Jimmy Cliff

Apart from the Count Boysie produced tune right at the start of Jimmy’s career, the memorable ‘Daisy Got Me Crazy’, Jimmy either produced himself – or was produced by Leslie Kong until he died in 1971. The early tunes are now available thankfully on CD. All great works!!!

Jimmy Cliff – The Ska Singles – Ska Gold

Dearest Beverley  - 1962

One of the great stories in reggae music history. It was getting late in the day, and the Kong Brothers we closing up their Ice Cream shop in Orange Street. It was a strange time to make a move – he could have been greeted with ‘Come Back Tomorrow’ but Leslie Kong didn’t say that.  He liked the song and said ‘Come Back Tomorrow’ and we will work on it. I can only guess it was Derrick Morgan who did the arrangement.  It would be great to know who played on this historical recording. Great vibes.

King Of King - 1962

Who can forget the memorable footage of Jimmy in the ‘This is Ska’  documentary – which is only 35 minutes in running time, but remains one of the best documentaries made on that era.  The only problem is availability – at the moment it does not seem to be on DVD, but it is online. Jimmy rips into the tune with great style. Backed by Byron Lee and the Dragonaires. There were not the Skatalites – but they still had a great sound. Jimmy was 16 years old when he was performing this tune. And he looked like a star then!

Man To Man – 1963

“Man To Man is Unjust, You don’t know who to trust.”  A theme that has echoed down the years from many reggae artists. Jimmy despite his young age – sings the song with great conviction. Probably urged on Derrick Morgan. Who loves these kinds of lyrics, more than he loves food.  By now the Ska had come into Jamaica fully. This tune is a slow tune.  And you not only get a riff that pushes the rhythm along, you also get a little horn figure to go with it. A great tune, and some great vibes.

One-Eyed Jacks – 1963

Another tune full of great parables. That starts off with some ‘Horse Racing’ sounds.  Which suggests that ‘One-Eyed Jacks’ could be a horse. But then again it could be a film starring Marlon Brando!!! The tune is mid to fast tempo rhythm with a great sax solo. What is remarkable is the clarity on these early Leslie Kong productions. They must have been done at Federal, but sound a lot cleaner than the productions from Dodd, Buster, or Duke which were done at the same place, at the same time!

Never Too Late To Learn – 1963

More parables or old sayings – this time with a great rousing chorus! “You are never too late to learn my son, you are never too late to learn my son” And yet another tune with a great sax instrumental solo in it. Such was the love of instrumentals back then, you had to give the musicians on the song a  chance in the tune – to shine, and this Sax player here shines like the sun. And when you consider all this was going on within the space of 3 minutes!!! That takes some talent,  but they had to it spare back then.

Jimmy Cliff - Jimmy Cliff - Trojan - 1969

By the time Reggae came in 1968 - Jimmy came forward, big time. He had bypassed the Rock Steady era. This was probably due to him spending a lot of time touring all over Europe. When reggae started to hit. He knew it was time to go back to Jamaica, and of course, he linked up with Leslie Kong again.  And this time the hits really started to flow. And in no time at all, so did an album which came out in 1969. Included in it were ‘Hard Road To Travel’ and the massive pop hit – ‘Wonderful World, Beautiful People’

It had everything that made the ‘Beverley’s’ sound so great. A bouncing bassline, rim shot drumming – and some great rhythm guitar work.

Jimmy’s contribution was a great song. That reached out to the ‘Hippie’ movement. Some in that movement listened and appreciated what the man was saying. But the people who really took it to heart – were the white working-class youth in the UK. A lot of whom were Skinheads, and according to the media were also racist thugs.

The damage this nonsense caused – was almost like a curse on reggae music that as remained to this day.  Many have tried to lift the curse – and all have failed.

It always seemed to me that a lot of people who were supposed to be into ‘Peace and Love’ had a problem with extending the practice – when it came to reggae music. And were happier to create mythical monsters to validate their own negative views which seemed to be more racist, than anything else.

Other great tracks on this remarkable album include ‘Many Rivers To Cross’ which has now become more of an anthem than anything else.  It’s not reggae – but it’s another beautiful song sung with so much feeling by Jimmy.  It is a gospel tune – without the label gospel. In Jamaica, Gospel music has played a big part in the careers of so many artists. Many of whom have made some fantastic records in the style.  And yet like so much of reggae music – they have locked away. 

