The Cliff Richard Collection isn't simply the best American compilation he has ever been granted, it's also the finest single-disc collection of Cliff Richard's post-"Devil Woman" material around. That song, of course, remains his biggest-ever American hit; however, it also marked the beginning of what Richard himself regards as his renaissance, critically, commercially, and creatively, the point at which he was transformed from a '60s hitmaker who didn't know when to stop to a contemporary singer and sometimes songwriter, ...
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The Cliff Richard Collection isn't simply the best American compilation he has ever been granted, it's also the finest single-disc collection of Cliff Richard's post-"Devil Woman" material around. That song, of course, remains his biggest-ever American hit; however, it also marked the beginning of what Richard himself regards as his renaissance, critically, commercially, and creatively, the point at which he was transformed from a '60s hitmaker who didn't know when to stop to a contemporary singer and sometimes songwriter, as valid as any of the young bucks walking a similar path. The emphasis remains on the U.K. hits, although with over 50 to choose from, a lot of strong material was omitted in favor of material that -- if one may be blunt for a moment -- has more in common with contemporary American tastes than with Richard's overall development. "Some People" and "The Only Way Out," for example, are pounding '80s AOR, smartly produced and neatly executed, but not a patch on, say, "Miss You Nights" and "Silhouettes." There's also a gratuitous reliance on duets, although with partners the caliber of Elton John, Sarah Brightman, and Olivia Newton-John ("Suddenly," from the Xanadu soundtrack), who's to say that's a mistake? But these are petty complaints -- and besides, some excellent material does surface: a dramatically echo-drenched rendition of Buddy Holly's "True Love Ways," recorded with the London Philharmonic Orchestra; the effortlessly contagious dance hit "We Don't Talk Anymore"; and, best of all (indeed, one of the greatest records Richard has ever made), "Carrie," darkly desperate, disturbingly desolate, a missing person's report set to music. There's also a triumphant appearance for "Mistletoe and Wine," the 1988 U.K. chart-topper that inaugurated what has now become an integral part of the British calendar, Richard's Christmas single. It's mawkish sentimentality at its most overtly rampant, and no self-respecting ears will want to hear it more than once a year. But that's all the song itself demands -- you don't whistle "Jingle Bells" in midsummer, either. But come next December.... ~ Dave Thompson, Rovi
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