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The version of Somewhere Over The Rainbow/What A Wonderful World from the advance 4-track promo sampler for the Wanted album has about 3 seconds of additional percussion on the intro compared to the album version.
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This version is the same as the standard Wanted album version, but it cuts several parts of the song. First, it cuts the last 10 seconds of the \"ooh, ooh\" intro. Next, it cuts the second Somewhere Over The Rainbow verse (starting with \"Somewhere over the rainbow, Skies are blue\"), then the second What A Wonderful World verse (starting with \"Well, I see skies of blue and I see clouds of white\"). Finally, it fades about 10 seconds early, during the \"ooh, ooh\" outro.
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The version of Love Me Tender from the advance 4-track promo sampler for the Wanted album is extended 8 seconds longer than the album version.
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The Somewhere Over The Rainbow/What A Wonderful World single labels Lay All Your Love On Me as the album version, even though the song did not appear on any of Cliff's albums. Because of this and the fact that Lay All Your Love On Me is also on the pre-released Wanted promo CD, it is thought that this song was originally intended for the Wanted album, but for unknown reasons was pulled from the tracklisting before the album's release.
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It is known that in 2001 or that Cliff was recording some standards. This project was abandoned, but some of the songs recorded may have surfaced in the Off The Record tour, including This Can't Be Love/My Funny Valentine and Let's Fall In Love/Blue Skies. It remains unclear what songs were actually recorded for the project, although Somewhere Over The Rainbow/What a Wonderful World and Moon River from the Wanted album were likely from those sessions.
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This concert is Paul Cattermole's final performance with S Club 7.
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Cliff provided guest VCL for this song, although he is sometimes not credited on the various Party At The Palace compilations for reasons unknown." xGoodVibrationsQueensGoldenJubileeLondonJune32002_popupstats = "
Cliff provided some backing vocals in the all-star band on stage, atlhough he cannot be heard in the mix.
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Cliff provided some backing vocals in the all-star band on stage, atlhough he cannot be heard in the mix.
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\"Quite intriguing how nobody knows who this Danny really is. Just a boy, a son, a boyfriend, a blood brother, a lover? Who shall tell? But this probably accounts for the many uses of the song at all occasions. Maybe I think that especially Mario LanzaΉs Danny Boy is making an impression. But I want to add another version. Danny Boy has never been re-written into a duet. The fact that I have been able to record this special approach together with Sir Cliff Richard, a monument in pop history, fills me with pride.\"
Helmut Lotti (circa October 2003 - http://www.helmutlottiofficial.com/)
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This version is the same vocal take as found on the 2001 Sopatja album, but uses a different backing track. The piano and GTR are mixed quieter and a completely different and much more prominent keyboard is played over the song.
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This song is a theme song to the It's A Boy children's cartoon, which is the story of three quails observing the first Christmas and the birth of Jesus.
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This version of the song is an orchestral, non-pop music version that was used in the actual It's A Boy cartoon. It uses only an acoustic GTR and an orchestra, different from the standard pop version. Cliff does his own backing VCL, with the choir gone altogether. Although the vocal take is clearly the same take, there are some added and rearranged bits. They are: an added \"Yeah, yeah, yeah, ooh\" between the first chorus and second verse, the first two lines of the third chorus are played by a violin and no Cliff VCL at all, and the \"Welcome the King, It's a boy, He is the king\" from the end of the pop version is cut altogether.
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\"It was Sir Cliff that really gave us the encouragement to put this album together. When an artist of his pedigree says yes you know you're doing something right. He arrived at our theatre one June day ready to lay down his VCL. Not only a lead vocal but an entire arrangement of harmonies and counter parts that he'd worked out.\"
Author Unknown (November 2003 - liner notes for The Chicken Shed Album)
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The Cliff At Christmas version of Have Yourself A Merry Little Christmas is the same take and basic arrangement as the Together With Cliff Richard version, except it has added percussion (most notable by an added cymbal in the song's percussive intro), added keyboard throughout, and a slight echo effect added to the backing VCL. The strings are also mixed to be slightly louder in this new mix.
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This song is originally from a 1982 Christmas TV special called The Snowman. In the film, the song was performed by a St Paul's Cathedral choirboy, Peter Auty. However, it is better known by Welsh singer Aled Jones who released it as a single in 1985 to great success.
