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Liner Note Authors: Jon Savage ; Billy Sloan; Paul Gambaccini. Introduction by: Paul Gambaccini. Photographers: Nigel Goodall; Pam Taylor; Susie Wright; Barbara Marshall; Peter Lewry; William Hooper; Graham Kirk; Jane Evans; Audrey Wilson; Ann Chadwick; Jane Elliott; Iris Daniel; Enid Ferguson; Diana Emery; David Kasey; David Hancock; Dave Bailey ; Colette Williams; Carol Merrick; Carol Clackson; Phyllis Sweetman; Patsy Grey; Patricia Oliver; Pat Wall; Mrs. P. Amey; Mrs. M. Willsher; Mrs. M. Ford; Mrs. J. Philips; Mrs. J. Norcross; Mrs. P.M. Firth; Mrs. M. Furniss; Mrs. M. Ehringer; Mrs. Lyn Light; Mrs. L. Hawkes; Mrs. Janet Burton; Mrs. J.M. Heard; Mrs G. McCue; Mrs E.a. North; Mrs. C. Gregory; Mr. P.W. Carroll; Mr. D. Matthews; Mr. T. Kennerley; Mike Wilson; Marie Barnish; Margaret Tipple; Margaret Greenberry; Lorrain Kelly; Kath Coleran; Janice Tyler; Wendy Ashby; Vina Cooke; Valerie Dodds; Thelma Thompson; Simon Norman Stiles; Shirley Morgan; Sheilagh Middleton; Sheila Liversidge; Ken Jones; Mrs. Christine Brown; Ray Williams. Unknown Contributor Roles: John Heron; Stan Edwards; John Friesen; Tony Hoffman; John Foster; Harry De Louw; Carol Foster; Dave Herbert. Such an unimaginative title for such a imaginative boxful. Across four discs and 105 songs, Cliff Richard's earliest catalog comes in for precisely the kind of treatment every rock & roll star should have: an all-encompassing study of his most important period. Even more impressively, though the song titles all sound familiar, the performances rarely are. Thirty-seven tracks are bona fide unreleased (South African 78s notwithstanding), but several dozen more are culled from scarce EP-only mixes, rarely resurfacing B-sides, and unusual mixes. One cut, an undubbed take of "Willie and the Hand Jive," was hitherto available only on a mid-'80s budget-priced single disc, covering much the same period as this. It wasn't aimed at collectors, it wasn't heavily advertised, and it probably didn't sell many copies. Of such things do completists dream, but when you have a beakful of hen's teeth to sort through, do such things really matter? Discs one through three are the conventional ones. Running in strict chronology through Richard's first eight albums, 20-plus EPs, and 23 singles, highlights are sorted, then sorted again. Where a rare version exists, that's what is offered here, be it an alternate version of "It's All in the Game," an unreleased rehearsal of "Do You Wanna Dance," or the original stereo mix for the album take of "Twenty Flight Rock." Disc one is the hottest. The swagger of "Move It," the dynamics of "Dynamite," all the things that sent the New Musical Express running home to hide in 1958/1959 (screaming, "must we fling this filth at our pop kids?") are here. From this side of the ocean, the best-known tracks are the American covers, and there's a fair swathe of them to be sure. But the killers, the stompers, the real bees' knees, are the homegrown monsters that simply ripped up
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