Nearly all of the major labels in Jamaica – had a label devoted to Gospel music. Jamaica itself is a small island with more Churches per square than any other place on earth. And at the time of the release of this album in the late sixties, both Trojan and Pama released ‘Reggae’ Gospel albums.

Reggae music was also very outward-looking then. World events were important to the people of Jamaica. Thus the interest in ‘Vietnam’. The senseless nature of it – and the long-term social damage to America, were lessons not learned. Jimmy tells you all you need to know about the war in Vietnam. Sung over a powerful reggae rhythm.

Another great song is ‘Hard Road To Travel’ this is a classic fast reggae, so typical of 1968. Crashing drums – picking guitar. And a fantastic bass line from Jackie Jackson. It’s almost a reggae version of ‘Many Rivers To Cross’ with similar ideas and themes explored.

Time Will Tell

Another really fast tune from the man. The All-Stars or ‘Jamaica’ as they came to be known later – never miss a beat on this or a trick. It’s a marvel to hear them stop totally and then just fire up again. 

The song is another ‘Life’ song from Jimmy. With wisdom given to him when he was a boy – passed on to the listeners. Jimmy’s voice is so strong on this as well. He had come a long way from singing to the Leslie Kong about ‘Miss Beverley’!

Suffering In The Land 

An incredible tune. You want reality lyrics this tune as got it. You want a heavy-duty roots rhythm this tune as got it.  And this time, it’s also got some great conga work – and fantastic baritone sax. They must have brought in Val Bennett for this one. Even back then, this tune seemed well in advance of what anyone else was doing. Leslie Kong’s production technique of making a roots tune into something that was truly ‘Outernational’. And it was that sound that brought him so many hits.

My Ancestors

Back to the really fast 68 sound, but overlaid with that percussion. Which really changes the dynamics of the tune.  Jimmy talking about his history this time. And when he sang about history he of course was talking about African history. Not Western history.  That’s where so many of the problems begin in the teaching of history. And as the years pass. It gets worse. What started as an opinion becomes fact. Reggae's music history is full of this. Leaving an artist like Jimmy Cliff – very much in the shadows. Jimmy is not alone, but that does not make it any better.

Use What I Got

This one starts off with a trombone! I wonder who played that? And then goes into another high tempo reggae rhythm – pure 68’ style. It’s got all the trademark ‘Beverley’ licks. Jimmy’s voice and lyrics take it up another level. Jimmy loved telling a story. Usually, they concern his life and growing up, but he creates them so that anyone on the planet can relate to them. Perhaps not all the story/song, but enough to make the difference. The title alone tells you all you need to know about this tune. Self-determination.

Hello Sunshine

Do you like rhythm guitar, well unusually this one starts off with a rhythm guitar lick. How many tunes – do that?!!! Then Hux Brown comes in some blistering ‘Picking Guitar’ Like so many tunes on Beverley’s all the elements are there – but they and I believe that to be Derrick Morgan and Carlton Lee the master engineer – were experts at mixing them up. It’s what gives a label a unique sound, but one that is always evolving.  It also makes it easier if you need to bring in someone new. They have a template to work by

Remember this was the sixties. Making an album usually involved trying to ‘Crossover’ into other markets.  Jimmy did this very well with ‘Many Rivers To Cross’. So no matter how good the tracks are above. You will usually find a soul tune or pop tune on reggae albums. Don’t let it trouble you.  It took years before a reggae album was just that. No More, No Less.

Jimmy Cliff – Unlimited – EMI - 1973

The impact of The Harder They Come, the film, and the soundtrack cannot be overstated. It made Jimmy into reggae’s first superstar. Set in the context of the many Black Action films coming from America – it was as good as, or if not better than most of them. Isaac Hayes, and Curtis Mayfield who wrote the soundtracks for a least a couple of them, also gained a lot. Jimmy must have thought he would also gain from this connection. Island Records however had other ideas for Jimmy. Plans he did not go along with. So he left. But not before writing the theme song for ‘The Harder They Come’ and what a tune that is!!! However, the soundtrack for the film was not his.  So you want the soundtrack for ‘The Harder They Come’ look no further! Released in a gatefold sleeve – ‘Unlimited’ is up amongst the greatest reggae albums ever made.

