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Jimmy Cliff
FYI
Obituaries: Canadian Musicians Remember Reggae Pioneer Jimmy Cliff
This week we also acknowledge the passing of Calgary blues/folk guitarist Tim Williams and legendary English A&R man Andrew Lauder.
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Tim Williams, a Calgary-based blues/folk guitarist, singer-songwriter and acclaimed record producer, died on Nov. 28, at age 77.
A Calgary Herald obituary reports that "Williams was diagnosed with cancer in August, according to a close friend of the family." The paper describes Williams as "a master guitarist, a brilliant raconteur, a mentor to many and a pillar of Calgary’s music community."
An extensive biography on Tim Williams' website notes that "American born, long time Canadian blues and roots artist Tim Williams began his career in the coffee houses of Southern California as a teenager, coming to the notice of Epic Records for whom he recorded his first LP in 1968. Blues Full Circle, featuring Pee Wee Crayton and George 'Harmonica' Smith in the backing band. It was produced by [famed record label head] Chris Strachwitz).
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"After two years of touring behind the disc and doing studio work Tim moved north to Canada, where he discovered both a lively folk music community and a flourishing studio scene. Doubling on dobro, banjo, mandolin, and harmonica he was soon a busy session musician with a full schedule of coffee house and college concert dates.
"Having been inspired by the great country guitarists on shows like Town Hall Party, the blues of Lightning Hopkins and T-Bone Walker, the Hawaiian music of folks like King Benny Navahi, and the Mexican music that was everywhere in Los Angeles at the time, Tim learned to slip easily from one style to another. Moving to Santa Barbara to put some distance between himself and the LA music scene, he gigged with country and folk musicians, mariachi ensembles and Hawaiian groups, thrown together for specific gigs…a roots music professional before the term was even coined."
Williams then relocated to Vancouver in 1970, finding himself part of a thriving scene centred in Gastown. There, he opened for such stars as Taj Mahal, Albert Collins, Mose Allison, Lightning Hopkins and comic Steve Martin, gaining a steadily increasing following.
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In 1974, after recording several country-folk singles for Vancouver labels, Williams left the city and the music business, becoming a horse wrangler and all-around ranch hand for several years. He re-emerged to record and release the albums Writin’ This Song and It’s Enough To Be Remembered for the Dyna West label, and touring coast-to-coast in Canada.
His website bio says that "Williams' return to full-time performing began with his appearance at the 1988 Edmonton Folk Festival, where he wowed every audience he played to, won praise from folks like Jimmie Dale Gilmore and was re-united with old pal Tom Russell. Since then it’s been a steady stream of tours, recordings, and interesting side projects."
Williams also was active as a session musician and a producer on roots-oriented albums, with four of these projects (Triple Threat, Little Miss Higgins, Ray Bonneville, and Williams, Wayne & Isaak) earning Juno Award nominations. He released over a dozen solo and side group CDs.
One well-received album was his first solo acoustic record, So Low, released in 2015. The Calgary Herald stated that "the 10-track recording, his first ever full album as a solo act, is a magnificent showcase of Williams at his finest. His irrefutable skills as a guitarist, vocalist, writer and interpreter of the blues are laid bare and left to work their magic." At the time, Williams noted that “I’ve never done a studio album that’s just all solo stuff, and it’s really one of the things I do best.”
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One major career achievement came in 2014, when Williams earned international acclaim after winning two top prizes at the prestigious International Blues Challenge in Memphis — top solo/duo act and top guitarist — beating over 500 musicians representing 110 blues societies.
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He was a regular favourite at regional folk and roots festivals, including the Calgary Folk Festival, most recently this summer. Cindy McLeod, Calgary Blues Festival producer and longtime friend of Williams, recalled to the Calgary Herald that "he was 'very pleased' to return to the folk fest lineup — and even more delighted when rain briefly cleared for what became his final Folk Fest performance. It poured all weekend at Folk Fest this year, but (Tim) was so happy that the sun came out for his set,' McLeod said. "The whole blues community is feeling the profound loss. He’s left a big void.'"
Williams' fellow musicians and music industry colleagues were quick to pay tribute on social media.
Fellow blues guitarist Jack de Keyzer (on Facebook): "Sail on Tim Williams. Thanks for the music and good times."
