Whole Story, The (His Greatest Hits) - Cliff Richard

...way you can tell 'the whole story' of a career like Cliff's on just two CDs and 46 tracks, but this does include nearly all the major hits, all in chronological order, from 'Move It' and 'Living Doll' in the late 50s, to the last two Top 10 hits 'Can't Keep This Feeling In' and 'Millennium Prayer'. (Hold on, wasn't the latter the single EMI refused to release at the time? Funny, that).
There are a few omissions - no sign of 'Congratulations' ...
...collection jumps from 'The Day I Met Marie' in 1967 to his second Eurovision entry 'Power To All Our Friends' in 1973, so by leaving out five years altogether it also omits 'Sing a Song Of Freedom' and 'Silver Rain', which admittedly were not among his more successful records, but in my estimation two of the better ones. Nevertheless most of the bona fide favourites are here, from 'Bachelor Boy' and 'The Minute You're Gone' to 'Devil Woman', 'Miss ... more

The title may be a little misleading. There's no way you can tell 'the whole story' of a career like Cliff's on just two CDs and 46 tracks, but this does include nearly all the major hits, all in chronological order, from 'Move It' and 'Living Doll' in the late 50s, to the last two Top 10 hits 'Can't Keep This Feeling In' and 'Millennium Prayer'. (Hold on, wasn't the latter the single EMI refused to release at the time? Funny, that).
There are a few omissions - no sign of 'Congratulations' although it was a No. 1. In fact, the collection jumps from 'The Day I Met Marie' in 1967 to his second Eurovision entry 'Power To All Our Friends' in 1973, so by leaving out five years altogether it also omits 'Sing a Song Of Freedom' and 'Silver Rain', which admittedly were not among his more successful records, but in my estimation two of the better ones. Nevertheless most of the bona fide favourites are here, from 'Bachelor Boy' and 'The Minute You're Gone' to 'Devil Woman', 'Miss You Nights' and 'We Don't Talk Anymore'. The recent era is well represented with the inclusion of 'Saviour's Day' and 'Peace In Our Time'.
One minor complaint about the packaging. No doubt EMI assume this album has a captive audience who will buy it for the quality of the music alone. Fair enough, but something in the way of an informative sleeve note, or perhaps more details for each track, such as date of release, highest UK position, weeks on chart, etc. would have been welcome.
 

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