The Wilderness" was by then in the Top Twenty and climbing, Cliff decided to record the 'B' side instead. If Tito Burns had been there he would have objected, but he did not arrive until Cliff had finished.
Tito asked what he had recorded. Cliff told him.
'And what about "Voice In The Wilderness?"'
'Oh, I don't like that song. I gave it a miss,' was the reply.
Tito Burns began to lay down the law about plugging 'A' sides, and Cliff responded by explaining that he was the singer, the he preferred "Don't Be Mad At Me", and no one, manager, agent or recording company, could do anything about it.
The unedifying scene ended with Burns exclaiming 'You know it all now-- why pay me?' and walking off. Cliff had the sense to run after him and apologise, and the incident was temporarily forgotten.
However, while they were in the States they heard that "Voice In The Wilderness" was second in the hit parade.
'Do you think it will get to number one?' Cliff asked Tito.
'With a good plug on the radio just now it might,' Burns commented.
Cliff agreed.
'Those Top Of The Pops programmes will be being broadcast about now, won't they?' the manager pointed out. 'Now you see why I wanted you to record "Voice In The Wilderness"'
It was a sharp lesson for Cliff, and the only time he had a serious difference with his personal manager. It also reflects a really significant trait in Cliff's character. The very determination and single-mindedness which had helped him to the top could manifest itself as obstinacy on occasions. Once he made up his mind about anything, it was exceedingly difficult to make him change it; though maturity has brought a greater flexibility and willingness to change his mind.
In fact, "Voice In The Wilderness" is a delightful record. Apart from the words, which were unconvincingly sentimental, it is the sort of lyrical ballad with which Cliff achieved so many successes later in his career, and, for this author at least, would figure among a favourite half-dozen of his records.
"Expresso Bongo" and records like "Voice In The Wilderness" really marked the end of the rock 'n roll phase for Cliff Richard."
David Winter (1967 - New Singer, New Song)
"Interesting to note that the version of "A Voice In The Wilderness" recorded on 8 September is the one featured on the EP and in the film, while the version re-recorded on 20 December was the one on the single. [...] "A Voice In The Wilderness" was Cliff's last single to be issued in 78rpm format and reached No.2... [...] January 15 [1960]: "A Voice In The Wilderness" is released. Keith Fordyce reviews the record and says, 'It's a great pity that an artist of Cliff's calibre should be burdened with a song that many people will find a bit distasteful."
Mike Read, Nigel Goodall & Peter Lewry (1995 - The Complete Chronicle)
Editor's note: Part of the above statement is incorrect. The version on the "Expresso Bongo" EP and the version in the film are not the same version.
"A different version of "A Voice In The Wilderness" was used on the EP release. The single version was recorded on 20 December [1959]. ...The single version of "A Voice In The Wilderness" reached number 2..."
Author Unknown (August 1996 - liner notes for Cliff Richard At The Movies 1959-1974)
"Paramor tried to thwart ["Living Doll"'s] release as a single by writing a song with a similar title, "Livin' Lovin' Doll", which Cliff released in January 1959. So that no one would know who was behind it he used the pseudonym Johnny May and his friend Bunny Lewis was credted as Jim Gustard. (Paramor and Lewis went on to write Cliff's 1960 hit "A Voice In The Wilderness", this time not hiding their identities.)"
Steve Turner (2008 January - Cliff Richard - The Biography (revised edition))
"Accusations that Richard had sold out to middle of the road pop followed his move to more relaxed number such as "Travellin' Light" and "A Voice In The Wilderness", culled from his film "Expresso Bongo"."
Author Unknown (December 18, 2011 - The Sunday Times)

Running Time: 2:10
Record Date: December 20, 1959
Record Location: Abbey Road, London
Written By: Norrie Paramor & Bunny Lewis
Produced By: Norrie Paramor
Engineered By: Malcolm Addey
Performed By: Cliff Richard (vocals), Hank Marvin (guitar), Bruce Welch (guitar), Jet Harris (bass), Tony Meehan (drums)

 

Cliff also performed the song on his "HIT LIST" tour.