Former CKUA radio host Peter North, a longtime friend of Williams, told the Calgary Herald of the first time he saw him: "Tim had just moved to Vancouver and he was the opening act at a folk club. I came away going, ‘wow, this Tim Williams guy just knocked everybody out.’ “We were really lucky that he decided to make Canada his home five decades ago,” he said, adding William’s death marks “a big loss” to the community." "You can’t replace guys like Tim Williams.'"
Calgary music industry veteran and musician Scott Morin (on Facebook): "We don't have many masters in Calgary but Tim Williams was one of them, for sure. I join with the rest of the Calgary arts community in wishing Tim's family so much love and condolences as we say farewell to a legendary storyteller and musician."
To the Calgary Herald, Holger Petersen, host of CBC Radio’s Saturday Night Blues and founder of Stony Plain Records, called Williams “a great performer, a multi-instrumentalist (and) a really accomplished songwriter,. He brought a lot of history and knowledge to what he did as a performer. It was a passion for him, and he shared that with a lot of people. Tim was one of those great artists that played on the live-music scene in Calgary. To know that isn’t going to happen anymore is really sad."
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Veteran Canadian blues star Big Dave McLean told the Herald that “I’m sad that he’s gone. He’s mentored so many young people and just influenced everybody. He taught me so much. He could be as soft as a kitten and he could roar like a lion. I loved him very much.”
“Tim loved to tell stories during his performances. He would educate the audience (about) who wrote the music. He didn’t just memorize songs and sing them – he lived it. He breathed it. He was the blues.”
Allison Brock, host of the Wide Cut Country radio show, paid tribute to Williams on her show last week and she offered this homage to Billboard Canada: "Tim was a revered mentor and musician in Calgary. There are so many stories of him helping out a new artist in town. He always had time for you! Not only was he an iconic musician but also a musical historian.
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"His shows were always so amazing because he could always fill in the background on any song, artist or instrument. I think what struck most people was his unlimited generosity! Only the size of his heart rivalled his incredible knowledge. I honestly can’t think of any musician currently in Calgary or Alberta for that matter that had not had an impact from his talent and spirit."
Calgary soul singer Yolanda Sargeant (of Sargeant X Comrade) posted this tribute on Facebook: "Life is always about balance. We move through each day hoping to inspire others simply by being who we are and by sharing the gifts God has given us. Tim Williams was one of those rare souls ,pure of heart, grounded in kindness, and overflowing with a deep, crazy love for the blues.
"My only regret with Tim is that we never finished our track together. Even in his final weeks, he told me it would be an honour for him to be on a song with me. But the truth is, the honour would’ve been entirely mine. That was who Tim was, he made people feel valued, whether he was playing guitar, singing his heart out, or simply showing up as himself. Sending love and light to his family and friends. The blues community and the entire Calgary music scene lost a legend yesterday. May his spirit, his stories, and his music keep playing on. Rest in Paradise."
International
Jimmy Cliff (born James Chambers), a Grammy-winning reggae star and Hall of Famer considered a true pioneer of the genre, has died, at age 81.
Cliff’s wife, Latifah Chambers, announced the news in an Instagram post on Nov. 24 that read, "It’s with profound sadness that I share that my husband, Jimmy Cliff, has crossed over due to a seizure followed by pneumonia. To all his fans around the world, please know that your support was his strength throughout his whole career. He really appreciated each and every fan for their love.'"
Cliff did indeed have a huge fan base around the globe, and his hit songs and lead role in the 1972 Jamaican film The Harder They Come are credited with a crucial role in bringing reggae international attention.
Billboard notes that "Cliff, known for his high, clear vocals and lifelong focus on positvity, peace and unity, was known for such indelible reggae hits as 'Many Rivers to Cross,' 'You Can Get It If You Really Want' and the title track to his beloved 1972 musical crime film The Harder They Come, in which he starred as lead character Ivanhoe 'Ivan' Martin in a role that is credited with helping to bring the sound of reggae to the world."
"One of the last living global ambassadors from the generation of reggae greats who brought the island’s music to the world — alongside late contemporaries Bob Marley, Peter Tosh, Toots Hibbert and Bunny Wailer — before his death Cliff was the only living reggae artist to have earned Jamaica’s Order of Merit, the highest honor the nation’s government gives for achievements in the arts and sciences."
