Prior to their arrival at Clacton, the group had cut their first demo-disc in a recording booth in Oxford Street, London, thanks to the promotional efforts of Johnny Foster and a loan of £10 from his mother. The song called 'Move It', written by Ian Samwell, was to be the start of something much bigger for Cliff and the boys. Their recording had been heard by the right people, and arrangements were made for them to appear in the original 'Oh Boy' show. This virtually ended their Butlin engagement and it was mutually agreed that their contract should be terminated. Almost immediately 'Move It' was released by Columbia Records and went to number two in the charts.
To dispel any rumours, Hank Marvin and Bruce Welch were never at Butlin's. They were hired later by Cliff when, or at about the time the name was changed to Cliff Richard & the Shadows.
High Class Baby
Cliff Richard & The Drifters Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I'm gonna get some real gone love
That'll drive a cool cat wild
I'm gonna move, rollin' right on down
Gonna get me a gal that'll go out on the town
Well you move on down the line
I'm gonna get me a gal that'll make some time
'Cause when we start struttin', gotta go-go-go
Well I'm gonna show you ain't so hot
I'm gonna get what you ain't got
She'll be sweet, won't do me wrong
She'll be cool and twice as gone
You gotta roll, move it right on down
Gonna get me a gal that'll go out on the town
Well you move on down the line
I'm gonna get me a gal that'll make some time
She can't be square, she can't be slow
'Cause when we start struttin', gotta go-go-go
The lyrics of Cliff Richard & The Drifters's song "High Class Baby" speak about a man who wants to find a new lover who will "drive a cool cat wild" as he feels that his current girlfriend lacks the necessary style to keep up with him. He wants to find a lady who is not square, slow, or conservative because he likes to move and groove to the music. The man decides to move on from his current partner and find someone who can match his lifestyle, someone who is "cool and twice as gone". He wants to go out on the town with his new lady and strut his stuff, knowing that he will be the envy of all those around him.
The lyrics portray the youthful and carefree attitude of the 1950s and early 1960s when rock and roll was making its debut. It was a time when teens and young adults were discovering new music genres, dressing differently, and dancing wildly to the beat. The song calls to mind images of teenagers driving down the road in their flashy cars, stopping at diners, and dancing to music at the local juke joint.
Line by Line Meaning
Well you can't be my lovin' baby, you ain't got the style
I am looking for a lover who has a certain level of sophistication and elegance that you do not possess.
I'm gonna get some real gone love
I am going to find a love that is passionate and intense.
That'll drive a cool cat wild
This love will be so exciting that even the most composed and laid-back person will be overwhelmed by it.
I'm gonna move, rollin' right on down
I am going to keep on moving and searching for this kind of love.
Gonna get me a gal that'll go out on the town
I am going to find a woman who enjoys going out and having fun.
Well you move on down the line
You can keep walking away from me because I am set on finding the woman that I am looking for.
I'm gonna get me a gal that'll make some time
I am going to find a woman who is willing to spend time with me and make our relationship a priority.
She can't be square, she can't be slow
She cannot be conventional or hesitant in her actions, especially when we are out and about.
'Cause when we start struttin', gotta go-go-go
When we are dancing or enjoying ourselves, we need to be high-energy and ready to move.
Well I'm gonna show you ain't so hot
I am going to prove to you that you are not the only woman out there that can catch my attention.
I'm gonna get what you ain't got
I am going to find a woman who has qualities that you do not possess.
She'll be sweet, won't do me wrong
This woman will be kind and loyal to me.
She'll be cool and twice as gone
She will also have a sense of style and grace that will take our love to the next level.
You gotta roll, move it right on down
If you want to find someone like this, you have to keep searching and not give up.
Gonna get me a gal that'll go out on the town
I am determined to find a woman who enjoys socializing and being busy.
Well you move on down the line
You can continue on your way because I am confident and focused on my goals.
I'm gonna get me a gal that'll make some time
I will find a woman who is willing to create free time to spend with me.
She can't be square, she can't be slow
She must possess a certain level of energy and excitement in order to keep up with me.
'Cause when we start struttin', gotta go-go-go
We need to be high-energy and enthusiastic in all of our activities together.
Lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: IAN RALPH SAMWELL
Lyrics Licensed & Provided by LyricFind
@Natterlee
Thanks for the replies. Very interesting and credible. The text states that this performance is from 15th November 1958. Assume that this is the recording date as I believe it went out live.