 

It was also one of the songs recorded for the reunion album with The Shadows in 2009, but not released on "REUNITED". Perhaps still not one of Cliff´s favourites, then.

 

But - it was performed on their final tour. Enough already I can hear you scream...

 

Matrix 7XCA 25051

The B-side of the No. 2 single was another song written by Sid Tepper and Roy C. Bennett, who also wrote "TRAVELLIN´ LIGHT". As mentioned above, Cliff himself much preferred this song to the A-side. I like the bongos, and the song is another pleasant song from Cliff´s early days.



Robert Porter:
"The Tepper/Bennett track "Don't Be Mad At Me" had been attempted on 6 and 17 November but it was the version recorded [November 19, 1959] that became the eventual B-side of "A Voice In The Wilderness"."
Nigel Goodall & Peter Lewry (1997 - liner notes for The Rock 'n' Roll Years 1958-1963 album)

Running Time: 2:08
Record Date: November 19, 1959
Record Location: Abbey Road, London
Written By: Sid Tepper & Roy C. Bennett
Produced By: Norrie Paramor
Engineered By: Malcolm Addey & Alan Kane (mono) / Stuart Eltham & Peter Bown (stereo)
Performed By: Cliff Richard (vocals), Hank Marvin (guitar), Bruce Welch (guitar), Jet Harris (bass), Tony Meehan (drums)

 

Cliff & The Shadows perform "APACHE" and "DON´T BE MAD AT ME" in 1961. Look who´s playing the guitar... Cute.

 

It was released on Blu-ray + DVD last year, I think, and I bought it. Still haven´t watched it, I´m afraid to say. Now I have to.

 

Do love these album covers, along with "Take me High" I'm afraid!
With the comment about the back of the "Love Songs" lp, is it because Tony Rivers took it?
The front cover pic, as we all know, was taken down Bournemouth. Apparently the lamp post they put there for the shot though.

 

I didn´t know that Tony Rivers took that photograph! It´s lovely! Is there nothing that can´t do? I bought several of his CDs - great vocals. No, I mentioned the back cover because someone on this thread - I can´t really remember who - told me they lived quite near that beach. Hmm... My memory must be going.

Nothing wrong with liking the "TAKE ME HIGH" cover - I used to. Not anymore.

 

One of the biggest hits ignored for 40 Golden Greats in 1977. This and the Christmas number 1 later this same year anyway. Certainly I'd agree that it's in a lower tier of Cliff's big early hits. Because of their omission from that LP, they were unknown to me for quite a number of years after knowing the other songs on the compilation. VOICE IN THE WILDERNESS, I LOVE YOU and THEME FOR A DREAM would make up a trio of lesser big hits for me, with VOICE being the best of the three.

 

I see what you mean, but my favourite would have been "THEME FOR A DREAM". It´s a perfect little pop single - apart from one thing: those backing vocals.

And yes, leaving such big hits off the "40 GOLDEN GREATS" album was a bold move, to say the least. We all know the choices were made because of people getting to vote for theor favourites, but it also helped mask tha fact that the first few years of his career saw most chart action. Not that surprising, of course, but as Cliff was geting his second - or third? - wind in terms of hits around 1976-77, it was better to present his history as an ubroken chain of superhits, neatly brushing over the 1969-1975 lean years. (Though the music was still good, to these ears, at least.)

 

Ol Cliffy doesn't do a bad job on Apache. At first I assumed he'd be miming (like LIVING DOLL), but, there's enough differences along the way that I think he's playing it live. Good on him!

 

Yes, it's just the backing vocals. When they're excised in later live performances, it's improved greatly. Anyway, no further mention of that one - its time is not yet due!

 

Yes, you can hear that his "style" is different from Hank´s. A few mistakes, some different phrasings... I also thought is was Cliff miming and Hank playing for real, but no... A very charming, innocent example of their sense of humour. I like it, and I was duly impressed by Cliff´s guitar playing. If, indeed, it was him... Very hard to know.

 

We´ll get to it! That and the first song Cliff said they really nailed in the recording. Just a little tease...

 

Love the clip too, thanks for posting. I don't think Cliff is playing it live, but would love to find out for certain.