Cliff Richard ‎– Silver (1983)

Silver is the 26th studio album by Cliff Richard, released on October 3, 1983, on EMI Records. The titles derives from the opening cut, “Silver’s Home Tonight,” but also references Cliff’s “Silver Jubilee,” as 1983 marked his 25th year in the music business. In the U.K., the album was briefly issued as a double album with the second record comprised of cover versions of ’50s rock ‘n’ roll hits, later issued as a separate LP.

Videos were made with choreographed dance scenes for the Mike Batt ballad “Please Don’t Fall in Love”, the hi-tech/uptempo “Baby You’re Dynamite” and lead-off single “Never Say Die (Give a Little Bit More)” — subtitled after the song’s prominent chorus line, through not to be confused with the namesake song from the earlier I’m No Hero album. Though not planned for single release, “Ocean Deep” was ultimately issued as such by popular demand and has since become a fan favorite in various territories.

Stateside, Silver was titled Give a Little Bit More and given an altered tracklist, swapping “Front Page” for Richard’s rendition of Ritchie Valens’ “Donna.”

A1. “Silver’s Home Tonight”

3:43 | Craig Pruess, David Reilly |

The lyrics narrate a moment of emotional transition for two people—a man named Silver and the woman he loves—who are finally on the verge of expressing their long-held mutual feelings.

Funny how she still remembers
Those words of love that got him nowhere
Even though she knows he’s calling
She never finds the way to show her feelings
She doesn’t mind the hours she’s keeping
He’s waking when she’s sleeping
For him it means so much to hear her voice

Cliff describes a frustrating distance where the woman is emotionally guarded, unable to reciprocate the love she hears from Silver. Their communication is out of sync (“He’s waking when she’s sleeping”), but Silver is still deeply invested in simply hearing from her.

She’s home tonight
Silver’s home tonight
And in the morning light
She’ll feel much better
Home tonight, She’ll stay home tonight
She’ll be sleeping light
Till he calls her again

This chorus sets the immediate scene: the woman is secure in her own space, and Silver is also “home.” The narrator suggests that the impending connection promises an end to her emotional turmoil, awaiting the next moment of contact.

Even though they didn’t know it
Standing in the shadow love was waiting
She’d been his friend for such a long time
But never told the boy her heart was breaking
Silver had no way of knowing
That secretly his love was growing
And now he’s coming back to stay

The song reveals the unspoken truth: a deep, romantic love was developing beneath the surface of their long friendship. The woman was silently suffering from unrequited love, but the shift is that Silver’s feelings have matured, and he is returning with the intent to stay permanently.

She’s home tonight
Silver’s home tonight
And in the morning light
They’re gonna be together
Home tonight, Silver’s home tonight
She can hear him saying “I’ll never leave you again”

The chorus is repeated but with a crucial change: the morning light will bring them together. The woman is now able to hear Silver’s promise of eternal commitment, confirming their future union.

She could only wait
Till the time was right
It was never too late
She’s home tonight
Silver’s home tonight
And in the morning light
They’re gonna be together
Home tonight
Silver’s home tonight
She can hear him saying “I’ll never leave you again”

The final section emphasizes that the woman’s patient waiting was worthwhile. Despite the delays and mixed signals, their destiny is fulfilled, cementing the promise that Silver will never abandon her again.

A2. “Hold On” (1983)

3:18 | Sue Shifrin, Terry Britten |

The lyrics are a powerful declaration of faith in love as a guiding force, urging a partner to share this belief in order to overcome any challenge.

Love, show me the way
When I am lost and hope begins to fade
Love, timeless and true
Whenever I need strength I look to you

Cliff begins by positioning “Love” as an eternal, reliable, and almost divine entity that serves as his ultimate guide. He turns to this concept of love for direction and emotional strength during moments of despair.

