Quando Quando Quando

Tony Renis




Connie Francis


Cliff Richard






http://www.youtube.com/watch?v=GeV0ewzoQ00
Engelbert Humperdinck


Dimmi quando tu verrai,
dimmi quando... quando... quando...
l'anno, il giorno e l'ora in cui
forse tu mi bacerai...

Ogni istante attenderò,
fino a quando... quando... quando...
d'improvviso ti vedrò
sorridente accanto a me!

Se vuoi dirmi di sì
devi dirlo perchè
non ha senso per
la mia vita senza te...

Dimmi quando tu verrai,
dimmi quando... quando... quando...
e baciandomi dirai,
"Non ci lasceremo mai!"

Se vuoi dirmi di sì
devi dirlo perchè
non ha senso per
la mia vita senza te...

Dimmi quando tu verrai,
dimmi quando... quando... quando...
e baciandomi dirai,
"Non ci lasceremo mai!"


"Quando, Quando, Quando"

Tell me when will you be mine
Tell me quando quando quando
We can share a love divine
Please don't make me wait again

When will you say yes to me
Tell me quando quando quando
You mean happiness to me
Oh my love please tell me when

Every moments a day
Every day seems a lifetime
Let me show you the way
To a joy beyond compare

I can't wait a moment more
Tell me quando quando quando
Say its me that you adore
And then darling tell me when

Every moments a day
Every day seems a lifetime
Let me show you the way
To a joy beyond compare

I can't wait a moment more
Tell me quando quando quando
Say its me that you adore
And then darling tell me when

Whoa lover tell me when
Oh darling tell me when
Oh come on tell me when
Yea tell me when



All versions come out in 1962 from the original italian version in February 1962 coming fourth at the San Remo festival. On the sheet music on all versions we have clearly written Tony Renis as the music writer. On the Pat Boone and the engelbert humperdinck versions it indicates A.Testa as the Italian words.
This is the registration copywrite number EFO000086566 / 1962-02-14 the title deposited: “Quando, quando, quando; samba. w Alberto Testa, w & m Tony Remis, pseud. of Elio Cesari.” So the music is written by a famous Italian musition , and the first words where from Alberto Testa who recently died October 2009, Remis came fourth with this song in February 1962 at the famous Italian San Remo music Festival, the song was a big hit remaining 10 weeks in the first position in Italy and 20 weeks in the top ten)
"Quando, Quando, Quando" is an Italian pop song from 1962, music by Tony Remis and words by Alberto Testa. American entertainer Pat Boone, who recorded the song in 1962, is listed in some sources as the writer of its English-language lyrics, but other sources, including the Songwriters Hall of Fame, say veteran songwriter Ervin Drake was the lyricist. In 2008 the song was performed in Vietnamese, with lyrics written by Joseph Hieu (Australia). Portuguese version by Cavaco Pilla (sometimes credited under his birth name Cavaco Silva). Cavaco made the song famous in Portugal.
[edit]English versions

The title translates as "When, When, When".
The song has been used and remixed by many artists and in many different advertisements. The most notable rendition in English was by pop singer Engelbert Humperdinck. In 2005, Nelly Furtado performed the song as a duet with Michael Bublé. There is an instrumental Latin version by Edgardo Cintron and The Tiempos Noventa Orchestra. The song was a 1962 Billboard Top 100 entry by Pat Boone. Quando is the only Italian word normally retained in the English version. Pat Boone sings the starting piece in a good Italian accent but mistakes the words he then carries on the the rest of the song in English, repeating every now and again some Italian words. the Italian words sung by Boone: Dimmi quando tu verrai, dimmi quando... quando... quando... l'anno, il giorno e l'ora in cui forse tu mi bacerai... (he say "qui" which means "here" instead of "cui" which means "that")
Other singers: Connie Francis, American pop singer from italian origan sang in Italian in 1963, Cliff Richard, English singer in 1968, Dieter Thomas Kuhn a German singer, sings in German and the song is titled "Sag mir Quando" in 1998, Roberto Blanco from cuban origins famous in Germany, sings in a mixed German and Italian.

