In the studio with McCartney

Cilla at the BBC

On 6th February 1968 the Three Beatles worked 12 hours at EMI 2:30pm-2am on the "Inner Light" and "Lady Madonna" only taking a break from 8pm to 9pm to watch Ringo on the first episode of Cilla Black’s show Cilla. Ringo is seen on this show with Peter Brough with his puppet Archie Andrews and participated in two sketches, first acting as a ventriloquist with Cilla singing "Nellie Dean". Finally he duetted with Cilla on “Do You Like Me?” and on “Act Naturally”.

Paul McCartney wrote the theme tune to her BBC series - "Step Inside Love". The author and critic Johnny Rogan noted in 1997; "for Paul McCartney to write a song for someone - at that time - was a tremendous privilege, and he wouldn't have done it but for his belief that Cilla Black was an important artist."

The earlier series of Cilla became a phenomenon. Guests included Tom Jones, Mary Hopkin, Donovan, Georgie Fame and Henry Mancini.

The Abbey Road Decade: Black Reviewed

Black's output is far superior to the limited reputation the carries in the U.S.A., where she charted but a handful of songs. The material features all of Black's hits, all of her important B-sides and album tracks; also, disc three is made up entirely of rarities, including some surprising demos like "Step Inside Love" from 1968 with Paul McCartney accompanying her on acoustic guitar -- it's almost good enough to have been released, which also proves that McCartney could have been a top session player if he hadn't made it in any other area. There's also Black's original rehearsal cut of "A Shot of Rhythm and Blues," a full-blown, Cavern-style Merseybeat performance with a band; a surviving Dick James Music acetate of Black's cover of "Fever," plus her unissued versions of "Heatwave" and "Shotgun," both among the best records she ever made, and closing with her mid-'70s cover of Phil Ochs' "Changes." All of the relevant tracks that weren't originally released in stereo have been remixed that way, and a good job done of it, too. The surprise for most casual listeners will come from the non-hits -- even with her original vocal limitations, which she quickly overcame, Black had a distinctive sound that made her work eminently enjoyable and even impressive. Coupled with some good arrangements and George Martin's crisp production, her music holds up astonishingly well. And Black, as she gained confidence, displays a surprisingly soulful approach on songs such as "He Won't Ask Me" and "You've Lost That Loving Feeling".

(Review of "1963-1973 The Abbey Road Decade", Bruce Eder, All Music Guide)