Under The Sun, Moon, And Stars

Even though it was released in 1973, you can tell this album was made earlier – 71/72. When filming for ‘THTC’ finished. Back then changes in reggae sound were so important. They would mean nothing to the average music fan, but to a reggae fan – it’s a simple way of keeping track. By 1973 the rhythms were heavy and slow. The Wailers captured that sound perfectly. Another reason why this album was as successful as it should have been was that EMI had limited distribution in the Black record shops, where the vast amount of reggae was sold. 

Fundamental Reggae

What a tune this is. A simple foot drum – starts the tune off, nothing else. And then Jimmy begins “I know you like music, I know you like sound.” He then explains what reggae music is – bit by bit. Never heard a tune like it before or since. Why this wasn’t a big hit for Jimmy back then as a single remains a mystery. Perhaps those who heard it, once again felt threatened by what Jimmy was suggesting in the tune. Rock music had no room for anyone who had a different view of the musical world.

Black Queen

From the history of reggae music straight into a tune about the history of Africa and the role women have played in it. Very few artists in reggae have taken on this subject.  You might get a tune about African History, likewise women in society, but rarely do you get one that combines both subjects so well. The tune has got some great horns on it – playing a nice little riff. Yet the real greatness in the tune comes from the guitar of Hux Brown. The tension he puts into the tunes with that picking lead guitar of his is truly something else.

Oh Jamaica

Now Jamaica is a topic, covered by many reggae artists over the years. But I cannot think of one that starts off with the national anthem of Great Britain or the United Kingdom. ‘God Save The Queen’ Jimmy was trying to make a point with this tune and he made it very well. Christopher Columbus and a few others get a name check throughout the record. This is a song about the systematic exploitation of a country – that goes on to this day. What is truly mind-bending is that this song was released fifty years ago! And the situation has not got better, it’s got worse.

The Price Of Peace

Winston Grennan, when asked about the Roberta Flack tune ‘Killing Me Softly’ recorded at Dynamics – which Winston played on, he described it as a ‘Slow Reggae’. This tune from Jimmy has the same feel. It’s not, soul or pop. It’s something that comes from reggae, but isn’t reggae!! It’s also another fantastic song from an album packed with them.  Jimmy’s views on the peace process – would make sense to most of the people in the world, who have endured years and years of war – only to find that ‘Peace’ is little better.

On My Life

Jimmy’s songwriting skills are such that if you like catchy little sing-a-longs he can do them as well. A well-known phrase in East London, Jimmy being Jimmy probably spent a good amount of time in the area. Liked what he heard and the sentiment behind it – and turned it into another great song. The All-Star Band, AKA ‘Jamaica’ picks up on the vibes – and creates a fantastic rhythm for the man.  It’s a natural ‘Single’ which did gain release on EMI but only in Jamaica. EMI did a decent job in promoting the ‘Unlimited’ album but with so many great tunes, why they only issued one single in the UK, is baffling.

I See The Light 

The Mellotron was by all accounts a difficult instrument to play. But when it’s played well – it can produce sounds like no other instrument. It’s a bit like watching a color film and the color in films made in the forties – by a well-known company. If I recall the credits on the album. Leslie Butler played the keys of the Mellotron on this tune. Gladstone Anderson ‘Gladdy’ must be given a lot of credit for the wonderful piano playing on this as well. Yes, it’s another ‘Slow Reggae’  and it was way way ahead of its time.

Rip-Off

After the major manufacturers got going in the fifties and sixties, establishing an endless demand for more and more goods in every sector. Cars, Household Appliances, Electronics – you name it. By the early seventies more and more people began to notice that all these goods – were becoming more unreliable. Things that people paid a lot of money, and expected to last for years – were breaking down in no time at all. The consumer rights movement was started in America – and a popular term was used more and more ‘Rip Off’.  Jimmy strings together some great lyrics on the subject while ‘Jamaica’ comes forward again with another great rhythm.

Poor Slave

A Jimmy Cliff album would not be a Jimmy Cliff album unless it addresses the subject of Slavery somewhere. Sometimes it may appear in a set of lyrics in a tune. This time – well, you can tell by the title.  A simple almost ‘One Drop’ rhythm gives Jimmy the time and space to explain how slavery went from taking the shackles from the body to putting shackles on the mind. The song is sung in a very subdued wistful way.  And also features an outstanding horn arrangement.