This song was sung famously by Hayley Marsh & Stacey Wiltshire in the Eurovision song contest. Having scored an initial rating of 90 points they went on to sing locally achieving great success.


Engelbert Humperdinck:
(born Arnold George Dorsey, May 2, 1936, Madras, India) is a well-known British popular music singer who became famous internationally during the 1960s and 1970s, after adopting the name of the famous German opera composer Engelbert Humperdinck as his own stage name.

He was one of ten children of British Army officer Mervyn Dorsey and his wife Olive. At least one of Arnold George Dorsey's parents was Anglo-Indian (of mixed British and Indian bloodlines), which in turn classifies his ethnicity as 'Anglo-Indian'. His family moved to Leicester, England, when he was 10, and a year later he showed an interest in music and began learning the saxophone. He started work as an apprentice engineer and by the early 1950s he was playing the instrument in nightclubs, but he is believed not to have tried singing until he was 17 and friends coaxed him into entering a pub contest. His impression of Jerry Lewis prompted friends to begin calling him Gerry Dorsey, a name he worked under for almost a decade.[1]
His music career was interrupted by national service in the British Army Royal Corps of Signals during the mid-1950s, but he got his first chance to record in 1958 with Decca Records. His first single, "I'll Never Fall in Love Again," was not a hit, but Dorsey recorded for the same company almost a decade later with much different results. Dorsey continued working the nightclubs until 1961, when he was stricken with tuberculosis. He regained his health and returned to nightclub work with little success, but in 1965 he teamed with former roommate Gordon Mills who had become a music impresario and the manager of Tom Jones.[1].
He had his first real success during July 1966, in Belgium where he and four others represented England in the annual Knokke song contest, and in October he was on stage in Mechelen. In that period, Humperdinck was already No. 1 in the Belgian charts, six months before the release of Release Me. Belgian Television then made a video clip in the harbour of Zeebrugge[2]

Aware that Dorsey had been struggling for several years to make it in music, Mills suggested a name change to the more arresting Engelbert Humperdinck, borrowed from the composer of such operas as Hansel and Gretel. Mills also arranged a new deal with Decca Records. In early 1967 the changes paid off when Humperdinck's version of "Release Me," done in a smooth ballad style with a full chorus joining him on the third chorus, scored the top ten on both sides of the Atlantic and scored number one in Britain, keeping The Beatles' adventurous "Strawberry Fields Forever" from entering the top slot in the UK. "Release Me" spent 56 weeks in the Top 50 in a single chart run[3].
Even in a year dominated by psychedelic rock music, the success of "Release Me" may not have been that surprising, considering Frank Sinatra's chart comeback that began a year earlier, and stablemate Tom Jones' success with a ballad or two in the interim, both of which probably opened some new room for more traditionally-styled singers. "Release Me" was believed to sell 85,000 copies a day at the height of its popularity, and the song became the singer's best known song for years.
Humperdinck's deceptively easygoing style and casually elegant good looks, a contrast to Tom Jones's energetic attack and overtly sexual style, earned Humperdinck a large following, particularly among women. "Release Me" was succeeded by two more hit ballads, "There Goes My Everything" and "The Last Waltz", earning him a reputation as a crooner that he didn't always agree with. "If you are not a crooner," he told Hollywood Reporter writer Rick Sherwood, "it's something you don't want to be called. No crooner has the range I have. I can hit notes a bank could not cash. What I am is a contemporary singer, a stylized performer."
He was successful with "Am I That Easy to Forget". "A Man Without Love," "From Here To Eternity", "Les Bicyclettes de Belsize," "The Way It Used To Be, "A Place In The Sun", "I'm A Better Man," and "Winter World of Love" before the 1960s ended. In the 1970s he scored with such albums as The Last Waltz, The Way It Used To Be, A Man Without Love, and Engelbert Humperdinck. His own television program was less successful, being cancelled after six months.