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This song is a reworking of a song Cliff performed during his previous Gospel tour called Night Of Nights. Also, given that the song is produced by Peter Wolf and recorded in Austria, it must be an outtake from the Real As I Wanna Be sessions because by 2003, Peter Wolf was no longer recording in Austria, but America.
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This version is the same take and arrangement as the Together With Cliff Richard version, but it has been slightly remixed, with the most notable difference being a slight reverb added to Cliff's VCL throughout the song.
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The Cliff At Christmas version is the same vocal take and backing track arrangement as the Together with Cliff Richard version, but it has a few edits and added bits. First off, there are added backing VCL echoing the \"Mother and Child\" line from the first verse and more backing VCL echoing \"on the radio\" on the \"And they just played Mistletoe And Wine on the radio\" line. Also, the strings are removed altogether from the saxophone bridge and the third verse (the second traditional Silent Night verse), but are brought back in for the song's repeated ending. Finally, the song fades about fifteen seconds earlier, cutting the last two repeated \"silent night\" parts on the song's repeated ending.
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The version of The Christmas Song on the Cliff At Christmas album is the same vocal take and the same backing track as the original Together With Cliff Richard version, but for a slight remix. All that has been found at this time is the addition of sleigh bells over the \"they know that Santa's on his way, he's loaded lots of toys and goodies on his sleigh\" portion of the chorus.
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This version is an edit of the Cliff At Christmas album version, but it's also slightly remixed with additional percussion added in. The percussion is most notable by a high hat cymbal over the song's instrumental intro. It also has several cuts, including the second verse (\"Beyond the dark horizon\" to \"a world united in love\") and a small bit of the strings (about three second's worth) between the first chorus and third verse. It also cuts parts of the last two choruses, merging the two into one, thus cutting the \"is one day there will be\" from the next to last chorus and instead using the one from the last chorus ancontinuing with the last chorus (cutting the first two lines of the last chorus (\"No more tears...\").
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This song was performed only for the first two nights of the Live And Kicking tour (April 3 & 4) and was replaced by It'll Be Me for the rest of the tour. It's uncertain why this was done.
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On the first two nights of the Live And Kicking tour (April 3 & 4) Livin' Lovin' Doll was played, but it was replaced by this song, It'll Be Me for the rest of the tour. It's uncertain why this was done.
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Throughout the tour at the Royal Albert Hall, Cliff mistakenly introduced this song as a song written especially for him by Burt Bacharach & Hal David. That is incorrect. Baby I Could Be So Good At Loving You was written by John Clifford. The song that was written especially for Cliff by Burt Bacharach & Hal David (It's) Wonderful To Be Young.
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The writers listed for this song on Olivia's (2) CD are listed incorrectly as \"Becaud, Kurtz and LeRoyer\".
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\"The difference [in the Something's Goin' On album] is there from the first moments in the crackling country, rock n' roll snap of A Thousand Miles To Go [sic] and the touching acoustic melancholy of I will Not Be A Mistake.\"
Phil Sutcliffe (November 2004 - Mojo magazine)
\"I do [mention Albuquerque in Thousand Miles To Go]. That's right. The funny thing is, it's really strange how when Americans have written rock 'n' roll music-- And I did request from them, the writers, I said, oh, please, rock 'n' roll's always had a lot of good kind of driving songs. And I got What Car and Thousand Miles To Go which is like driving. And they were able... You in America can use the sort of city... Somehow or another by the time I get to Phoenix, you know, I just went past Albuquerque... You know, to us, singing things like 'well, I've just been to Birmingham' or 'I've just driven past Manchester': it doesn't sound the same, does it? I can't understand it [sarcastically]. I wonder why that is? No, I never have been to Albequerque, I'm afraid.\"
Cliff Richard (February 18, 2005 - WGN Radio 720 Chicago interview)
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\"The title track [of the Something's Goin' On album] heaves with the repressed tension of an illicit affair.\"
Dave Simpson (The Guardian - October 22, 2004)