Born To Win

Is the kind of tune – that motivated so many of the early sixties singers in Jamaica. None of them were going to give up easily. They knew they had so much to offer – and despite all the problems – they were determined to make their voices heard individually and collectively.  Hux Brown adds tension to this tune – some excellent pick guitar playing. While the horn section comes up with some great horn lines. And a tune that rightly gained released on single on ‘Stateside’ in the UK, an EMI label. There must be some logical reason for this, which is beyond me.

Struggling Man – Island – 1974

Island needed to release a ‘Best Of Jimmy Cliff’ set and they did. But it wasn’t really the best at all. Then came this set – with Jimmy being so popular – this album also made sense. Yet the tracks are confusing. Five tracks on it are outstanding. While the rest find Jimmy in a pop/soul style. The reggae tracks - just like ‘Unlimited’  sound like they were recorded around 1971/72. 

Struggling Man

An amazing tune. Released by Island in 1972 on single, just before THTC.  It’s almost like a template for that tune. Except THTC had a more rootsy vibe. ‘Struggling Man’ has got that classic reggae sound. More or less Beverly’s sound. The lyrics from Jimmy are pure reality.  And once heard are unlikely to be forgotten. Horns are used to reinforce certain lyrics of the tune, to great effect. It would have been great if they stuck a version on this, sadly it didn’t happen. Mind you, if a version was on the B.Side, the grumbles would have started.

When You’re Young 

The conga player was still in the studio – when they cut this. And he makes a great contribution. Everything as a time and place. And it’s always great to hear the Nyahbingi drums in reggae music. The Conga always can create a good vibe. The lyrics are optimistic this time from Jimmy. Looking forward rather than back, but from an earlier age, which at that time, the early seventies, was only ten ago. The tune got echoes of ‘You Can Get It If You Really Want It’ which of course Desmond Dekker’s Jimmy’s great friend had a massive pop hit with.

Better Days Are Coming

You like the Nyahbingi style – I can hear Jimmy say, well hold this one.  Hux Brown takes the lead – but it’s the drums of the Rastaman that push this tune along.  Jimmy had a great single ‘Bongo Man’ released on Summit – Beverley’s label in the UK. As far as I know, it never made it onto an album. Still the forward-thinking vibes of this tune, I’m sure lifted the spirit of many a sufferer over the years. Having some kind of hope for the future – is part of the human condition.

Sooner Or Later

A well-militant tune from Jimmy. The piano intro has got touches on Pablo – and the vibes are pure roots. It’s uptempo - - but that rhythm guitar – that sounds like it’s wanting to go into a scrubbing style – probably played by Rad Bryan – tells us, that the tune was recorded around 1971. In truth that band the ‘All Stars’ or ‘Jamaica’ were so good they could probably play any style of reggae. 

Gladdy gets a chance to show off his piano skills on this. So nice to hear a piano solo on a reggae tune – very rare.

Those Good Good Old Days

When it comes to reality this one is like a rock. It should be the theme tune for Greenpeace or any major organization interested in the environment. The incredible tension created by Hux Brown on this tune – is added to at every turn – by Jimmy’s lyrics. “I Can Still Remember, when I was much younger, the Sky was blue, the air was clean.”  I’m sure this tune had a major impact on anyone with the slightest interest in the environment. Well, it would have done if they had the chance to hear it. Trojan released this tune as a single in 1971. One of his greatest works.

House Of Exile – 1974

Jimmy’s second album for EMI,  never got much of a promotional push at all. The world had gone into an energy crisis – and the major labels could see the writing on the wall. The first truly independent record labels had started to emerge. And all EMI could offer was manufacturing and distribution. And most of the smaller labels including a load of reggae labels – were not interested in the terms and conditions. 

Brothers

Recorded at Dynamics – and with the ‘Jamaica’ band doing a great version of the Now Gen style. This goes to show how big an impact Now Gen was having at that time. A great song as well from Jimmy. Calling for ‘Unity’. A subject that many had an interest in at the time. You get the feeling that Jimmy – knew you could call for unity – but it would be a call that for the most part would be unanswered.  It is a wistful kind of song. The type of song Bob Andy would write. 