In its tribute, reggae label VP Records reports that "Jimmy Cliff earned two Grammy Awards and induction into the Rock & Roll Hall of Fame. His work influenced musicians across generations and carried Jamaican culture far beyond the island’s borders."
Cliff emerged from Jamaica’s ska scene and first recorded for Leslie Kong’s Beverley’s Records label. His ska-tinged debut single, “Hurricane Hattie,” ran to the top of the Jamaican charts and was followed by a string of hits sung and written by the artist including “Miss Jamaica,” “One-Eyed Jacks” and “King of Kings.”
Billboard notes that "Cliff also befriended a 16-year-old Bob Marley at that time and helped the soon-to-be-reggae icon score a recording deal with Kong to release his debut single, 1962’s 'Judge Not.' Already a rising star in the first wave of ska music, Cliff was tapped to represent Jamaica at the 1964 World’s Fair in New York City alongside Millie Small, Prince Buster and others."
There, Cliff met Jamaican expat and rising U.K. record mogul Chris Blackwell, founder of Island Records, who signed Cliff. After struggling to find his sound, Cliff broke through in 1969, hitting No. 25 on the Billboard Hot 100 singles chart with “Wonderful World, Beautiful People.” That was followed by the protest song, “Vietnam,” highly praised by Bob Dylan.
Another hit came in 1970 via his cover of Cat Stevens’ “Wild World,” and a year later he was recruited by film director and screen writer Perry Henzell to star in The Harder They Come. Billboard calls the film "a slow-burn hit that mixed the joy of the nation’s music with clear-eyed depictions of social and economic conditions in what is still considered one of the greatest and most influential music films ever."
The film's hit soundtrack included four Jimmy Cliff classics; the title track, “You Can Get It If You Really Want,” “Sitting in Limbo,” and “Many Rivers to Cross," a song later covered by Annie Lennox, UB40, Lenny Kravitz, Linda Ronstadt and many more.
The ongoing popularity of The Harder They Come and the Jimmy Cliff classics featured in the movie was reaffirmed with the international success of a musical based on the film and with the same name. Initially a hit in London's West End, it made its North American debut at Toronto's Canon Theatre in 2009, via Mirvish Productions.
The film's writer/director, Perry Henzell, was deeply involved in the theatrical adaptation, and, after his death in 2006, Henzell's daughter Justine oversaw its following productions, including in Toronto.
Justine Henzell told the Toronto Star at the time that she was thankful her ailing father and Jimmy Cliff were in London for the show’s opening night. "We were so happy that (Perry) was able to see it on stage before he passed (in November, 2006).”
Just a few months prior to his passing, Perry Henzell visited Toronto to launch his long-delayed second feature, No Place Like Home, at The Toronto International Film Festival. I interviewed him for WORD magazine then, and he reflected upon the enduring appeal of The Harder They Come, noting that "Yes, it has lasted on and on. That’s phenomenal, as usually you release a picture, it has its run and then it dies, but The Harder They Come is being seen by more people now than ever."
One of the film's stars, Carl Bradshaw, told WORD that "back then, no-one had a notion of where the film would go. It was just something we had to do as a people. Perry came out from England and the BBC, and he had a gut feeling that something should be done in Jamaica. We were all first-timers. It was my and Jimmy Cliff's first time ever in front of the camera. Most of the cast were real-life street people. What the film did for Jamaica was take the culture to another level."
Billboard writes that "Cliff continued to release albums throughout the late 1970s and 1980s, earning praise and respect from his musical peers, including Bruce Springsteen, who regularly added the little-known Cliff song 'Trapped' to his live sets."
Cliff won a best reggae album Grammy in 1985 for Cliff Hanger, and returned to the singles charts with his 1993 cover of Johnny Nash’s “I Can See Clearly Now” (it reached No. 18 on the Billboard Hot 100). His single “Hakuna Matata" was included on the soundtrack to Disney’s 1994 mega-hit The Lion King.
Cliff was inducted into the Rock and Roll Hall of Fame in 2010 by the Fugees’ Wyclef Jean. A year later, he collaborated with Rancid singer Tim Armstrong on the album Rebirth, which earned Cliff a second Grammy.
