Cliff Richard (and the Drifters)

[strongbow]

I think that Cliff’s insistence on working with the Drifters was a function of his admiration for Ricky Nelson and the contribution that James Burton and company made to Ricky’s overall sound. He was determined to have his own version, not necessarily from the perspective of copying what Ricky’s band did but rather in the sense of having a high quality, distinctive and reliable outfit.

As Rob Bradford has pointed out elsewhere on this forum, the young Cliff was a stickler for preparation and rehearsal. So getting the right backing group and keeping it intact really mattered.

[strongbow]

I don't believe that Terry Smart's departure was entirely voluntary.

[neil2726]

I think those early departures were due to Cliff and his management realising they were not good enough or comitted enough.

[donna plasky]

Quite right both, but not quite what we were wondering.

Elvis Presley was sold as Elvis Presley, not stressing backing musicians and singers, such as Scotty Moore and the Jordanaires.
Cliff Richard could, having had chart success with Move It, have been sold as Cliff alone. But the Drifters, later Shadows, always got a mention. Who decided that, I wonder?

Hi, Iain. I understand now, what you meant...why did they not drop the backing band name as soon as they could. That's a good question. I'm glad they didn't, as this might have hindered The Shadows' (successful) attempt at becoming a solo artist, without Cliff. Hmmm.

Does anyone know if a similar dilemma happened when The Shadows went out on their own? Did anyone (their agent, the band themselves, etc.) consider changing their name to Hank Marvin and The Shadows, so as to market the lead guitar? Putting Hank's name in front would not seem consistent with what I perceive to be Hank and Bruce's professional relationship...but sometimes agents and/or record companies can try to force something upon you. Just wondering.

Best wishes,
Donna

[strongbow]

Putting Hank’s name out in front of the Shadows would have been difficult for a couple of reasons. First, from the time they had their first hit with Apache, there was a public profile for a specific Shadows group identity. And second, one very much doubts that the other Shadows “shareholders” – such as Bruce – would have gone along. Indeed, in those very early days, Jet was often considered to be the group’s “leader.”

The situation with Cliff and the Drifters was very different. Prior to Move It, there was no public profile and, almost certainly, no legal ties. And when EMI offered a contract, it was a contract for Cliff only. The two original Drifters who played on Move It, Ian Samwell and Terry Smart, did not receive any performing royalties from the record. They were simply paid the regular session man fee. The royalties went to the featured artiste who was under contract – Cliff. (Of course, as composer of Move It, Ian would have earned writer royalties.)

[UlrichS]

Putting Hank’s name out in front of the Shadows would have been difficult for a couple of reasons. First, from the time they had their first hit with Apache, there was a public profile for a specific Shadows group identity. And second, one very much doubts that the other Shadows “shareholders” – such as Bruce – would have gone along. Indeed, in those very early days, Jet was often considered to be the group’s “leader.”

At least they gave it a try (New Musical Express Poll Winner's concert, 3rd May, 1970)!

Ulrich

[JimN]

By that time, Ulrich, The Shadows had broken up as a regular performing group and Hank had had one or two minor UK hits under his own name. Hank would have been the main available act, with The Shadows being reformed only now and then for the odd appearance (mainly on TV).

JN

[GoldenStreet]

I don't believe that Terry Smart's departure was entirely voluntary.

I can well believe he was pretty soon made to feel he wasn't good enough to cope with the big time that was beckoning in late 1958. As far as I know, nothing has ever been heard from him since. I wonder how long his naval career lasted!

Bill

[George Geddes]

I think it is fairly well known that Tito Burns - during the time he was Cliff's manager - tried to drive a wedge between Cliff and the Shadows and was always on the lookout for opportunities for Cliff where the Shadows were not required. Cliff was equally adamant that the Shadows were an essential part of his career.

George

[strongbow]

According to Cliff biographer Steve Turner, Terry Smart was still in the Merchant Navy as of the early 1990s. The book has a photograph of Ian Samwell, Norman Mitham and Terry taken backstage with Cliff at the special Hammersmith Odeon concert which was featured in the 1981 four-part TV series.