House Of Exile

Another great tune from the man. With some well forward guitar fx taking the music into a new direction. Whatever they plugged Hux Brown into that day – was something as good as Peter Frampton‘s Talk Box – but a good few years before it. The bass and drum of the rhythm rock along to the same kind of ‘Now Gen’ rhythm guitar style played by Rad Bryan. The song is pure reality. Which is what you expect with a title like this.  Lots of stops and starts – and some great almost dub-like mixing – excellent.

Long Time No See

A truly wild tune – with a clavinet bubbling behind Jimmy throughout most of the tune. It’s reggae – but it’s got some African feel going on it – which is very unusual.  The horns more than anything else is moving this tune in that direction. That is not a reggae horn arrangement. Like ‘Brother’ it is another song that is wistful. It’s suggested in the title of the song – and that is how the song is sung.  Reflection has replaced optimism. The world went into that phase then, and has never really come out of it. New ideas – good things have quickly become corrupted by old ideas.

I’ve Been Dead 400 Years

Jimmy’s vocal styles include most of the human emotions with a great emphasis on being positive.  When he is angry – you know it!!! And this is a very angry tune from the man.  Once again Hux Brown constructs a pick guitar framework for him to sing within. And then rhythm comes in stopping and starting – building up tension, then releasing it. The horns are used in much the same way they come in just after a couple of lines, disappear then come back again. One of the great 

‘Skank’  tunes Glen Brown would have loved it on his label.

Brave Warrior – 1975

His final album for EMI. What made this album was that Jimmy brought in the Wailers rhythm section – Family Man, Carly, Touter, etc. To build the rhythms for this set. There are not many kinds of music where this kind of thing would happen. But in a display of unity. Two old Beverley’s artists Bob Marley and Jimmy were keen to help each other. And the results are magnificent. Yes, there are some none reggae tracks. The reason why they are there is to be set into the context of EMI being a major label. And is probably the reason why Jimmy set up ‘Oneness’ his own label.

Bandwagon

Listen to those drum licks from Carly.  What a great drummer that man was. Pure excitement every time the man hits the snare drum. The song itself is a warning to all those who follow the bandwagon.  Isn’t it better to think for yourself than let others think for you? Quickly those thoughts turn into actions, but Jimmy’s thoughts on that subject are equally clear!! And today those who like to spread confusion and chaos have found a perfect medium with social media.

Every Tub

A great scrubbing tune with the rhythm guitar well forward. And it seems like it was Peter Tosh doing the scrubbing. Which makes a lot of sense. The Wailers sound lacked something when his rhythm guitar was no longer present. This song reaches back into parables and old sayings of the countryside where Jimmy grew up. It wasn’t an easy life, but it instilled in him – the determination he has shown over the years. A sense of purpose. 

Actions Speak Louder Than Words

One of Jimmy’s greatest songs.  In fact, it would be fair to say it is one of reggae music’s greatest songs. It’s got a direct link to ‘Bandwagon’ but it expands on it greatly. Once you handed over power to someone – usually because they have said this and that. You can only wait for things to happen. Most of the time nothing happens, or if anything happens, it’s something bad. This is not democracy. It is a Mockery. So many many people have given up their lives so to make it possible for someone in the future to make a little mark on a piece of paper. To not to respect that is an insult to those who fought and died in so many wars. 

Brave Warrior

This brings us to this track. The title track of the album. It links together so many different ideas not only on this album but on many tracks from Jimmy’s works.  It is a tribute to those who have fought and are still fighting all over the world. They shouldn’t be a need for any fighting at all, but when those who like to push, don’t stop pushing, and your back is against the wall. All you can do is fight. A well-militant rhythm is built for this tune, and it needs it.

Give The People What They Want – Oneness - 1981 (Review from Small Axe 11)

Jimmy Cliff was the first reggae artist to suffer at the hands of the rock press, back in the

60's. Jimmy gave himself the impossible task of trying to make an album that they would like. Its been very painful listening to an artist of Jimmy's status. Trying to come to terms with the many different styles of the music that have come and gone since his success in The Harder They Come‘ 

He's made some great records from that time. But an album as always seems beyond him. Every time it came to an album. He lacked the confidence to reject the idea that he should try to appeal to those fools in high places. Now he as. An album embracing the sound of Reggae 1981/82. And lyrics that go straight to the head of Babylon. This is an album of hard roots/reality music. No apologies. I'm proud to say that's he even had the audacity to version his best music since the early '70s. ‘Let's Turn The Table‘ and 'Material World‘ both came out around 1977- Perhaps he will go on to recut older material in a dance hall style.