Engelbert Humperdinck poses after giving a concert in a Belgian café, named "Club nr. 1", October 1966
As his kind of balladry became less popular, and after he adopted some Broadway influences, Humperdinck concentrated on selling albums and on live performances, developing lavish stage presentations that made him a natural for Las Vegas and similar venues. He still had successful singles however, and "After the Lovin'", a ballad recorded for CBS subsidiary Epic, became one of the greatest successes of his career during 1976 and won him a Grammy Award nomination.
It was a conscious effort to update his music and his image. "I don't like to give people what they have already seen," Humperdinck was quoted as saying in a 1992 tourbook. "I take the job description of 'entertainer' very seriously! I try to bring a sparkle that people don't expect and I get the biggest kick from hearing someone say 'I had no idea you could do that!'" He also defended his fan mania, which helped him continue to sell records when radio play largely ended for him. "They are very loyal to me and very militant as far as my reputation is concerned," Humperdinck had told Sherwood. "I call them the spark plugs of my success."
But he later revealed that he had little if any say in the selection of songs for his albums, a fact that had sometimes brought into question whether he was his own or his manager's or record label's pawn. As his career moved on, however, Humperdinck began gaining more creative freedom, and his albums accordingly brought several kinds of songs into his reach beyond syrupy ballads. But he kept romance at the core of his music regardless, and he's long since been tagged by fans as "the King of Romance."

Cliff Richard:
Sir Cliff Richard, OBE (born Harry Rodger Webb; 14 October 1940)[1] is an Indian born English singer-songwriter and entrepreneur.
With his backing group The Shadows, Richard dominated the British popular music scene in the late 1950s and early 1960s (ie the 5 year "Before-Beatles" period: 1958-1962), before and during The Beatles' first year in the charts in 1963. John Lennon once claimed that "before Cliff and the Shadows, there had been nothing worth listening to in British music."... - The Times. Nov 30th 2005.[2]
A conversion to Christianity and subsequent softening of his music led to his having more of a pop than rock image. He has achieved the same impact in the United States despite several chart singles there such as Devil Woman, but he has remained a popular music, film, and television personality in the United Kingdom and he retains a following in other countries. Over his 51-year career he has amassed hundreds of gold and platinum discs and awards, making him one of the most successful singers of all time.
During six decades, Cliff Richard has charted many singles, and holds the record (with Elvis Presley) as the only act to make the UK singles charts in all of its decades (1950s–2000s). He is the only singer to have had a number one single in the UK in, officially, five consecutive decades, doing so from the 1950s through to the 1990s (though if you discount digital downloads and only count CDs, he has had a number one single in the UK in six consecutive decades, from the 1950s through to the 2000s—see the first paragraph of 'Works: Chart accomplishments' below --, a record generally considered impossible to be beaten). In the British charts, Richard has had more than 130 [single], albums and EPs make the UK top 20, more than any other artist.[3] He has had 8 US Top 40 single entries, of which 3 peaked in the Top 10. He has sold more than 250 million records.[4]

