Sir Cliff Richard***

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Sir Cliff Richard*** Recensie: Sir Cliff Richard*** Paleis 12 Brussels Expo zaterdag 31 mei 2014 foto © Tom Van Alphen Recensie: Met krak dezelfde setlist onder de arm als in Denemarken, op 22 mei, stond Sir Cliff Richard, 73 ondertussen, voor het eerst in Paleis 12. De man mag dan wel de op twee na best verkopende artiest in de UK zijn, hij bleek ook over een gezonde dosis zelfrelativeringsvermogen te beschikken. Zo bracht ie naast zijn grootste hits ook zijn grootste flops ("Miss you nights“ en "Ocean deep“) mee naar Brussel en stond hij stil bij het Eurovisiesongfestival waar hij twee keer aan deelnam voor de UK.  Met "Congratulations“ (1968) en "Power to all our friends“ (1973) won hij niet. "Mochten ze me vragen om een derde keer mee te doen, dan overweeg ik om een baard te laten groeien“ zo knipoogde hij naar de recente overwinning van de travestiet met baard Conchita Wurst. Met een zwart glittervestje dat het vlotjes won van de fonkelende sterrenhemel in de leds achteraan werkte Cliff Richard het eerste deel af dat op een uur afklokte. Het tweede deel zou ie in een opvallend hippe outfit brengen, met strakke blauwe jeans en rode vest. Richards gelaat ziet er erg strak uit voor zijn leeftijd in vergelijking met zijn handen die wel de rimpels en ware leeftijd verraden. Het is uiteindelijk dat stevig geplamuurde gezicht – ja er is plastische chirurgie aan te pas gekomen – dat ook qua totaalbeeld het concert het best samenvat. Tijdens het merendeel van de songs wordt het geluid zo plat gedrukt, zo samengedrukt dat er weinig dynamiek uit komt. Als voorverwarmde kost in een grootkeuken van een bejaardentehuis, zo smaakt het concert, dat met 8000 voormalige Rimpelrockers een opvallend mooie opkomst wist te noteren. Zij kwamen om mee te zwaaien, hun lichtjes aan te steken, ja, het Schlagergevoel was nooit ver af. Cliff Richard bespeelde zijn fans ook erg goed. "Con“ liet hij de linkerhelft uitroepen, "Grat“ was voor het middenblok, en nog voor hij het goed en wel vroeg, kwam het overgebleven blok al met de "u“ af waarna ie hen knipogend tot de orde riep: "I'm in charge!“ Het was een fijn intermezzo tijdens "Congratulations“. Heel wat fans zijn overgekomen uit de UK, dat mag blijken uit de witte vlaggetjes met het rode kruis van St. George erop. Rondom ons wordt er uitsluitend British English gebezigd. Bij aanvang van het concert valt erg op dat vooral de hoge tonen, nauwelijks bas of lagere middentonen door de geluidsmix komen. Pas later zal het geluid evenwichtiger worden. Cliff Richard vertelde ons over een voorval in Parijs, dat iemand verwonderd was dat hij nog leefde. "Cliff Richard? He must be dead now.“ zei iemand hem daar waarop hij laconiek antwoordde "I've never been dead. I will never be …“. "Living doll“ uit 1959, toen opgenomen met The Drifters (die later tot The Shadows omgedoopt werden) werd al stevig meegeklapt. De fans van het eerste uur, wiegden vrolijk mee op de tonen. Een avondje nostalgie was het voor hen. Naast de hits, was Richard vooral naar ons land gekomen om zijn recentste album "The fabulous rock ‘n roll songbook“, dat vorig jaar uitkwam, te promoten. Voor zijn honderdste album (weliswaar met compilaties, soundtracks en live albums meegerekend) vol covers ging hij inspiratie opdoen in Nashville. Veertien songs haalden uiteindelijk het album. Veruit de strafste live versies die we te horen kregen waren "Johnny B. Goode“ van Chuck Berry, "Rip It Up“ van Little Richard en "It will be me“ van Jerry Lee Lewis die wél de punch in zich kregen dankzij respectievelijk de elektrische gitaren en drums, drums en synths en de sax. Andere covers zoals "Poetry in motion“ en Dit artikel en zijn foto zijn auteursrechtelijk beschermd - kopij enkel bestemd voor persoonlijk gebruik Herdistributie in eender welke vorm zonder voorafgaand schriftelijk akkoord van de auteur is verboden This article and its picture is copyrighted - copy for personal use only No (re)distribution in any way allowed without written permission of the author Pagina 1/3 "Sealed with a kiss“ kleurden mooi binnen de lijntjes. Richard experimenteerde dus