News of his death elicited tributes from such major stars as Yusuf/Cat Stevens, Shaggy, Sean Paul and UB40's Ali Campbell, as well as members of reggae's first family, The Marleys.
Over the decades, Jimmy Cliff frequently performed in Canada, especially Toronto, and his work had a huge impact on Canadian reggae musicians and fans alike.
One of those was acclaimed Toronto reggae and jazz guitarist and music educator Maurice Gordon. He posted this tribute on Facebook. "R.I.P Jimmy Cliff and thank you for the music and the opportunity. From being in his band for a period, I got the memories, I visited lots of places, made music, let lots of people and learned and grew personally."
Gordon recalled his connection with Cliff in greater depth to Billboard Canada. "I had the great pleasure and honour of working with Jimmy Cliff from 91-93 after working and touring with Dub poet Mutabaruka. Muta said he always stole his musicians, lol. Working with Jimmy was an adventure for me as his touring was way more extensive than Muta's.
"We rehearsed for a few weeks in isolation everyday in the village of Somerton where Jimmy was born, just outside of Montego Bay. That was intense and long as I was one of the newest members and we were touring on the CD that he did with some African players. Touring was inspiring. We started with over 8 weeks of gigging all over Brazil. I experienced Europe many times with him as well as the U.S., Canada for only a few shows, Japan, Australia, New Zealand, Guam Saipan, and even the Cayman Islands.
"I was very inspired myself as I wrote a lot of my songs on the road and jammed them with the band during soundcheck. It was a fantastic experience especially when you also share the stage with other famous musicians like Tyrone Downey, Santa from Peter Tosh’s band, I met George Benson in Montreux, Paul Jackson, Al Jarreau and more.
"I did only one recording with Jimmy and I think that was a track on his Oneness. I would say that he is a positive influence on a few aspects of my life including his song writing, the various styles and attitudes his music goes through as a versatile musician. Jimmy wrote some great songs and went through many styles from his folky Bob Dylanesque to the rockier songs.
"There are a lot of songs that I really like from his repertoire and some have been models for my own creations. I loved playing the solo on 'Many Rivers to Cross' and 'Wonderful World, Beautiful People' and I loved playing 'The Rebel in Me' as a duet with him."
Fergus Hambleton, a key figure in Canadian reggae as frontman of Toronto band The Sattalites, told Billboard Canada that "Jimmy Cliff was a continuous source of inspiration to me, but also to countless other musicians all over the world. At first through the film The Harder They Come with its revelatory soundtrack, and then through a series of great records Jimmy endeared himself to people all over the world.
"His work was celebrated in Jamaica, North America, Europe and especially in Africa, a continent dear to his heart. His expressive voice and inspiring lyrics will continue to bring joy to people for years to come."
Veteran Toronto reggae musician (The Memberz) and broadcaster (Radio Regent) Paul Corby offered this tribute and anecdote to Billboard Canada. "Jimmy Cliff brought positivity with him everywhere. Totally humble cat. Spiritually informed. When we were just starting with Ernie Smith & The Roots Revival, we opened for him at Queen Elizabeth Theatre in Toronto in 1978.
"He was touring his new (and excellent) Give Thankx album, recorded in Hollywood after his return from Africa, and he had two of my guitar heroes onstage, Ernie Ranglin and Earl 'Chinna' Smith. We used to cover 'Harder They Come,' but not that night. He became shaman- like onstage, spinning and sweating til the crowd was in a frenzy."
Toronto reggae figure Reuben Kincaid recalled to Billboard Canada that "I saw Jimmy Cliff three times: Massey Hall, 1975 & 2010, and, in 1984, London, the Nelson Mandela Benefit Concert. I got to briefly breathe the same air as Jimmy in 1986. Jojo [Toronto reggae luminary JoJo Bennett] and I ran into him at Harry J’s studio.
"I first heard Jimmy in 1970, working the tobacco fields of Norfolk County, where I met a Jamaican fellow who introduced me via 45s of 'Many Rivers To Cross,' ' You Can Get It If You Really Want' and 'Vietnam.' I was familiar with some Caribbean music, especially Harry Belafonte, as my father was a fan. He also had some calypso/mento compilations that played frequently in our house). However, that ethereal Jimmy voice, an di riddim deh, heard for the first time on a Straight-Outta-Sears Seabreeze record player, in a tobacco bunkhouse, shook me to my core! My new friend also introduced me to Toots and The Maytals."