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\"The difference [in the Something's Goin' On album] is there from the first moments in the crackling country, rock n' roll snap of A Thousand Miles To Go [sic] and the touching acoustic melancholy of I will Not Be A Mistake.\"
Phil Sutcliffe (November 2004 - Mojo magazine)
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\"Simplicity finds Sir Cliff admitting that he loves someone 'like a loaded gun', which gets more disturbing the more you think about it.\"
Dave Simpson (The Guardian - October 22, 2004)
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\"And [Sometimes Love] is so basic. It's just a basic track.\"
Cliff Richard (February 18, 2005 - WGN Radio 720 Chicago interview)
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\"Christmas wouldn't be Christmas without etc....., and thankfully this time Sir Cliff dispenses with the overblown seasonal efforts of recent years and delivers a classy piece of MOR written by Barry and Ashley Gibb, which features nary a sleigh bell, never mind any trace of the Lord's Prayer. Taken from his almost critically acclaimed album Something's Going On, his ever-faithful fanbase will ensure this will be in the running for the top spot.\"
Author Unknown (early December 2004 - Music Week)
\"The Barry Gibb song [I Cannot Give You My Love], I think is absolutely classic.\"
Cliff Richard (February 18, 2005 - WGN Radio 720 Chicago interview)
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\"I believe the third single [The Day That I Stop Loving You from Something's Goin' On] is going to be released in March. And again, look at that sort of ballad. Isn't that a beautiful song? I went to see a show on Broadway yesterday and I'm thinking that's the kind of song that you could hear in a Broadway musical. It's just the most beautiful ballad.\"
Cliff Richard (February 18, 2005 - WGN Radio 720 Chicago interview)
\"A third single from the album - The Day That I Stop Loving You - is planned for release at the end of February - just in time for Mother's Day! Keep those fingers crossed!\"
Cliff Richard (January 2006 - www.cliffrichard.org personal message)
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\"[Regarding What Car] You know, when I said to [the writers], 'You know, I'd love to have a couple of car songs because when you think of Chuck Berry and No Particular Place To Go... There's a whole bunch of car songs-- really good rock 'n' roll ones. I couldn't believe it that they'd wrote the song that was actually funny. I mean, it's about a kid that smashed his father's car up and his father never, ever discovered it. Yeah, what car?\"
Cliff Richard (February 18, 2005 - WGN Radio 720 Chicago interview)
\"Hang on, bear with me. I know what you're thinking. Yes, it's the same Cliff who regularly manages to turn the annual scramble for the Christmas No.1 into even more of a farce by sticking out some super-ooper-duper gloopy power ballad about snow, presents and Jesus that even Westlife would find a bit cheesy. However, credit where it's due, this is far better than a record by a man old enough to collect his pension has any right to be. For starters it's not a ballad. What Car could easily be Robbie Williams's latest pop-rock stomper. And there's a great big loud guitar riff running through the whole thing. And it's about a car, rather than why we should all be a lot nicer to each other these days. Granted, you won't impress your cool mates by admitting Cliff's made a good single, but denying that he has would be a sin unto God, or something...\"
Author Unknown (May 2005 - http://www.bbc.co.uk/totp/new_releases/)
\"Blimey! Uh, this is actually quite good. A country rock number in a good way, Cliff sings a tale of teenage trouble, of 'borrowing' his dad's car to go see a girl, crashing it, then trying to stop said father from finding out about what he'd done. Of course, we all know that when Cliff was 16 the worst thing he got up to was going out wearing scuffed shoes and, had anything of the sort actually occurred, the first thing he would have done would have been to run to a different sort of Father to confess, but he somehow makes it all sound convincing, despite being old enough to be the protagonists grandfather. The best thing hes done since Wired for Sound.\"
Doug Robertson (May 9, 2005 - Stylus magazine)
\"Haha. If you like The Thrills, or any nondescript indie-schmindie band around who sound like The Thrills but whose name I forget due to their utter dullness, you're a hypocrite if you claim not to like this. Me, I hate it all and am waving my hands in front of me and contemplating homicide.\"
Alex Macpherson (May 9, 2005 - Stylus magazine)
\"Here, despite being at least 30 years older than most of his rivals, Cliff is simply towering. Bizarrely hijacking elements of both (Don't Fear) The Reaper and (I Would Walk) 500 Miles, this tale of teenage hijinks bounces along with a rueful vitality sourced directly from the birth of the Pop age.\"
Paul Scott (May 9, 2005 - Stylus magazine)
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\"But this album really has some scope to it - all sorts of odd string riffs and ambient synthesiser effects inspire the gentle knight to respond with a sensitive intensity which runs to startlingly fraught heavy breathing on his strongest performance, How Did She Get Here.\"
