Cliff Richard ‎– Wired for Sound (1981)

The lyrics convey the narrator’s deep-seated anxiety and pessimism about the stability of his current relationship, fearing he will inevitably be abandoned due to a history of romantic failure.

• I think of this – most every night
• How hard it is to get it alright
• I’m lookin’ here and I’m lookin’ there
• I see heart broken pieces everywhere
• Wouldn’t you try wouldn’t you know
• Try so hard still you let it all go
• Too much trouble too much pain
• I think I’m gonna have that luck again

Cliff reveals his sleepless preoccupation with the difficulty of maintaining a successful relationship, viewing the world as littered with heartbreak. He connects his present fears to a past pattern of trying hard but losing, anticipating the return of his “bad luck.”

• What’ll I do if you walk away
• What’ll I do if you walk away
• Well I haven’t a chance
• No I haven’t a chance

This pre-chorus is a raw admission of helplessness, indicating that her leaving would be a devastating blow from which he feels he could not recover.

• Once in a while I get this feelin’
• Now and again I’m all in a daze
• Time after time I ask myself this
• Will you walk away?
• Once in a while I get this feelin’

The chorus expresses a pervasive anxiety. His fear of abandonment is not a constant panic but a recurring, disorienting realization that his partner might leave, disrupting his peace and forcing him to repeatedly confront the question.

• Seems all day and night time too
• I don’t belong I’m just passin’ through
• I guess you’re right I think too much
• Still in all – I miss your touch

The narrator describes an ongoing sense of detachment from life, feeling like an outsider even within the relationship. He acknowledges his tendency to overthink but returns to the simple, genuine loss of physical connection that he feels.

• A crazy notion a careless thought
• I start to worry and time gets short
• Well think of this my dear young one
• The time to act has just begun

Cliff dismisses his fear as a fleeting irrationality but then immediately urges his partner to act decisively. He uses “dear young one” to stress the urgency of the moment, indicating that this is the crucial time to secure their future.

• What’ll I do if you walk away
• What’ll I do if you walk away
• Well I haven’t a chance
• No I haven’t a chance

The vulnerability of the pre-chorus returns, emphasizing the crippling fear that his existence is entirely dependent on his partner staying.

• Once in a while I get this feelin’
• Now and again I’m all in a daze
• Time after time I ask myself this
• Will you walk away?
• Once in a while I get this feelin’
• Ooo-ooh-ooh
• Digging on this every night
• Ohhh

The repeated chorus emphasizes that his fear is persistent and keeps him awake at night, reinforcing the idea that this anxiety is an inescapable part of his experience.

• Once in a while I get this feelin’
• Now and again I’m all in a daze
• Time after time I ask myself this
• Will you walk away?
• Once in a while I get this feelin’
• Now and again I’m all in a daze
• Time after time I ask myself this
• Will you walk away?
• Once in a while I get this feeling

The final extended chorus hammers home the central, recurring emotional reality of the song: he is trapped in a cycle of anxiety, constantly questioning the loyalty of his partner.

• What’ll I do if you walk away
• Once in a while I get this feeling
• What’ll I do if you walk away
• Time after time I feel I’m having bad luck again
• What’ll I do if you walk away
• Once in a while I get the feeling
• What’ll I do if you walk away
• Time after time I feel I’m having bad luck again
• What’ll I do if you walk away

The outro blends his terror of abandonment with the prediction of inevitable failure, concluding that his personal history of “bad luck” will define his future.

The lyrics are an expression of profound faith and gratitude addressed to a divine or all-knowing source of love, praising its complete understanding and eternal presence in the narrator’s life.

• You were there – at the moment I began
• When the child became a man
• Saw my future in the making
• Saw the path my life was taking
• You saw a million things I’ll never understand

Cliff opens by addressing a being who witnessed his entire development and knows the full scope of his life’s journey from its beginning. He acknowledges this entity’s comprehensive knowledge, which surpasses his own understanding of himself.