Maybe of interest is the day before on the 14th November was the Cliff session that resulted in Livin' Lovin' Doll and Mean Streak. This was the first session that Hank was on lead. He has told the story (it was on a Radio 2 Guitar Greats or similar in the 1980s) that Norrie Paramor wasn't sure about the ability of Cliff's new guitarist and had booked Ernie Shear as per the previous ones. I think there was a suggestion that Hank played rhythm alongside Bruce. Hank relates that Cliff wasn't that keen and wanted Hank to play lead and suggested each guitarist had a go at the track- 'Livin' Lovin' Doll'. This is what happened and Hank said that Ernie essentially played the same as he did on Move It and High Class Baby whilst he (Hank) did something different that was more rock'n'roll. He says that Cliff preferred his version and Norrie agreed too and this was the last session for which a lead other than Hank was booked for. Hank also said that Cliff told him that he sang better on Hank's version too.
This was also Bruce' first session and Jet was on this session too having replaced Ian Samwell the previous month. (Info from Cliff, The Complete Chronicle, Read, Goodall and Lewry 1993).
A few days later 19th November was another Cliff session with the same personnel (Terry Smart was still on drums) which resulted in Never Mind (unissued version) and Steady with You.
Hank at this time would still be using an Antoria Japanese copy as the famous Strat did not arrive until March 1959 (possibly in time for the 9th March 1959 session for Never Mind and unissued early versions of Choppin' and Changin' and Dynamite although the newly discovered clip of the Drifters performing Feelin' Fine on Oh Boy! has Hank playing the Antoria with a suggested date of 28th March 1959).
According to 'A Pocket Guide to Shadow Music' (Malcolm Campbell 2006) the first appearance of the Strat was on the sessions that yielded Travellin' Light on 25th July 1959 along with another unissued version of Choppin' and Changin' and Dynamite. This would suggest that the following sessions Hank used either the Antoria or another guitar:
28th April 1959- Living Doll, No Turning Back, Mad About You and Chinchilla (Drifters.) (I have heard Hank also talk about on Living Doll he was suddenly able to bend notes with his new tremelo arm- which certainly wasn't fitted on the Antoria)
25th May 1959- Apron Strings (Cliff), Jet Black (Drifters) and Driftin' (Drifters)
Tony Meehan had taken over on drums in time for the Drifters' first solo session for Feelin' Fine and Don't be a Fool With Love on 9th January 1959. (The Complete Chronicle says Terry Smart was replaced in February which may have been a contractual date as Tony Meehan was definitely on the Feb 9th/10th 1959 live sessions for Cliff's first LP).
Apologies for the length and possible non-connection with the film but included in case of interest or for further discussion/ comment.
@klausrizzo9672
Als Rock n Roll Anhänger kann ich nur sagen: Der junge Cliff ist für mich der beste. Bitte mehr davon!
@dengelking2121
Oh wow didnt know he sang back then. First song i heard was devil woman when i was 9yrs old and he had such a baby face in the 1970's didnt know he was already making music in the late 1950's. kind of had an Elvis look and sound here. He is such a great entertainer and singer just love his songs!!
@colinsludds9249
If not for Elvis he would be Harry webb is (real name) on benifits.. They all followed in Elvis footsteps..
@davidbell9815
What a rocker! How did this fine Ian Samwell classic escape my attention for so many years? Elvis himself would've been proud of this rock n roll gem, and his early influence on Cliff's vocal style is clear. This song, like Mean Streak and Dynamite, should be much better known, as it stands comfortably alongside other rock & roll classics of that era.👌🎤🎵🎶🎸
@ronalddegoeij8046
The best one he made
@lesleybryant7557
Loving on the old songs and Cliff never ages. Bless !!!
@markjames8603
Probably one of the most exciting slices of British Rock and roll, the guitar break is bonkers and pretty sure Cliff played it safe for TV on this, one flourish away from bedlam!! Killer!!!
@adrinathegreat3095
This is pretty good, probably the earliest footage of cliff Richard
@peterchecksfield9958
It's the earliest surviving footage (he did 11 TV appearances prior to this though, ALL lost!).
@sylviascaife4336
Hi cliff it's great love the music keep going sylvia xx