Tonight my faith is strong enough to see me through
Tonight you’ve got to trust in love the way I do
We gotta hold on tight tonight

The narrator asserts his current state of strong belief and demands his partner adopt the same level of faith. He stresses that mutual, firm commitment (“hold on tight”) is necessary for them to endure the immediate challenges.

Hold on, nothing’s gonna stop us
If we just believe in love
Hold on, there’s nothing under heaven
We can’t overcome, hold on

The chorus is an inspirational promise: if they maintain their belief in love, they will be invincible. Cliff claims their combined faith can conquer any obstacle in existence.

Now I see the way
How the tide’ll turn and the part I’ll play
(It’s) all part of a plan
You don’t have to know or understand

The narrator has gained a moment of clarity, recognizing that their struggles are part of a greater, pre-determined design. He assures his partner that she doesn’t need to grasp the logic, only trust in the overarching plan.

Tonight, I’ll see it all unfold before my eyes
Tonight with fortune on my side and love to guide me
The future is looking bright tonight

Cliff anticipates an immediate, positive resolution, expecting to witness the plan unfold right away. With both luck and the power of love on his side, he is completely confident in a brilliant future.

Hold on, nothing’s gonna stop us
If we just believe in love
Hold on, there’s nothing under heaven
We can’t overcome, hold on
Hold on

The repeated chorus reinforces the core message of invincibility through shared conviction.

And though the road ahead maybe unknown
We’ll make it if we hold on

The final lines serve as a pragmatic reassurance, acknowledging that uncertainty lies ahead but cementing the belief that their perseverance and belief in love will guarantee their success.

A3. “Never Say Die (Give a Little Bit More)”

3:42 | Sue Shifrin, Terry Britten |

The lyrics are an energetic motivational speech urging someone who has been rejected to stop feeling sorry for himself and launch an aggressive, sustained effort to win back the woman he lost.

You look so sad
Like you lost your only friend
Don’t feel so bad
You can always try again

Cliff starts by observing the sadness of the listener, but immediately dismisses the pain. He assures the listener that this setback is not final and encourages him to recover quickly.

So don’t hide, go seek
Don’t let the grass grow under your feet
Get out, get up, get on, get moving out
Don’t surrender
Don’t give up the fight

This section is a cascade of direct commands to get moving and take action. The narrator urges the listener to abandon all passive sadness and commit to aggressive pursuit.

You give a little bit more
If you want her back, it’s a full attack
You give a little bit more
And if you wanna win, you don’t give in
You give a little bit more
When you think you’re through what you gotta do is
Give a little bit more

The chorus outlines the non-negotiable strategy: success requires maximum effort (“full attack”). Cliff insists that whenever the listener feels like quitting, he must push even harder to win.

She said goodbye
So you tell yourself that’s all
(That’s all, she’s gone)
But your hands ain’t tied
Why you make yourself so small (don’t think so small)

Cliff directly challenges the listener’s acceptance of the breakup, pointing out that his hands are not tied. He critiques the listener’s self-defeating mindset and calls for him to elevate his self-perception.

So don’t hide, go seek
Don’t let the grass grow under your feet
Get out, get up, get on, get moving out
Don’t surrender
And don’t give up the fight

The motivational commands are repeated, reinforcing the necessary shift from passive despair to active engagement and relentless forward motion.

You give a little bit more
If you want her back, it’s a full attack
You give a little bit more
And if you wanna win, you don’t give in
Give a little bit more
When you think you’re through what you gotta do you is
Give a little bit more

The core message returns, emphasizing that the key to winning her back is a sustained, aggressive escalation of effort.

Don’t give up the fight
You gotta keep on going with all your might
Try hard don’t stop
Gotta keep on giving it all you got

This is a focused set of instructions stressing perseverance, full commitment, and maximum physical and mental effort.

Never give up, never give up, never say die
Believe that I can reach the top
Gotta give it a shot
Don’t say no, gotta get in the flow

Cliff injects a belief in ultimate success, urging the listener to adopt an unbreakable attitude of conviction and positivity.

