(Rock'n'Roll) Cliff Richard - Cliff Sings - 1959, FLAC (image+.cue) lossless

Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 4. November 2010, 18:50
Cliff Richard / Cliff Sings (2001 Remaster Digipack)
Used drive  : _NEC    DVD_RW ND-3550A   Adapter: 1  ID: 0
Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No
Read offset correction                      : 48
Overread into Lead-In and Lead-Out          : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
Used interface                              : Native Win32 interface for Win NT & 2000
Used output format              : User Defined Encoder
Selected bitrate                : 1024 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : C:\Program Files\Exact Audio Copy\Flac\flac.exe
Additional command line options : -8 -V %s
TOC of the extracted CD
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        2  |  1:46.62 |  2:14.45 |      8012    |    18106
        3  |  4:01.32 |  2:30.28 |     18107    |    29384
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       10  | 20:58.22 |  1:54.05 |     94372    |   102926
       11  | 22:52.27 |  2:19.73 |    102927    |   113424
       12  | 25:12.25 |  1:50.20 |    113425    |   121694
       13  | 27:02.45 |  1:58.52 |    121695    |   130596
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       30  | 65:54.70 |  2:34.30 |    296620    |   308199
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       32  | 71:10.02 |  2:36.73 |    320252    |   332024
Range status and errors
Selected range
     Filename D:\2\Cliff Richard - Cliff Sings\Cliff Richard - Cliff Sings (2001 Remaster Digipack).wav
     Peak level 98.8 %
     Range quality 99.8 %
     Test CRC C8A6C95C
     Copy CRC C8A6C95C
     Copy OK
No errors occurred
End of status report

Britain's answer to Elvis Presley, Richard (born Harry Webb) dominated the pre-Beatles British pop scene in the late '50s and early '60s. An accomplished singer with a genuine feel for the music, Richard's artistic legacy is nonetheless meager, as he was quickly steered toward a middle-of-the-road pop direction. Several of his late-'50s recordings, however, were genuinely exciting Presley-esque rockers -- especially his first hit, "Move It" (1958) -- and gave British teenagers their first taste of genuine homegrown rock & roll talent. Backed by the Shadows -- clean-cut instrumental virtuosos who became legends of their own -- Richard embarked on a truly awesome string of hit singles in Britain, scoring no less than 43 Top 20 hits between 1958 and 1969. One of these, although it was by no means one of the more successful, was an actual Mick Jagger/Keith Richards composition (the ballad "Blue Turns to Grey").
In his homeland, Richard's popularity was diminished only slightly by the rise of the Beatles, but in his prime, he had a much rougher time in the U.S., hitting the Top 40 only three times (with "Living Doll" in 1959, "It's All in the Game" in 1963, and "Devil Woman" in 1976). Richard belatedly cracked the U.S. Top Ten in 1976 with "Devil Woman," and racked up a few other hits ("We Don't Talk Anymore," "Dreaming," "A Little in Love") in a mainstream pop/rock style. He remains an institution in Britain, where he is one of the nation's most popular all-around entertainers of all time.

Producer Norrie Paramor knew exactly what he was doing. Cliff Richard burst onto the British pop scene with a rocker -- his first album, accordingly, rocked just as hard. But when he scored his first number one with a ballad, it only followed that album number two would follow suit. Cliff Sings is almost unrecognizable as the successor to the hottest live recording of the late '50s. True, the two sides of the original vinyl open with blistering intent -- a vicious "Blue Suede Shoes"; a sneering rockabilly "Twenty Flight Rock." But the heart of the album lies in the biggest ballads, the warmest strings, the most dramatic arrangements -- all the things, in fact, for which the veteran Paramor had been renowned before he was nipped by the rock & roll bug. It was not a complete disenfranchisement. A second Carl Perkins song, "Pointed Toe Shoes," a fluid "Mean Woman Blues," and the furious "The Snake and the Bookworm" rocked at least as hard as past 45s "Dynamite" and "High Class Baby." And when the last dance loomed at the youth club, George Gershwin's "Embraceable You" was always going to get a lot more couples smooching than some raucous one-two-three o'clock rocker. But a perfunctory "As Time Goes By" and an anemic "Here Comes Summer" were surely included as much because Paramor enjoyed rearranging them, than because they were crucial additions to Cliff's canon, and asked whether the album struck Cliff's existing audience as a disappointment, at the time, it probably was. Certainly the bright young things who sent "Move It" soaring up the British chart would have had little time for the likes of "Little Things Mean a Lot," "I Don't Know Why," or "I'll String Along With You"; might not have been instantly impressed by the newfound rich warmth of the Richard tones. But that audience hadn't exactly broken its neck buying Cliff's post-"Move It" rockers either, so what did they expect? Rock & roll was still young, but its heartiest practitioners were growing older by the day. Cliff knew that if he was to survive in show business, he would need to start adapting to a far wider audience than the rockers would ever allow him to embrace. Cliff Sings