of course on the other hand...minus The Shadows (Drifters) young Cliff might have just been doing very 'fifties pop' styled songs like; 'Schoolboy Crush' (which was the original 'A' side), and minus the early rockers plus the 13 or so hits The Shads members duly composed for him Cliff's career might have easily gone the way of acts like The Karlin Twins !
No Shads...then MUCH of the best moments on early Cliff's hits would be absent...plus no 'Please Don't Tease', 'I Love You', 'Gee Whizz it's You', and then 'Summer Holiday', 'On The Beach', 'I Could Easily Fall', 'Don't Talk To Him', 'Time Drags By', 'Finders Keepers', 'In The Country'...'The Day I Met Marie' etc - and alot of interest in the guitarwork & singer/combo sound that characterised hits like 'Lucky Lips' , 'Blue Turns To Grey' etc featured on Cliff/Shads tracks would have been lost...
(significantly Adam Faith moved towards Cliff's singer/group combo style in 1963 teaming with The Roulettes that saw his pop career get a boost)
Minus The Shadows I suspect a good chunk of Cliff's popularity & standing in the 'Beat Boom' would have been lost, true his biggest hits were solo ballads then but his continued teaming with The Shadows on every other single (and on the 'B' sides of his solo hits) over the 1963-1966 period especially kept him relevant to the younger audience into the beat groups too...Cliff never became an 'Englebert Humperdinck' or 'Ken Dodd' type figure as for every 'The Minute your Gone' & 'Visions' there was a 'Blue Turns To Grey' & 'In The Country' too...
Had Cliff had no Shads backing him then probably more OLDER audience aimed material like 'I'm Looking Out The Window', 'When The Girl in Your Arms...', and songs like; 'Sentimental Journey', 'Falling in Love With Love', etc would have resulted as Norrie guided Cliff away from rock and roll towards a more 'all round entertainer' very clean cut 'establishment' style...
IF no Shadows then later of course NO Bruce Welch to have produced Cliff's vital effective 'comeback' album; 'I'm Nearly Famous' & key seventies hits; 'Devil Woman', 'Miss You Nights' etc to rescue Cliff from his awful 'Goodbye Sam Hello Samantha' / 'Power To All Our Friends' piffle period and re-invent him as a credible quality seventies pop singer of note and respect...leading up to a seventies chart topper in 'We Don't Talk Anymore' prod by Brucie & composed by former Shads bass player Alan Tarney who then duly guided Cliff onto 'Wired For Sound', 'Some People' & 'Always Guranteed' 80's etc success....
so in retrospect Cliff and the Shadows were each crucial to each other's careers, both together and seperately in differing ways
...and remember Cliff played bongos on 'Apache' too !