So don’t hide, go seek
Don’t runaway, get back on your feet
Get out, get up, get on, get moving out
Don’t surrender, don’t give up the fight

The repeated action-oriented commands again stress the importance of movement and engagement over retreating from the challenge.

You give a little bit more
And if you want her back. it’s a full attack
You give a little bit more
And if you wanna win, you don’t give in

The final segment repeats the winning strategy: increased effort and refusal to concede defeat.

Give a little bit more, oh
When you think you’re through what you gotta do is
Give a little bit more
Don’t give up the fight
You gotta keep on going with all your might

The song concludes by fading out on the continuous, high-energy demand for more effort, cementing the idea that relentless effort is the only way forward.

A4. “Front Page”

3:15 | Aleksander John, Nick Battle |

The lyrics address a person suffering from a painful heartbreak, validating his emotional pain while simultaneously urging him to gain perspective and realize that his personal crisis is not the end of the world.

You can’t sleep and you just can’t eat
Keep on moving around looking for her shadow
You’ve been through it once, well, we all should know
When you lie awake, it takes so long for the night to go

Cliff vividly describes the acute physical and emotional distress of the heartbroken listener: insomnia, loss of appetite, and obsessive searching for the lost love. He generalizes the experience, implying that this level of pain is a universal, albeit difficult, part of life.

You gotta heartbreak
It’s not the front page
You gotta heartbreak
But it’s not front page news

This chorus provides a critical dose of perspective. While acknowledging the severity of the listener’s internal pain, Cliff reminds him that in the grand scheme of the world, his sorrow is a private event and not a catastrophe.

Six lonely days you wonder when you’ll wake
From these dreams of the past, well, there’s no time like the present
You think right now, there can be no one else
You say first love is best, well, we all must learn to grow

Cliff addresses the listener’s lingering fixation on the past and the common belief that his first or current love is irreplaceable. He urges him to focus on the present and accept that emotional growth requires moving past these initial, intense heartbreaks.

You gotta heartbreak
But It’s not front page
You gotta heartbreak
But it’s not front page news, no, no

The repeated chorus reinforces the message that while the pain is real, the listener must maintain a sense of proportion about his suffering.

Don’t rush love, you must take your time
Try to play it cool, got to read between the lines
If you don’t she will fly away
To some far off place where she won’t receive your telephone calls

Cliff shifts to offering practical advice for future relationships. He warns against desperation and impatience, suggesting that acting too eagerly will scare away a potential partner, leading to complete and inaccessible distance.

You gotta heartbreak
It’s not the front page news
You gotta heartbreak
It’s not the front page news
It’s just a heartbreak
It’s not the front page
You gotta heartbreak
But it’s not front page news
You gotta heartbreak…

The song concludes by hammering home the main point: the heartbreak is a normal, albeit unpleasant, personal event. The repetition encourages the listener to move past his self-absorption and recognize that life continues outside of his romantic crisis.

A5. “Ocean Deep”

5:18 | Jonathan Sweet, Rodney Trott | epic ballad

The lyrics express the deep, isolating loneliness of a narrator who is desperately searching for love but is held back by his own fear and the constant sight of missed opportunities.

Love, can’t you see I’m alone
Can’t you give this fool a chance?
A little love is all I ask
A little kindness in the night
Please don’t leave me behind
No, don’t tell me love is blind
A little love is all I ask
And that is all

Cliff begins by directly addressing the concept of “Love” itself, highlighting his solitude and pleading for an opportunity. He asks for only a small, tender connection, correcting the notion that love is indifferent to his plight.

Ooh love, I’ve been searchin’ so long
I’ve been searchin’ high and low
And little love is all I ask
A little sadness when you go
Maybe you’ll need a friend
Only please don’t let’s pretend
A little love is all I ask
And that is all

He emphasizes the extensive duration of his search for love. Cliff lowers his expectations, offering even the possibility of being a temporary friend, but insists on genuine emotion rather than deception.