• You know me better than I know myself
• Better than I know myself
• Time after time you’ve shown it to be true
• That no one loves me like you

The chorus is the central assertion of the song: this entity possesses a deeper understanding of the narrator than he has of himself. Cliff affirms this superior knowledge and praises the unmatched quality of this love, proven constantly over time.

• You are here so let it rain or let it shine
• You are with me all the time
• When I’m waking – When I’m sleeping
• In the secret thoughts I’m keeping
• You know everything about this heart of mine

The narrator emphasizes the constant, unwavering presence of this love, regardless of life’s circumstances (“rain or let it shine”). This presence is intimate and pervasive, extending even into his unconscious and most private, hidden thoughts.

• You know me better than I know myself
• Better than I know myself
• Time after time you’ve shown it to be true
• That no one loves me like you

The repeated chorus reinforces the certainty of this relationship. The love is defined by its deep understanding and is a proven, reliable truth in his life.

• You’ll be there – when the end of time has come
• And I know you’ll take me home
• So I thank you for tomorrow
• All my joys and all my sorrows
• And I thank you for the greatest thing I’ve known

Cliff extends his faith to the afterlife, believing this entity will be with him until the very end and will guide him to peace. He offers gratitude for every aspect of his life, both good and bad, recognizing this relationship as the most significant truth he has experienced.

• You know me better than I know myself
• Better than I know myself
• Time after time you’ve shown it to be true
• That no one loves me like you

The final repetition concludes the song with the ultimate statement of faith, cementing the idea that this all-encompassing, unconditionally knowing love is the most profound reality in his existence.

The lyrics are an urgent plea from a narrator who is struggling with uncertainty but desperately needs his partner to be patient and give him more time to figure out their future.

• Oh no, don’t let go – all I need is a little more time
• Oh no, don’t let go – everything is gonna be fine
• I just need some time
• Give me a little more time – so don’t let go

Cliff immediately pleads for his partner to remain committed, acknowledging that he needs an extension on their relationship. He offers the reassurance that everything will resolve positively, provided she holds on and gives him the necessary space.

• Oh well night after night I’m a little confused
• I can’t seem to get it right still I might
• With a little assistance and a piece of your love
• Get closer to your heart
• Well at least it would be a start – so don’t let go

The narrator admits to a continuous state of confusion and suggests that he is close to figuring things out. He requests a small amount of her love and support, stating that this minimal assistance would be enough to initiate a real connection.

• Oh no, don’t let go – all I need is a little more time
• Oh no, don’t let go – everything is gonna be fine
• I just need some time
• Give me a little more time – so don’t let go

The repeated chorus emphasizes the central theme: he views the solution to their problems as purely a matter of time, not commitment, and urgently asks for her forbearance.

• Well I’ll try – I mean I will attempt to negotiate
• This little incline –
• Whoops there’s a hill and another spectacular chance
• For me to be –
• Once again with you and I know I’ll make it through
• So don’t let go

Cliff uses the metaphor of climbing an “incline” or “hill” to describe the relationship’s difficulties. He optimistically views each challenge as a new opportunity to secure their bond and confidently assures her he will overcome the obstacles.

• Oh no, don’t let go – all I need is a little more time
• Oh no, don’t let go – everything is gonna be fine
• I just need some time
• Give me a little more time – so don’t let go

The final repetition of the chorus solidifies his persistent, hopeful, and slightly desperate appeal for patience, insisting that more time will inevitably lead to a positive resolution.

The lyrics are a lament for the perceived decline of authentic rock and roll, arguing that the music has been replaced by a superficial obsession with style and competition.

• Where has all that rock’n’roll gone
• Oh won’t somebody tell me where?
• ‘Cause it used to be when I was young
• That you could hear them playing it everywhere
• But now it seems they’re all so hooked on fashion
• The music’s taken second place
• Everyone it seems has one obsession
• To beat the others in the race
• And it just don’t feel right to me
• No, no, it just don’t feel right to me

Cliff begins by questioning the disappearance of the pervasive rock and roll sound of his youth. He diagnoses the problem as modern musicians prioritizing image and commercial competition over the music itself, leading to a profound sense of dissatisfaction.