Andrew (Justus) Lauder, a British record company executive and A&R manager, died on Nov. 26, at age 78.
Over his long career, Lauder took major roles at record labels including F-Beat Records, Silvertone Records, Liberty Records, Radar Records, United Artists Records and Demon Music Group.
Artists he signed and/or worked with included Bonzo Dog Doo-Dah Band, Can, Hawkwind, The Strangler, Brinsley Schwarz, Elvis Costello, the Buzzcocks, Loudon Wainwright 111 and The Flamin' Groovies.
He first made a mark in 1967, when a friend introduced Lauder to Bob Reisdorf, who was launching Liberty Records in the UK. Initially dubbed a Label Manager, Lauder became Liberty's A&R head, quickly signing The Idle Race, Family, the Bonzo Dog Doo-Dah Band and Tony McPhee & The Groundhogs, for £50 (he co-produced their first album).
Liberty also licensed a number of US acts such as Captain Beefheart and had a few UK hit singles such as Creedence Clearwater Revival's "Proud Mary".
In 1968, Liberty was absorbed into United Artists Records, with Lauder becoming head of A&R for United Artists in the UK. There, he signed such diverse artists as Krautrockers Can, Amon Düül II and Neu!, UK psych heroes Hawkwind, pub rockers Brinsley Schwarz, Dr Feelgood and The Inmates, and then punk pioneers The Stranglers and Buzzcocks, shortly before leaving United Artists.
Posting on their official Facebook page, The Stanglers recalled their signing with Lauder. "Following months of pestering by the as yet unsigned Stranglers and seeing several of their live shows, Andrew became the sole attendee of a special showcase in their rehearsal rooms with hired equipment to keep the technical gremlins at bay. Witnessing their unhindered performance, Andrew immediately signed the band onto UA.
"Within a few weeks, the band were in the recording studio laying down the Rattus Norvegicus album (& half of No More Heroes too!). Upon its release, Rattus peaked at number 4 in the UK charts & Andrew’s faith in them was proved correct. The rest, as they say, is history. Andrew was a pivotal character in the band’s career. As JJ [Burnel] fondly puts it ‘If it wasn’t for him we wouldn’t be here.’"
In 1977, Lauder turned down a job offer from Arista Records, but instead, he co-founded Radar Records with Martin Davis. Radar took on several Stiff Records acts, including Nick Lowe, Elvis Costello and the Attractions and Yachts. Lauder and Jake Riviera opened F-Beat Records in 1979, and several acts, notably Costello and Lowe, transferred from Radar Records.
Lauder and Riviera also started Demon Music Group in 1980, to concentrate on the singles market, early signings including Department S and Bananarama.
Lauder was briefly with Island Records, signing U2 in March 1980 and offering Buzzcocks frontman Pete Shelley a solo record deal. In 1988, he formed the U.K. based Silvertone Records. Initially focusing on indie bands such as The Stone Roses, he expanded their roster to include Peter "Sonic Boom" Kember, John Lee Hooker, J.J. Cale and The Men They Couldn't Hang.
In 1993 Lauder started the This Way Up label whose signings included Ian McNabb (The Icicle Works), The Warm Jets, Tindersticks, Redd Kross and Pal Shazar.
By 2002, he was living in Devon, where he ran Acadia and Evangeline, releasing albums by Ronnie Lane, Spirit, Gov't Mule, Loudon Wainwright III and The Steepwater Band and employing local schoolgirl Joss Stone on work experience. These labels later became part of Floating World Records.
Happy Trails: Andrew Lauder's Charmed Life and High Times in the Record Business, a memoir co-written by Lauder and Mick Houghton, was published in 2023.
In a profile of Lauder in The Independent in 2004, Max Bell wrote that "If truth be told, Andrew Lauder has always approached the music business as a kind of utopian cottage industry. If it isn't fun, what's the bloody point? Even so this modest mogul's personal history still stands as the most perfect example of what pop's peculiar world can offer."
On Facebook, noted English musician and music journalist Will Birch (The Records, Kursaal Flyers) called Lauder "A true music visionary who was probably more responsible than any other UK A&R person for bringing about change in popular music's creative direction in the mid-1970s. Brave signings, formidable results."
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