I wanna spread my wings
But I just can’t fly
As a string of pearls
The pretty girls go sailin’ by

The pre-chorus is a metaphor for his inability to take initiative; he is ready for love but paralyzed by fear. He watches helplessly as potential partners pass him by without him being able to approach them.

Ocean deep
I’m so afraid to show my feelings
I have sailed a million ceilings
Solitary room
Ocean deep
Will I ever find a lover?
Maybe she has found another
And as I cry myself to sleep
I know this love of mine I’ll keep
Ocean deep

The chorus uses the “Ocean deep” metaphor to describe the profound depth of his unexpressed feelings, which are confined to his lonely room. He questions the possibility of finding love, worries she has been found by someone else, but defiantly resolves to hold onto his capacity to love despite the pain.

Now, can’t you hear when I call?
Can’t you hear a word I say?
A little love is all I ask
A little feelin’ when we touch
Why am I still alone?
I’ve got a heart without a home
A little love is all I ask
And that is all

Cliff’s plea becomes more direct, asking why his emotional calls go unanswered. He expresses a desire for basic physical affection and laments his deep sense of homelessness and lack of belonging.

I wanna spread my wings
But I just can’t fly
As a string of pearls
The pretty girls go sailin’ by

The recurring pre-chorus reinforces his emotional paralysis and the constant frustration of seeing desirable women slip away due to his own inability to act.

Ocean deep
I’m so afraid to show my feelings
I have sailed a million ceilings
Solitary room
Ocean deep
Will I ever find a lover?
Maybe she has found another
And as I cry myself to sleep
I know this love of mine I’ll keep
Ocean deep

The repeated chorus solidifies the themes of deep, hidden emotion, loneliness, fear, and the enduring nature of his love despite the despair.

I’m so lonely, lonely, lonely (Ocean deep)
On my own in my room
I’m so lonely
(Ocean deep)
I’m so lonely, I’m so lonely
This love of mine
I’ll be ocean deep
I’m so lonely, lonely, lonely
In my room

The outro is a final, sorrowful expression of his pervasive loneliness, equating his personal sadness and unshared love with the infinite, profound depth of the “Ocean deep.”

B1. “Locked Inside Your Prison”

3:29 | Robert Heatlie | synthpop, dance pop | hi-tech, upbeat

The lyrics use the metaphor of a prison to describe a relationship that is suffocating and restrictive, expressing the narrator’s desperate plea for release or acceptance from his controlling partner.

Your love is like a prison wall
And it’s getting higher
I get so far and then I fall
I can’t get through the wire
Oh oh oh I’m locked inside your prison
Oh oh oh I’m locked inside your prison

Cliff immediately establishes the central metaphor: his partner’s love is a structure that is both restrictive and constantly growing more impenetrable. He feels trapped, unable to escape or achieve true closeness, and wholly contained by her controlling affection.

It’s as though I’m doing time
And you won’t free me
Let the punishment befit the crime
And say you need me
Oh oh oh I’m locked inside your prison
Oh oh oh I’m locked inside your prison

He feels subjected to a long, indefinite sentence, and his partner holds the power to release him. Cliff ironically asks for a just “punishment” or, even better, for her to validate his suffering by simply admitting her need for him.

Save me save me can’t you see I’m innocent
Turn the key that will set me free
Please let it end oh let it end
Oh oh oh I’m locked inside your prison
Oh oh oh I’m locked inside your prison

The narrator claims he is wrongly confined and pleads for immediate liberation, begging his partner to end the painful control she exerts over him.

Save me save me can’t you see I’m innocent
Turn the key that will set me free
Please let it end won’t you let it end

This repetition underscores the desperation and the clear message that he views her love as a confinement he needs to escape.