• ‘Cause I love that rock’n’roll too much
• And I don’t wanna see it ever waving goodbye
• Yeah I love that rock’n’roll too too much
• And I couldn’t bear to see it go by
• Rock’n’roll you’re too much to deny

The chorus is a passionate declaration of loyalty. He states that his profound love for the genre makes it painful to witness its fading away, asserting that true rock and roll is essential and undeniable.

• Oh where’s all that music gone
• There must be some mistake
• From something that was so much fun
• They were burning bridges in their wake

He expresses disbelief at the shift, noting that something so joyous and fundamentally fun has been carelessly discarded by the current generation of musicians.

• O.K. everything has to keep on changing
• I know it has to be that way
• But isn’t it too high a price we’re paying
• We’re losing most of yesterday
• It just don’t feel right to me
• No it just don’t feel right

Cliff concedes the necessity of musical evolution but questions the cost of that progress. He argues that by abandoning the authentic sound, they are sacrificing too much of their musical heritage.

• ‘Cause I love that rock’n’roll too much
• And I don’t wanna see it ever waving goodbye
• Yeah I love that rock’n’roll too too much
• And I couldn’t bear to see it go by
• Rock’n’roll you’re too much to deny

The repeated chorus emphasizes his emotional commitment. The core of his message is that rock and roll is too vital a force to be allowed to disappear.

[Instrumental Break]

• ‘Cause I love

The instrumental break and fragmented line focus solely on the intensity of his feeling, allowing the music itself to convey the passion he speaks of.

• ‘Cause I love that rock’n’roll too much
• And I don’t wanna see it ever waving goodbye
• Yeah I love that rock’n’roll too too much
• And I couldn’t bear to see it go by
• Rock’n’roll you’re too much to deny
• [Repeat and ad lib to fade]

The song ends with a final, insistent plea, underscoring his deep-seated conviction that rock and roll is an irreplaceable and indispensable element of music.

The lyrics are a harsh critique of a former lover who has completely devastated his partner, rendering her emotionally broken and useless after callously abandoning her.

• Ooh she’s just a broken doll
• She ain’t no use at all – since you’ve been gone
• Ooh she’s just a broken toy
• She’s no one’s pride and joy – look what you’ve done

Cliff begins by using the metaphor of a discarded object to describe the woman’s state. He holds the former lover directly responsible for turning her into a useless, unloved entity through his departure.

• You had her on a string
• You made a fool of her
• And that’s an awful thing
• She thought she’d paid her fare
• Now you’ve gone and you just don’t care

The narrator accuses the man of manipulation (“on a string”) and cruelly deceiving her. The woman believed she had earned the relationship, but he left without a second thought for her feelings.

• You can’t wind her up – she’s a broken doll
• You can’t wind her up – although the key fits
• You can’t wind her up – she’s a broken doll
• Someone’s thrown away all the pieces

This section emphasizes the irreversible damage. She is so fundamentally broken that no effort can revive her, suggesting her spirit has been destroyed and scattered by the experience.

• Now, well you’ve played your wicked game
• Don’t you feel no shame
• Look what you’ve done!
• Now she’s just a broken girl
• While you’re all around the world – having your fun

Cliff condemns the former lover’s actions as a deliberate “wicked game.” He contrasts her profound emotional destruction with his carefree enjoyment, highlighting the injustice of the situation.

• She had you in her heart
• You made a fool of her right from the very start
• She thought she’d paid her fare
• Now she’s through and she just don’t care

The narrator emphasizes the purity of her devotion and the premeditation of his deceit. The woman has given up entirely, achieving a state of emotional detachment where she no longer cares about the man or the situation.

• You can’t wind her up – she’s a broken doll
• You can’t wind her up – although the key fits
• You can’t wind her up – she’s a broken doll
• Someone’s thrown away all the pieces
• Ooh she’s just a broken toy
• She’s no one’s pride and joy – look what you’ve done

The repeated chorus and verse fragment reinforce the central image of irreparable harm caused by the man’s actions.

• You had her on a string
• You made a fool of her
• And that’s an awful thing
• She thought she’d paid her fare
• Now you’ve gone and she just don’t care

The repetition confirms the man’s guilt and the woman’s eventual surrender to indifference.