Of the fresh music found here special praise goes to 'Born Of Man‘ with its freedom lyrics.

Another of special mention is ‘Shelter Of Your Love'.A very delicate song of newfound faith,

which could be the key to the creation of this album. It's the reason for existence. ‘World In Trap

is Jimmy taking on the idea of the North-South shitshem with all its broken rules & promises.

Then into the reasoning of ‘Majority Rule‘ with its call and response chant. Provided by Black Uhuru and the Tamlins. Yes, Black Uhuru and the Tamlins. 

The album finishes with a medley of all Jimmy's great songs. Just a reminder, of where this man is coming from. And where he is now. Now that he has broken free from those who use, and then refuse. Actions speak louder than words, This Is now Jimmy's mode of operation. Already, he has seen success in the UK & US reggae charts with 'Rub A Dub Partner‘ A track, not on the album. Which even had a toast provided by Errol Scorcher. Reports now state that Jimmy is working on his next album at Channel One with, Roots Radios Hopefully for eventual release on his own Oneness label. 

To think that it's taken all this time for Jimmy to come to the inevitable g conclusion that in the end, the best way for his career to move forward was to go back to his roots. Yet it was not surprising if you take in the pressures placed upon any artist signed to a major label, It is hoped that others will note Jimmy's success and do the same go back to their roots. This album is also available on WEA

Records.

Image –  Vision - 1989

Not sure if Jimmy ever got around to making an album with the Roots Radics. But with the Ragga era going well forward in the late eighties. Jimmy set up a sound system.  How do we know this, Josey Wales deejayed on it.  And he’s also on this remarkable album.  A totally digital album

The roll call on this album includes Steely & Clevie, Ansel Collins, Danny Brownie,  Rad Bryan.

Turning Point -

The opening track has got all the musical hooks of those times. Including drum on metal drum licks - which came back into style in the digital era. They provide the kind of shock sounds needed on digital rhythms.  Some nice sax also comes in. It’s back to the upful kind of songs as well.  Jimmy is always well aware of what is going on around him. And he seemed to sense this new era in Reggae music - had a lot to offer. It just needed some direction.

Rebel In Me -

A digital piano is a lead instrument on this slow ballad from Jimmy, but it’s still got a strong reggae feel. This kind of style is hard to pull off. Bob Marley could do it, so could Joe Higgs. They all were so much into the folk style - that it was something that came naturally to all of them. Unusually for the man, it’s a love song. The kind of song that Dennis Brown or Gregory Isaacs would love to make, and did.  That comes from Jimmy, which makes it even more special.

Trapped -

Starts off in a dub style - not many tunes did that in the ragga era!  A digital keyboard bass - bubbles away - until the congaman comes in. Which is a nice tradition on Jimmy Cliff albums. Whenever Jimmy was around the Congaman always got some work!! It’s another love song.  And it’s another good one. Love Songs don’t appear much on his albums, but in the reggae tradition - it is normal to have a good amount of love songs. And this in a way is another clue to this album. It’s Jimmy trying to be as much as part of the reggae tradition - as possible.

Pressure -

This is the one that featured Josey Wales. Recorded and Mixed at Music Works. It’s got that classic Music Works - that’s why Jimmy went there! At the time it was the most popular studio in Jamaica. Gussie’s ‘Glossy’ hi-tech sound wasn’t the best sound for Jimmy, but it had given big hits to Gregory and Dennis. But here is the twist rather than a love song. Jimmy pulls out one of his much-loved roots protest songs. Straight to the head of President Botha. When Josey comes in - things do really get wild. It was probably all too much for lovers of hate in South Africa. And not long after this, they were thankfully gone!

Image Of The Beast

Yet another great track, and it must be mentioned that most of them were produced by Ansel Collins. This is another link back to the days of Beverley’s. Like Studio One and Jackie Mittoo, a lot of the great arrangements must come off the Keyboards, and the two keyboard players at the time were Ansel and Winston Wright. A major and yet for the most part uncredited super talent. Jimmy’s put everything into this song. Pure reality lyrics - no holding back. Looking back and 1989 is a long time ago now, Jimmy Cliff was the only artist from the sixties who made it into nearly the nineties in fine style. Nuff Respect.