I’ll dig a tunnel to your heart
Let me remind you
Even gonna tear the walls apart
Until I find you
Oh oh oh I’m locked inside your prison
Oh oh oh I’m locked inside your prison

In a final twist, the narrator shifts from pleading to defiant action. He accepts the “prison” but promises to break down the barriers, suggesting that if she won’t release him, he will aggressively fight to reach the core of her heart.

B2. “Please Don’t Fall in Love”

3:13 | Mike Batt | love ballad | tender, melancholy

The lyrics are a desperate and vulnerable plea from a narrator who is emotionally collapsing over his partner’s likely infidelity, begging her not to escalate her temporary liaison into genuine affection.

I know that you’re with him just now as I write
I know you need someone to hold you at night
But I’m begging you, baby
Please don’t fall in love

Cliff begins with the painful acknowledgment of his partner’s betrayal, rationalizing it as a physical need for comfort in his absence. His ultimate plea is not for her to stop the affair but to prevent it from becoming a true emotional commitment.

I knew it might happen when I was away
And now that it’s happened, I just want to say
That I’m begging you, baby
Please don’t fall in love

The narrator admits he foresaw this development due to the distance. Now that his fear is reality, his only recourse is to plead with her to save the emotional core of their original relationship.

I’m usually strong but I’m feeling so weak
It wells up inside me, I cry when I speak
But the more I call you on the phone
The more I feel alone
And the less we have to say

Cliff reveals the depth of his emotional breakdown, contrasting his usual strength with his current fragility. His attempts to connect with her by phone only highlight the growing distance and the erosion of their communication.

I know that you’re with him just now as I write
I know you need someone to hold you at night
But I’m begging you, baby
Please don’t fall in love

The repetition of the first stanza re-emphasizes the unbearable reality of her current situation and the overriding importance of his single request.

I knew it might happen when I was away
And now that it’s happened, I just want to say
That I’m begging you, baby
Please don’t fall in love

The recurring admission of inevitability highlights his passive acceptance of the affair, which makes his active plea against her falling in love all the more urgent.

We kissed at the airport, we said we could wait
I believe it is we who determine our fate
And I love you more than I can say
Don’t throw it all away
Don’t let it go by

Cliff recalls the promise they made upon separation and asserts a belief in their power to control their future. He emphasizes the immense value of their existing love, urging her not to carelessly discard it.

I know that you’re with him just now as I write
I know you need someone to hold you at night
But I’m begging you, baby
Please don’t fall in love

The final full return to the opening section cements the central tension: the physical reality of her present versus the emotional fidelity he desperately needs her to maintain.

I know you don’t tell me, to spare me the pain
Don’t want you to tell me, I don’t need his name
That I’m begging you, baby
Please don’t fall in love

Cliff acknowledges her attempt to protect him by hiding the details, but he makes it clear he doesn’t need specifics, only a commitment against emotional attachment. He is choosing willful ignorance to focus entirely on preventing a fatal end to their relationship.

B3. “Baby You’re Dynamite”

3:57 | Doug Flett, Guy Fletcher| synthpop, dance-pop | hi-tech, upbeat

The lyrics describe an overwhelming, sudden, and powerful romantic connection using explosive and electrical metaphors to emphasize its excitement and inevitability.

I got no explanation
Love has shot out of the blue – hitting me, and you
It isn’t just attraction
It’s more a chain reaction
Our love is no ricochet – won’t go astray

Cliff states that their love appeared unexpectedly and struck them both forcefully. He clarifies that this is more profound than simple physical desire, viewing it as an unbreakable, destined reaction.

I can’t light the fuse and then retire
Love’s got me in it’s line of fire

The narrator asserts that he is fully committed to this dangerous intensity and cannot back away from it. He is entirely at the mercy of this powerful, passionate emotion.