• You can’t wind her up – she’s a broken doll
• You can’t wind her up – although the key fits
• You can’t wind her up – she’s a broken doll
• Someone’s thrown away all the pieces
• You had her on a string
• Oooh that’s an awful thing, now she’s a broken doll

[Repeat to fade]

The song fades out on the image of the “broken doll,” emphasizing the finality of her shattered state and the cruelty of the man who manipulated her.

The lyrics offer comfort and guidance to someone feeling lost, promising to lead them out of their loneliness and into a world where they can realize their full potential.

• Tomorrow never comes when you are looking foward to it
• You try so hard to live the day your way
• But what a life if you could live the way you want it
• You tried it once before but it didn’t work out
• You know you need someone to bring out the best in you

Cliff opens by addressing the frustration of waiting for a better future, acknowledging the listener’s past failed attempts to achieve their ideal life. He identifies that the key missing ingredient is a supportive relationship to unlock their best self.

• To be a light to you is what I intend to do
• To show the way you know you ought to go
• You’ll see a world that will surely come into view
• So take the hand that I offer to you
• To see the truth that you will be no longer

The narrator commits to being a guiding force, illuminating the right path for the listener. He encourages them to accept his help, promising a clear vision of a new life and an end to their uncertainty.

• Lost, lost in a lonely world (lost and lonely)
• ‘Cos I can see that there’s life in your eyes
• If only you would realise
• That now you don’t have to settle for this
• (You don’t have to settle for this)
• You don’t have to say “There’s nowhere to go”
• You can find out anything you really wanna know

The chorus provides the comforting resolution. Cliff assures the listener that they are not truly defeated, as he sees potential (“life in your eyes”). He insists that they no longer have to accept a life of loneliness and that all knowledge and direction are now within reach.

The lyrics express the narrator’s deep need for a specific person to enter his life, using the metaphor of rain and harvest to signify that her presence is essential for his survival and fulfillment.

• Come into my life and we will walk the road together
• Happy with you I know I’ll be
• Someday you’ll find me so that I’ll belong to you
• Prepare yourself so to receive the love I give you
• Happy to share now I’m aware of how much I need you
• To be part of me oh can’t you see that

Cliff pleads for a joint future, expressing a certainty that her presence guarantees his happiness and belonging. He urges her to prepare for the profound, necessary love he is ready to offer, which stems from his deep need for her.

• Summer rain will come again so the harvest is a good one
• But if you don’t respond to me I am lost
• You’re the only hope I have to bring forth the fruit in season
• Now I know I need you to survive

The chorus uses the natural cycle of “summer rain” and “harvest” as an extended metaphor for emotional growth. He is the field, and she is the rain; without her response, his life is barren and he cannot thrive or even survive.

• You, you are my dream
• You make it seem so very real
• Taking my time, making me rhyme
• When I’m waking again to find I cannot see the one
• To whom I call – that I may be no more alone again
• Happy to share now I’m aware of how much
• I need you to be part of me oh can’t you see that

The partner is described as his ideal, a dream that feels palpable even though she remains unseen or unreachable. His actions and words are driven by this dream, which he uses to combat his loneliness and express his profound need for a shared life.

• Summer rain will come again so the harvest is a good one
• But if you don’t respond to me I am lost
• You’re the only hope I have to bring forth the fruit in season
• Now I know I need you to survive
• You’re the only hope I have to bring forth the fruit in season
• Now I know I need you to survive

The concluding section is a forceful restatement of the central theme. Cliff emphasizes that his fulfillment (the “good harvest”) is completely dependent on her, escalating his need from a desire to an absolute prerequisite for his continued emotional existence.

The lyrics serve as an inspirational directive, urging the listener to embrace the fearless, energetic, and immediate passion of “young love” regardless of their age.

• There are times – when you know
• Love is lost to he who hesitates and you’ve got that
• Feeling now you know it too well
• Say O. K. – to your dreams
• Never let that chance go by again
• If it’s love you need then listen and listen well

Cliff begins with a warning against inaction, emphasizing that love requires immediate commitment. He recognizes the listener is currently feeling this urgent need and advises them to accept their romantic desires and seize the opportunity without hesitation.