1940–58: Childhood
Cliff Richard was born to Anglo-Indian parents, at the King George Hospital, Victoria Street, in Lucknow, British India, to Rodger Oscar Webb, a manager for a catering contractor that serviced the big Indian Railways, and Dorothy Marie (born Dazely) Webb the family lived in a modest house with other Anglo Indians at Maqbara close to the main shopping centre of Hazratgunge. Cliff's father was 17 years senior to his mother. He was christened on 2 November 1940 at St Thomas' Church, Dehradun, India. Rodger Webb was educated at Christ Church School Lucknow. The Anglo Indians living at Maqbara often were employed as musicians and a band from there played at the Royal Cafe Restaurant Lucknow and another band at the Mohmmad Bagh club which was the officers' military club serving the large garrison at Lucknow.[5] Dorothy Marie's mother served as the dormitory matron at the La Martinier Girls School. Anglo Indians did not enjoy any social status in India and were looked down upon by the British.[5] In 1948, following Indian independence, the family moved to England. The Webbs moved from comparative wealth in India where they had servants and lived in a company supplied flat at Howrah near Calcutta, to the semi-detached house of Harry's grandmother in Carshalton, Surrey. In 1949 his father obtained employment in the credit control office of Thorn Electrical Industries and the family moved in with other relatives in Hertfordshire until a three-bedroom council house in Cheshunt was allocated to them in 1950. Harry then attended Riversmead School (which was later renamed Bishopslea School) from 1952 to 1957. As a member of the top stream he stayed on beyond the mimimum leaving age to take GCE Ordinary Level examinations and he gained a pass in English. He then started work as a filing clerk for a company called Atlas Lamps.[6] A development of flats, Cliff Richard Court, has been named after him in Cheshunt.[7]
Webb became interested in skiffle, his father bought him a guitar at 16 and he formed the Quintones vocal group in 1957. He then sang in the Dick Teague Skiffle Group.
[edit]1958–1963: Success and stardom
Harry Webb became lead singer of a rock and roll group, The Drifters (not to be confused with the U.S. group of the same name). Before their first large scale appearance, at the Regal Ballroom in Ripley, Derbyshire, in 1958, they adopted the name "Cliff Richard and the Drifters". The four members were Webb, Ian "Sammy" Samwell on guitar, Terry Smart on drums and Norman Mitham on guitar. None of the other three played with the later and better known Shadows, although Samwell wrote songs for Richard's later career.
For his début session, Norrie Paramor provided Richard with "Schoolboy Crush", a cover of an American record by Bobby Helms. Richard was permitted to record one of his own songs for the B-side; this was "Move It", written by the Drifters' Samwell on a number 715 Green Line bus on the way to Richard's house for a rehearsal. For the Move It session Paramor used the session guitarist Ernie Shears on lead-guitar and Frank Clark on bass.
There are a number of stories about why the A-side was replaced by the intended B-side. One is that Norrie Paramor's young daughter raved about the B-side; another was that influential TV producer Jack Good, who used the act for his TV show Oh Boy!, wanted the only song on his show to be "Move It".[8]
The single went to No. 2 on the UK charts. Music critics Roy Carr and Tony Tyler wrote that it was the first genuine British rock classic, followed by Johnny Kidd and the Pirates' "Shakin' All Over". John Lennon was quoted as saying that "Move It" was the first English rock record.
In the early days, Cliff Richard was marketed as the British equivalent to Elvis Presley. As did previous British rockers such as Tommy Steele and Marty Wilde, Richard adopted Presley-like dress and hairstyle. In performance he struck a pose of rock attitude, rarely smiling or looking at the audience or camera. His late 1958 and early 1959 follow-up singles, "High Class Baby" and "Livin' Lovin' Doll", were followed by "Mean Streak", which carried a rocker's sense of speed and passion, and Lionel Bart's "Living Doll". It was on "Living Doll" that the Drifters began to back Richard on record. By that time the group's lineup had changed with the arrival of Jet Harris, Tony Meehan, Hank Marvin, and Bruce Welch. The group was obliged to change its name to "The Shadows" after legal complications with the U.S. Drifters as "Living Doll" entered the American top 40, licensed by ABC-Paramount. Living doll was used in his debut film Serious Charge, but as a country standard, rather than a rock n roll standard.