Phil Sutcliffe (November 2004 - Mojo magazine)
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\"Well, Field Of Love is a really unusual song because when I first heard it, I thought it was a song that was like a kind of anti-war song about the impossibility of war and how people keep falling. And then I thought, 'Wait a minute, though. Hang on.' I think this is just using the battlefield as being an expression of life and how that love continues to rejuvenate and continue. And as long as people fall in love, there will always be a soldier on the field of love. I think it's a very clever song. When I recorded it, I said to the producer, Tommy Simms, that I'm sure that this is going to turn out to be my personal favorite on the album. That's not a hundred percent true, because it was a favorite for a long time and in fact another track that he produced for me has become my favorite but for a different reason. That's a song called Simplicity. I love the song Simplicity. But Field Of Love... Do you know what if... If a Martian landed, you know, on the planet and had to be presented with something that would express to him what I did, I think I would choose Field Of Love. I mean, I like the way Tommy made my voice sound. I really enjoy the emotion of it. And to me it's like a... You know, pop music has changed so drastically and a lot of people think of tempo. It's not, it's a whole musical culture and Field Of Love is smack bang in the middle of everything. It's definitely a pop rock sort of classic song. And again, I mean, how lucky can you get? I don't really write songs myself. And yet I get these things given to me and I'm thinking, 'Has there been anybody else been as lucky as I've been? I don't know.'\"
Cliff Richard (February 18, 2005 - WGN Radio 720 Chicago interview)
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\"[For Life] is written by a friend of mine. Chris Eaton is someone I've known for a long, long time. In fact, I'm almost the first person who recorded his songs. Not quite. There was somebody, a guy called Dave Pope, a gospel singer, who introduced me to Chris Eaton. And I produced an album for Dave and there were some Chris Eaton songs on that album. I was really impressed by the way this guy wrote. And then many years went by and then suddenly a few tracks turned up and I did some songs on albums. And then, he wrote for me Saviour's Day, which was a #1 in Britain. He wrote Little Town, which was a Top Ten Christmas hit for me. And, of course, he wrote This Life [sic]. He and, uh... I can't remember the other writer's name, but there were a couple of writers involved in writing that song. And for me, it was an interesting track because it was like a retro track. It's kind of like, um... You know the old doo-wop songs. It's doo-wop without the doo-wop, really. And when we were in Nashville thinking about what kind of guitar intro it would have and I suggested Duane Eddy, never thinking that was a possibility. I just suggested a Duane Eddy sound. And they said, 'Well, you know, Duane Eddy lives here. Why don't we call him?' And I said, 'Well, I don't know him.' And they said, 'Well, don't worry. We'll call him.' And then he showed up and he sat there in the studio with his cowboy hat on and boots. And he just said, 'Look! I heard the track. This is what I think would sound right. If you don't like it, I'll do whatever you want me to do.' And he-- We played it through. He played along with the track. Our draws dropped and we thought this sounds wonderful. We had the most wonderful-- We couldn't believe that Duane Eddy was sitting there. And the funny thing is, he kept saying he hadn't got the right amplifier. He said he's getting a new amplifier and I kept thinking to myself, 'Why would you want a new amplifier? This one sounded great!' He is so... I never know how to guage what a guitarist is like. When I listen to a guitar player, he either touches you or he doesn't touch you. He doesn't have to play a million notes a second or do anything other than make your heart sing. And when he played it, I thought, 'Oh, I am so happy to be the vocalist on this track.' I had a friend that said to me that this is a wedding song. I mean, I suppose it is. Well, I mean most songs that are about devotion and about a loyalty and about a foreverness. I guess they're kind of all wedding songs, really. But I have to say that I have a soft spot for this song. Although it's the most difficult song that I had to sing on the album. It's a very... It's right at the top of my range. And I still for this... I don't know why I do this. Everyone says to me, 'Well, you're recording in a studio, you know.' Even if a track is really difficult, you can spend time and you get into it and you can do it. When you come to sing it live, night after night after night, it can wear your throat out. And I still don't know why I do it. All we had to do was take it down a semi-tone and it would have been much easier.\"
Cliff Richard (February 18, 2005 - WGN Radio 720 Chicago interview)
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