• You’ve got to run like a young love
• You’ve got to love like young love
• Believe me you’ll be a young love
• You don’t need to be anymore
• You can think like a young love
• Be strong like a young love
• You can run like a young love
• You don’t need to be anymore

The chorus introduces the central idea: the essential qualities of “young love” are energy, passion, and fearless commitment. He asserts that these attributes are accessible to anyone, regardless of age, provided they adopt the youthful mindset.

• Live it now – everyday
• Cause you know there is no better way
• And in time you’ll understand it’s all in your heart
• Lightning strikes – in the rain
• But you know inside you’re strong again
• You can hear the thunder roll
• But you stand apart

Cliff champions a philosophy of present-moment living and trusting emotional instincts. He uses the powerful image of a storm to acknowledge life’s difficulties, but assures the listener that their inner strength and conviction allow them to stand firm against any turmoil.

• You’ve got to run like a young love
• You can love like young love
• Believe me you’ll be a young love
• You don’t need to be anymore
• As long as you think like a young love
• Be strong like a young love
• You can run like a young love
• You don’t need to be anymore

The concluding chorus reinforces the message of emotional self-determination. He maintains that true “young love” is a state of mind, achievable simply by adopting the characteristic enthusiasm and strength of youth.

The lyrics express the narrator’s deep insecurity about imposing on his partner, coupled with an intense need for her explicit validation to justify his devotion.

• I feel I’m taking up all of your time
• And I still can’t work it out, whether or not you mind
• Say you still need my love and I will be strong
• Just say that you’re O.K. and I’ll carry on
• Ooh, say you don’t mind

Cliff opens with a confession of anxiety, worrying he is monopolizing his partner’s time and unsure of her true feelings. He hinges his own emotional stability and ability to continue the relationship entirely on her simple verbal confirmation that she still wants him.

• Well I need to show my love, of that I am sure
• Just let me feel you close, closer than before
• I’m feeling better now, now that you’re near
• Just let me say the things, the things you want to hear
• Hmm, say you don’t mind

He asserts his certainty in wanting to express his love and seeks physical closeness as a way to feel better and reassure himself. He is willing to cater to her emotional needs, even if it means speaking only what she desires to hear, all while seeking her acceptance.

• ‘Cos I’m waking up – been shaken up
• And I’m thrilled that I know you
• I need to love – can’t give enough
• And all because you do everything right to me
• Can’t you see
• Say you don’t mind

Cliff attributes his awakened, excited state to the sheer joy of knowing her. He feels an overwhelming need to give love because she makes him feel so validated, emphasizing that his deep devotion is her deserved reward.

• Well I need to show my love, of that I am sure
• Just let me feel you close, closer than before
• ‘Cause I’m feeling better now, now that you’re near
• Just let me say the things, the things you want to hear
• Oh, just say you don’t mind
• Say you don’t mind

The repetition stresses his need for physical and verbal reassurance. Her presence is the cure for his anxiety, and her simple acceptance is the condition for his emotional ease.

• Tell me how long must I wait to hear you say
• I need to love – can’t give enough
• And it’s all because you do everything right to me
• Can’t you see
• Say you don’t mind
• ‘Cause I feel I’m taking up all of your time
• And I still can’t work it out, whether or not you mind
• Say you still need my love and I will be strong
• Just say that you’re O.K. and I’ll carry on
• I’ll carry on if you say you don’t mind
• Say you don’t mind
• Say you don’t mind
• Say, say you don’t mind
• Say it, say it, say you don’t mind

The final section is a desperate, drawn-out plea, focusing on the agonizing wait for her acceptance. He cycles back to his core insecurity—worrying about being an imposition—confirming that her simple spoken reassurance is the non-negotiable requirement for him to sustain the relationship.