The Shadows were not a typical backing group. They would become contractually separate from Richard, and the group received no royalties for records backing Richard. In 1959, The Shadows (then still the Drifters) landed an EMI recording contract of their own, for independent recordings. That year, they released three singles, two of which featured double-sided vocals and one of which had instrumental A and B sides. In 1960, they recorded and released "Apache". Reaching the top of the charts in more than one country, the single set The Shadows on a path of their own. They thereafter had several major hits, including five UK No. 1s. The band also continued to appear and record with Richard and wrote many of his hits. On more than one occasion, a Shadows' instrumental replaced a Richard song at the top of the British charts.
Richard's fifth single "Living Doll" triggered a softer, more relaxed, sound. Subsequent hits, the No. 1s "Travellin' Light" and "I Love You" and also "A Voice in the Wilderness" and "Theme for a Dream" cemented Richard's status as a mainstream pop entertainer along with contemporaries such as Adam Faith and Billy Fury. Throughout the early sixties his hits were consistently in the top five.
Typically, The Shadows closed the first half of the show with a 30-minute set of their own, then backed Richard on his show-closing 45-minute stint. Tony Meehan and Jet Harris left the group in 1961 and 1962 respectively and later had their own chart successes for Decca. The Shadows added bass players and took on Brian Bennett on drums.
In the early days, Richard sometimes recorded without The Shadows in order to cater to other styles. Even after the Beatles' rise he continued to achieve hits, although more often with an orchestra rather than The Shadows: a revival of "It's All In The Game" and "Constantly". A session under the direction of Billy Sherrill in Nashville yielded two more top two hits: "The Minute You're Gone" and "Wind Me Up" in 1965.
Cliff Richard and in particular, The Shadows never achieved star status in the United States. In 1960 they toured the U.S. and were well-received; however, lacklustre support and distribution from a revolving door of American record labels proved an obstacle to long-term success Stateside despite several chart records by Cliff including the aforementioned "It's All In The Game" on Epic, via a renewed linking of the worldwide Columbia labels after Philips ended its distribution deal with CBS. To the Shadows' chagrin, Apache reached #1 in The U. S. via a cover version by Danish guitarist Jorgen Ingmann which was virtually unchanged from their worldwide hit, save a sound effect Ingmann added evoking whooshing arrows in flight created by flicking his fingers on the fretboard. Cliff and the band appeared on The Ed Sullivan Show, which was crucial for The Beatles', but these performances did not help them gain sustained success in North America.
Richard and The Shadows appeared in six feature films, including a rather odd début in the 1959 film Serious Charge but most notably in The Young Ones, (the title song being his biggest hit up to "Mistletoe and Wine"); Summer Holiday (which featured a slimmed-down Richard with visible dancing skills), Wonderful Life and Finders Keepers. These films created their own genre known as the "Cliff Richard musical" and led to Richard being named the number one cinema box office attraction in Britain for both 1962 and 1963. The irreverent 1980s TV sitcom The Young Ones took its name from Richard's 1962 movie, and also made references to the singer. In 1966, Richard and the Shadows appeared as marionettes in the Gerry Anderson film Thunderbirds Are GO. In the summer of 1963 Cliff and the Shadows appeared for a season in Blackpool, where Cliff had his portrait modelled by Victor Heyfron, M.A.
[edit]1964–1975: Changing circumstances
As with the other existing rock acts in Britain, Richard's career was affected by the sudden advent of The Beatles and the Mersey sound in 1963 and 1964. However, his popularity was established enough to allow him to weather the storm and continue to have hits in the charts throughout the 1960s, albeit not at the level that he had enjoyed before. Nor did doors open to him in the U.S. market; he was not considered part of the British Invasion, despite four Hot 100 hits (including the top 25 "It's All In The Game") between August 1963 and August 1964, the U.S. public had little awareness of him. However, he continued having international hits, including 1967's "The Day I Met Marie", which reached #10 in the UK Singles Chart and #5 in the Australian charts, and is considered a quintessential summer hit, due to its summery nature.