Oo baby you’re dynamite
There’s never been another love so exciting
Oo baby it’s dynamite
You’ve got the power of thunder and lightning-
You’re dynamite

The chorus establishes the partner as the source of this thrilling, intense energy, comparing her impact to the raw power of elemental forces like thunder and lightning.

Your lips are so inviting
My senses are igniting
I know our love’s here to stay – won’t go away
It’s bigger by the hour
Love’s overwhelming power
Is moving irresistibly – through you and me

Cliff details the physical manifestation of this excitement, leading to the conviction that their love is permanent and growing exponentially. He sees their shared emotion as an uncontrollable, mutual force.

I can’t light the fuse and then retire
Love’s got me in it’s line of fire

The commitment and danger are reiterated, emphasizing that the intense feelings are irresistible and that he has no choice but to face them head-on.

Oo baby you’re dynamite
There’s never been another love so exciting
Oo baby it’s dynamite
You’ve got the power of thunder and lightning-
You’re dynamite
I can’t light the fuse and then retire
Love’s got me in it’s line of fire
Oo baby you’re dynamite
There’s never been another love so exciting
Oo baby it’s dynamite
You’ve got the power of thunder and lightning-
You’re dynamite

The song concludes by blending the thrilling intensity of the love (the “dynamite”) with the narrator’s complete surrender to its power, asserting the absolute excitement and inevitability of their passionate connection.

B4. “The Golden Days Are Over”

4:17 | Sue Shifrin, Terry Britten | epic ballad | melodrama

The lyrics paint a melancholic portrait of a former celebrity who is now isolated and living in the shadow of her past fame and success.

She locks the bedroom door
Lies face down on the bed
Hears voices down the hall
Are they real or in her head

Cliff sets a scene of deep isolation and emotional distress. The woman has retreated from the world, and her mental state is fragile, blurring the line between reality and hallucination.

Pictures on the wall
Reminders every one
Just memories of the past
Of a time that’s been and gone

Her current environment is a shrine to her former glory, with every object serving as a painful reminder that her celebrated past is permanently over.

All those wild and crazy nights
They still dance before her eyes
(Those crazy nights)
(Her name in lights)

She is emotionally stuck, reliving the excitement and recognition of her peak fame, unable to find that thrill in her present life.

Look at her now
The golden days are over
Look at her now
No leading man to hold her

The chorus provides the stark reality check. The era of her glory is finished, and she is now lacking the necessary romantic support or fame-related attention she once enjoyed.

She was one in a million
Now she’s that forgotten face
Look at her now
The golden days are over, they’re in the past

The narrator emphasizes the tragedy of her decline, contrasting her unique stardom with her current state as an overlooked, common figure whose fame belongs only to history.

Lauded by the press
An overnight success
A favourite with the fans
Had them eating from her hands

This section quickly summarizes the pinnacle of her career, highlighting the effortless power and universal adoration she commanded at her peak.

But stars fall from the sky
In the twinkle of an eye
There’s no more silver screen
Just another broken dream

Cliff uses a poetic metaphor to describe the speed and finality of her decline. Her fame has vanished, leaving behind only the wreckage of a shattered ambition.

Still she strikes a classic pose
Just in case the cameras roll
(She steals the scene)
(Relives the dream)

She maintains the habits of her former life, clinging to the smallest hope of a comeback, still inhabiting the fantasy of being on camera.

Look at her now
The golden days are over
Look at her now
No leading man to hold her

The recurring chorus underscores the irreversible loss of her best years and the absence of a stabilizing, loving partner.

She was one in a million
Now she’s that forgotten face
Look at her now
She needs someone to hold her
To feed her lines
Someone to co-star
Someone to shine

The narrator diagnoses her current need: she requires not just emotional comfort, but a partner who can fill the professional and public void left by her fame. She needs someone to restore her sense of identity and purpose.