nooit, had geen zin in muzikale avontuurtjes, waardoor het een erg braaf optreden werd. Het is niet zo dat het ganse concert de sound platgedrukt werd, neen. Bij het begin van "Wire for sound“ voelden we het slaan van de drums. In combinatie met het werk op elektrische gitaren gaf dat meer dan voldoende dynamiek aan het geluid, was het niet dat wanneer de zang en andere instrumenten er bij kwamen, het geheel opnieuw afgevlakt werd. Ook naar het einde van het concert toe, kon er plots meer, waardoor ook het enthousiasme van het publiek crescendo meeging. Alsof de productie door bewust de sound plat te drukken en finaal los te laten, ook de sfeer strak wou regisseren.  Van alle arrangementen die de revue passeerden, klonk dat van "Devil woman“ het meest fresh en bij de tijd van allemaal. Cliff Richard, die erg hees blijkt, ziet zijn stem meermaals wegschieten. De man zingt het ganse optreden live al nemen de band en de backings naar het einde toe, onder andere bij zijn grootste hit en oorworm "We don't talk anymore“, de voorgrond. Een keuze die de klankman wat ons betreft al veel vroeger had mogen nemen want sommige passages bleken voor Richard op zijn leeftijd een te grote cliff om te nemen. Dat leverde niet zelden erg valse momenten op zoals in "Ocean Deep“ en het duet "Suddenly“ uit de film Xanadu, dat trouw bleef aan zijn 80's sound, met backing Suzie Furlonger (die de plaats innam van Olivia Newton-John) waarbij die laatste de meubelen moest redden. Het duet startte nochtans veelbelovend, maar iets voorbij de helft bleek dat beiden niet op dezelfde toon zaten. Daarnaast is het leeftijdsverschil tussen beiden veel te groot om een duet als dit geloofwaardig neer te zetten. Het handjes vasthouden op een bepaald moment kwam dan ook erg geforceerd over. Eerder had de mooie Furlonger in "The Twelfth of Never“ al een knappe prestatie neergezet. De camera's richtten zich op haar, lieten haar in close up zien.  Wanneer we haar stembanden stevig zien trillen tijdens vibrati weten we het wel: dit is een vrouw waar je als muziekliefhebber en journalist het levensmotto "happy to be a bachelor boy until my dying day“ een tijdlang opzij voor wil schuiven. Furlongers stem klonk zeer stevig door. Op vocaal gebied moest Cliff Richard zijn meerdere in haar erkennen.  Ze komt erg dicht bij de klankkleur van Whitney Houston wat haar mogelijks interessant kan maken bij platenfirma's. Al zijn die laatste de laatste tijd erg voorzichtig in het tekenen van nieuwe namen… < Bert Hertogs > De setlist: Deel 1 Reelin‘ and Rockin‘ / My Kinda Life (cover Chuck Berry) Dreamin‘ Living Doll Poetry in Motion (cover Johnny Tillotson) Sealed with a Kiss (cover The Four Voices) Dream Lover (cover Bobby Darin) The Twelfth of Never (cover Johnny Mathis) (met Suzie Furlonger) Miss You Nights Summer Holiday The Next Time What Car Congratulations Wired for Sound Deel 2: Dit artikel en zijn foto zijn auteursrechtelijk beschermd - kopij enkel bestemd voor persoonlijk gebruik Herdistributie in eender welke vorm zonder voorafgaand schriftelijk akkoord van de auteur is verboden This article and its picture is copyrighted - copy for personal use only No (re)distribution in any way allowed without written permission of the author Pagina 2/3 Move It Willie and the Hand Jive (cover Johnny Otis) Rave On (cover Buddy Holly) Fabulous (cover Charlie Gracie) Johnny B. Goode (cover Chuck Berry) Ocean Deep The Young Ones Devil Woman Suddenly (met Suzie Furlonger) It‘ll Be Me (cover Jerry Lee Lewis) Rip It Up (cover Little Richard) We Don‘t Talk Anymore I Could Easily Fall (In Love With You) / In The Country Bis: High Class Baby / Dynamite / Please Don‘t Tease / Forty Days / Do You Wanna Dance? (cover Bobby Freeman) We Don‘t Talk Anymore (enkel de band) Dit artikel en zijn foto zijn auteursrechtelijk beschermd - kopij enkel bestemd voor persoonlijk gebruik Herdistributie in eender welke vorm zonder voorafgaand schriftelijk akkoord van de auteur is verboden This article and its picture is copyrighted - copy for personal use only No (re)distribution in any way allowed without written permission of the author Pagina 3/3.
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