Although baptised as an Anglican, Richard did not appear to practise the faith in his early years. However, in 1964, he became an active Christian and this conversion has become an important aspect of his life. Standing up publicly as a Christian affected his career in several ways. Initially, he believed that he should quit rock 'n roll, feeling he could no longer be the rocker who had been called a "crude exhibitionist" and "too sexy for TV" and a threat to parents' daughters. However, by the time Richard converted, his image had become tamer due to his film roles and well-spoken manners on radio and TV. Richard intended at first to 'reform his ways' and become a teacher, but Christian friends advised him not to abandon his career just because he had become a Christian. Soon after, Cliff Richard re-emerged, performing with Christian groups and recording some Christian material. He still recorded secular songs with the Shadows, but devoted a lot of his time to Christian work, including appearances with the Billy Graham crusades. As time progressed, Richard balanced his faith and work, enabling him to remain one of the most popular singers in Britain as well as one of its best-known Christians. He was a leading figure in the Nationwide Festival of Light during 1971, protesting against the commercial exploitation of sex and violence in Britain, and advocating the teaching of Christ as the key to recovering moral stability in the nation.[citation needed]
Cliff Richard's first serious acting role took place in the 1967 film Two a Penny, released by Billy Graham's World Wide Pictures,[9] in which he played a young man who gets involved in drug dealing while questioning his life after his girlfriend changes her attitude. He released the live album "Cliff in Japan", which featured Olivia Newton-John as backing singer and John Farrar on guitar (Farrar would later be Newton-John's producer).
Also in 1968 he sang the UK's entry in the Eurovision Song Contest: "Congratulations" by Bill Martin and Phil Coulter; it lost by just one point to Spain's "La La La". According to John Kennedy O'Connor's The Eurovision Song Contest — The Official History, this was the closest yet result in the contest and Richard locked himself in the toilet to avoid the nerves of the voting.[10] In May 2008 a Reuters news report claimed that voting in the competition had been fixed by the host country's dictator leader, Francisco Franco, to ensure that the Spanish entry won, allowing them to host the contest the following year (1969). In particular, it is claimed that Spanish TVE television executives offered to buy programmes in exchange for votes.[11][12].This has not been proved beyond doubt, but it is thought likely. The story was widely covered and featured on UK Channel 4 News as a main story, with Jon Snow interviewing author and historian John Kennedy O'Connor about the matter.[13] Eurovision later ended voting by national juries in a bid to eradicate such alleged scams. Nevertheless, "Congratulations" was a huge hit throughout Europe and yet another No.1 in April 1968.
In 1973 he sang the British entry Power to All Our Friends; the song finished third, close behind Luxembourg's "Tu Te Reconnaîtras" and Spain's "Eres Tú". This time, Richard took Valium in order to overcome his nerves and his manager was almost unable to wake him for the performance.[14] Richard also hosted the BBC's qualifying heat for the Eurovision Song Contest, "A Song for Europe," in 1970, 1971 and 1972 as part of his BBCTV variety series. He presented the Eurovision preview programmes for the BBC in 1971 and 1972.
After the Shadows split in 1968, Richard continued to record. He had already become accustomed to the Shadows' absence, and was able to record in a variety of settings. Although many of his earliest fans regretted that Richard had tried out songs which were not strictly in the rock 'n roll genre, most had got used to his habit of recording rockier material with the Shadows, while producing more middle-of-the-road material at other times; this versatility extended Richard's career prospects.
During the 1970s, Richard took part in television shows, such as It's Cliff, many of which also starred Hank Marvin and Una Stubbs, and which included A Song for Europe. These shows, for a time, branded Cliff Richard as a television personality more than a recording artist. He began 1970 by appearing on the BBC's highly rated review of the sixties music scene Pop Go The Sixties, performing Bachelor Boy with The Shadows and Congratulations solo, live on the show broadcast across Europe and BBC1, on January 1, 1970. In 1972, he made a short BBC television comedy film called The Case with appearances from comedians and his first-ever duets with a woman, Olivia Newton-John. In 1973 he starred in the film Take Me High.
[edit]1976–1994: Comeback
In 1976 the decision was made to repackage Cliff Richard as a "rock" artist. That year he produced the landmark album I'm Nearly Famous, which included the successful but controversial guitar-driven track "Devil Woman" (Richard's first true hit in the United States) and the ballad "Miss You Nights". Richard's fans were excited about this revival of a performer who had been a part of British rock from its early days. Many music names such as Jimmy Page, Eric Clapton, and Elton John were seen sporting I'm Nearly Famous badges, pleased that their boyhood idol was getting back into the heavier rock in which he had begun his career.