Look at her now
The golden days are over
(The golden days are over – they’re over)
Look at her now
No leading man to hold her
(No M.G.M. – no Paramount – no 20th Century)

The final section is an extended lament, specifically referencing the powerful movie studios to emphasize the total loss of her career and industry support.

Look at her now
The golden days are over
(Decline and fall )
(No curtain call)Look at her now
The golden days are over
(No M.G.M. – no Paramount – no 20th Century)
Look at her now
The golden days are over
(Decline and fall)
(No curtain call)
Look at her now
The golden days are over
(No M.G.M. – no Paramount – no 20th Century)

The song fades out on the repetitive, sorrowful statement that her glamorous era is unequivocally finished, leaving her with no chance for a final moment in the spotlight.

B5. “Love Stealer”

3:38 | Phil Wainman, Richard Myhill | industrial rock | hi-tech, distorted

The lyrics describe an aggressive, irresistible woman who is characterized as a “lovestealer,” using crime metaphors to convey the narrator’s exciting, yet terrifying, emotional vulnerability to her.

When she’s got her eye on you – there’s no escape
She keeps unnoticed – hidden under her cape
She shows no mercy – no – she plays it rough but
She don’t want your money – she just wants your love

Cliff introduces the woman as a stealthy, relentless predator who focuses exclusively on emotional conquest. He emphasizes that while she operates brutally, her ultimate goal is the deep, pure prize of affection, not material gain.

Better call the cops – better call the cops
Better call the police
Better come quick – better come quick
While I’m in one piece
Better bring a book – better bring a book
Gonna press charges – for attempted
Breaking and entering my heart

The narrator uses hyperbole, calling for law enforcement, as if under attack. He treats the emotional assault as a literal crime, but the “charges” are for the violation of his heart, highlighting his thrilling vulnerability.

Yeah
Cause she’s a lovestealer – raw dealer
Heart breakin’ – love takin’ yeah-yeah
Love stealer – raw dealer
Heart breakin’ – love takin’ yeah-yeah-yeah

The chorus gives the woman her title, defining her as an emotionally destructive yet irresistible force. She is honest (“raw dealer”) about her ability to both break hearts and seize love.

She hangs around the place – casing the joint
Then she’ll move in and get – right to the point
Take my advice and keep your love to yourself
Or the love stealer will rob you-
Leave you there on the shelf

Cliff warns others by describing her precise, calculated method of seduction. He advises emotional caution, fearing that she will take everything and leave her victim feeling discarded and useless.

Better call the cops – better call the cops
Better call the police
Better come quick – better come quick
While I’m in one piece
Better bring a book – better bring a book
Gonna press charges – for attempted
Breaking and entering my heart

The narrator repeats his mock-emergency plea, underscoring the feeling that this woman poses a genuine and immediate threat to his emotional well-being.

Yeah
Cause she’s a lovestealer – raw dealer
Heart breakin’ – love takin’ yeah-yeah
Love stealer – raw dealer
Heart breakin’ – love takin’ yeah-yeah-yeahBetter call the cops – better call the cops
Call the police
Better come quick – better come quick
While I’m in one piece
Better bring a book – take a look
Press charges
For attempted breaking and entering my heart
Yeah…

The song concludes with a final, intensified repetition of the “lovestealer” title and the mock-police warning, indicating that he is simultaneously terrified of and thrilled by her powerful influence.

Singles

“Never Say Die (Give a Little Bit More)” appeared in August 1983 as an advance single backed with “Lucille,” a Little Richard cover slated for the Rock ‘n’ Roll Silver record. Australian filmmaker Russell Mulcahy directed the video, in which Cliff observes scenes as they unfold on multiple fronts (police station, tabloid office, movie theater). The video climaxes with a street dance attended by youth in hybrid 50s/80s attire. Mulcahy, a stalwart of early music video, also directed classic clips for Billy Joel, Classix Nouveaux, Culture Club, Duran Duran, Elton John, Icehouse, Kim Carnes, Spandau Ballet, The Tubes, and Ultravox.