• That look in your eyes just says it all
• You need to ask yourself why it is you love at all
• ‘Cause you’ve found everywhere you look
• You’ve just been wasting all the time it took
• Won’t you listen to me now
• Say you’ll listen to me now

Cliff immediately reads his partner’s uncertainty, suggesting her emotional searching has been fruitless and a waste of time. He urges her to trust him and listen, implying he has the answers she is seeking.

• I keep on telling you to
• Hold on, I know what’s wrong
• You’ve been so right
• And I’ve been too long

The narrator insists he understands the problem and that she is correct in her feelings, but his patience is running thin. He views her hesitation as the only thing preventing their commitment.

• Saying hold on, we’ve got to be strong
• Nothing so right could ever be wrong
• Won’t you hold on
• Don’t wait ’til tomorrow
• Hold on to tonight
• Hold on, don’t wait ’til tomorrow
• Hold on to tonight

The chorus is a direct command to commit instantly. Cliff argues that their connection is inherently right and should be embraced without fear, demanding that she seize the moment rather than delaying until tomorrow.

• I think you know, yes I can tell
• There’s one thing you can be sure of
• You, you him well
• You got so much love inside
• So much to you, you never can hide it
• Won’t you listen to me now
• Won’t you listen to me now

Cliff confidently asserts that his partner instinctively knows the truth of their relationship. He sees her genuine, undeniable love despite her wavering, and repeats his plea for her to accept what he is telling her.

• I keep on telling you to
• Hold on, I know what’s wrong
• You’ve been so right
• And I’ve been too long

The repeated pre-chorus emphasizes his certainty and her stubbornness. He is ready to move forward, and her continued resistance is the only lingering issue.

• Saying hold on, we’ve got to be strong
• Nothing so right could ever be wrong
• Won’t you hold on, don’t wait ’til tomorrow
• Hold on to tonight
• Hold on, don’t you wait ’til tomorrow
• Hold on to tonight
• Hold on (hold on)
• Hold on (hold on)
• Hold on, don’t wait for tomorrow
• Hold on to tonight
• Hold on, don’t you wait for tomorrow
• Hold on to tonight
• Hold on, don’t you wait for tomorrow
• Hold on to tonight
• Hold on, don’t you wait for tomorrow
• Hold on to tonight
• Hold on (hold on)
• Hold on (hold on)

The song concludes with an intense, extended repetition of the central plea to “Hold On” and “Hold on to tonight.” This relentless urgency stresses that immediate commitment is the only path to a successful and righteous relationship.

Singles and Videos

EMI lifted the song “Wired for Sound” as an advance single on August 17, 1981, one month ahead of its parent album, backed with the non-album “Hold On.” In the video, a shaded Cliff roller-skates around Milton Keynes with a walkman, a then-new portable cassette player. He cavorts with younger, synchronized roller skaters as the song gains momentum.

“Wired for Sound” reached No. 2 in Australia, No. 4 in the UK, No. 6 in Ireland, and No. 8 in Belgium. It peaked at No. 10 in New Zealand charted just outside the Top 10 in Austria and Germany.

Two years after this single, Richard recorded a different song titled “Hold On” (a Terry Britten co-write) for his 1983 album Silver.

On November 6, 1981, EMI lifted “Daddy’s Home” as the album’s second single, backed with a non-album live cover of the rockabilly classic “Shakin’ All Over,” a 1960 hit by fellow British pre-Beatles rockers Johnny Kid & The Pirates. In the Fifties-themed video, Cliff attends a sock hop where other adults strike rocker poses in slicked-back hair and rolled-up jeans.

“Daddy’s Home” reached No. 2 on the UK Singles chart, No. 3 in Ireland, and No. 4 in New Zealand. In the US, “Daddy’s Home” reached No. 3 on the Billboard Adult Contemporary chart and No. 23 on the Hot 100. This would be the last of Richard’s ten US Top 50 hits, seven of which charted within the 26-month timeframe between the Billboard chart peaks of “We Don’t Talk Anymore” (January 1980) and “Daddy’s Home” (March 1982).

Wired for Sound reached No. 4 on the UK Albums chart and certified Platinum with sales of 300,000. Down under, the album reached No. 4 in New Zealand and No. 13 in Australia.