Notwithstanding this, Richard continued to release Gospel-tinged albums in parallel with his rock and pop albums, for example: Small Corners from 1978 contained the single "Yes He Lives". Despite his 1976 comeback, this single failed to chart in the United Kingdom. In 1980, the singer officially changed his name by deed poll from Harry Webb to Cliff Richard.[15]. On December 31, 1976, Cliff performed his latest single Hey, Mr. Dream Maker on BBC1's A Jubilee Of Music, celebrating British pop music for Queen Elizabeth II's impending Silver jubilee.
In 1979, Richard teamed up with the producer Bruce Welch for the pop hit single "We Don't Talk Anymore", which hit #1 in the UK and #7 in the U.S. Brian Ferry added the backing vocals to the song, however, he only hummed the backing vocals, he didn't actually ever sing. The record gave Richard the distinction of becoming the first act to reach the Hot 100 in the 1980s who had also reached the Hot 100 in each of the three previous decades. The song was quickly added onto the end of his latest album Rock 'n' Roll Juvenile. It was his first time at the top of the UK singles chart in over ten years, and the song would become his biggest-selling single ever. The accompanying music video was the sixth to appear on American cable channel MTV when it débuted Aug. 1, 1981.
At long last he had some extended success in the United States following "Devil Woman". The follow-up "Dreaming" also reached the top ten, peaking at #10. His 1980 duet "Suddenly" with Olivia Newton-John, from the film Xanadu, was a Top 20 hit in America, peaking at #20. Richard continued with a string of top ten albums, including I'm No Hero, Wired For Sound, Now You See Me, Now You Don't, and, marking his 25th year in show business, Silver. The singles chart also saw his most consistent period of top twenty hits since the mid 1960s, with three of them on the Hot 100 at the same time at the end of 1980. His 1985 single "She's So Beautiful" reached No.17 in the UK. 1987 saw Richard record his Always Guaranteed album, which became his best selling album of all new material. It contained the two top ten hit singles, "My Pretty One" and "Some People". Richard concluded his thirtieth year in music in spectacular chart style, reaching number one on the British singles chart with "Mistletoe and Wine", while simultaneously holding the number one positions on the album and video charts with the compilation Private Collection summing up his biggest hits from 1979-1988. "Mistletoe and Wine" was his biggest seller to that point.
In 1986, Richard teamed up with The Young Ones to re-record his smash hit "Living Doll" for the charity Comic Relief. Along with the song, the recording contained comedy dialogue between Richard and The Young Ones. The release went to no.1. That same year he opened in the West End as a rock musician called upon to defend Earth in a trial set in the Andromeda Galaxy in the multi-media Dave Clark musical Time. Two Richard singles: "She's So Beautiful" and "Born To Rock 'n Roll" were released respectively in 1985 and '86 from the concept album recorded for "Time".
Further top ten albums included Stronger in 1989, which included the UK No.2 hit "Best Of Me", and UK No.3 "Just Don't Have The Heart" written and produced by Mike Stock, Matt Aitken and Pete Waterman , From a Distance in 1990. Later that year, Richard scored his second UK Christmas No. 1 single with Saviour's Day. Richard unsuccessfully bid for the Christmas No.1 spot again with We Should Be Together and Healing Love in 1991 and 1993 respectively - the latter being taken from his No.1 studio album Cliff Richard - The Album. The next few years saw Richard concentrate on bringing the musical Heathcliff to the stage. The production was a resounding success, but the time it took seemed to take a toll on his reinvigorated chart status. Back in the UK during the next years and throughout the 1980s, Richard remained one of the best-known music artists in the country. In the space of a few years he worked with Elton John, Mark Knopfler, Julian Lennon, Freddie Mercury, Stevie Wonder, Phil Everly, Janet Jackson, Sheila Walsh, and Van Morrison. Richard also reunited with Olivia Newton-John. In 1989, he filled the Wembley Stadium for a few nights with a spectacular titled "The Event". Meanwhile, the Shadows later re-formed (and again split). They recorded on their own, but also reunited with Richard in 1978, 1984, and 1989-90 for some concerts. On 14 June 2004 Cliff Richard joined the Shadows on-stage at the London Palladium. The Shadows had decided to re-form for one final tour of the UK, with this concert heralded as their final ever concert as "Cliff and the Shadows."