“Never Say Die” reached No. 8 in Norway, No. 13 in Sweden, No. 15 in the UK, and No. 19 in Ireland. In the US, the song reached No. 73 and became his last of nineteen songs to place on the Billboard Hot 100.

On November 7, EMI lifted “Please Don’t Fall in Love” as the second single, backed with the non-album “Too Close to Heaven,” another Mike Batt composition. The video depicts the scenario where Cliff, on a lengthy trip, contemplates the romantic pursuits of his companion back home. The ballad reached No. 5 in Ireland and No. 7 on the UK Singles chart.

In March 1984, “Baby You’re Dynamite” became the third Silver single, backed with “Ocean Deep.” In the video, Cliff maintains a smile as his furious partner turns household items into missives. They eventually descend on a street dance.

“Baby You’re Dynamite” peaked at No. 16 in Ireland and No. 27 in the UK. However, many DJ’s favored the b-side, which became a fan favorite. By popular demand, EMI issued “Ocean Deep” as a May 1984 a-side, which charted in the Belgian Top 40.

Silver reached No. 7 on the UK Albums chart. Initial copies appeared as a double-album with Rock ‘n’ Roll Silver, a collection of Fifties rock and doo-wop covers, including songs by Ritchie Valens (“Donna”), Gene Vincent (“Be Bop a Lula”), Ricky Nelson (“Never Be Anyone Else But You”), Elvis Presley (“(Let Me Be Your) Teddy Bear”), Jerry Lee Lewis (“It’ll Be Me”), and Richard’s own first hit, “Move It.”

In the US, the album was titled Give a Little Bit More with a red-tied cover image and shuffled tracklist that swapped “Front Page” for “Donna.”

Tracklist:

A1. “Silver’s Home Tonight” (3:44)
A2. “Hold On” (3:22)
A3. “Never Say Die (Give a Little Bit More)” (3:40)
A4. “Front Page” (3:12)
A5. “Ocean Deep” (5:21)

B1. “Locked Inside Your Prison” (3:28)
B2. “Please Don’t Fall in Love” (3:12)
B3. “Baby You’re Dynamite” (3:56)
B4. “The Golden Days Are Over” (4:21)
B5. “Love Stealer” (3:40)

Credits:

Acoustic Guitar [12 Strings] – John Clark (A5)
Backing Vocals – Cliff Richard (A1, A2, A4 to B5), Guy Fletcher (B3), John Perry (A5, B4, B5), Mike Batt (B2), Stu Calver (A5, B4, B5), Terry Britten (A3), Tony Rivers (A5, B4, B5)
Bass – Alan Jones (B3), Mark Griffiths (A1, A3, A5, B4, B5)
Bass Guitar – Frank McDonald (B2)
Brass – Ronnie Asprey (A3)
Drums – Brian Bennett (B3), Graham Jarvis (A1 to A3, A5, B2, B4, B5)
Guitar – Alan Parker (B2), John Clark (A1, B4, B5), Nigel Jenkins (B3), Ray Russell (B2), Terry Britten (A3)
Keyboards – Craig Pruess (A1, A2, B1, B4, B5), Guy Fletcher (B3), Nick Glennie-Smith (A3)
Percussion – Brian Bennett (B3)
Saxophone – Mel Collins (A2, B1), Ronnie Asprey (A3)
Synthesizer, Loops [Vocals] – Craig Pruess (A5)
Trumpet – Martin Drover (A3)
Vocals – Cliff Richard

Design [Cover] – Cream
Mixed By – John Hudson (A3), Keith Bessey (A1, A2, A4 to B1, B3 to B5), Steve Churchyard (B2)
Photography By – Snowdon
Recorded By – Dick Lewsey (B2), John Hudson (A3), Keith Bessey (A1, A2, A4 to B1, B4, B5), Peter R. Vince (B3), Steve Churchyard (B2)