Greeting Uncut in the lounge of a Marylebone hotel, Jimmy Cliff is resplendent in a brocaded tunic and matching gold hat emblazoned with the eye Of Horus. He could be mistaken for African royalty, but Cliff is very much a man of the people, using his day off before a festival appearance to visit some of his old stomping grounds in the capital’s less celebrated postcodes.
Greeting Uncut in the lounge of a Marylebone hotel, Jimmy Cliff is resplendent in a brocaded tunic and matching gold hat emblazoned with the eye Of Horus. He could be mistaken for African royalty, but Cliff is very much a man of the people, using his day off before a festival appearance to visit some of his old stomping grounds in the capital’s less celebrated postcodes.
“I’ve been to Finsbury Park, Tottenham, Chelsea, some of those places I used to live,” reveals the Jamaican singer, who was still just a teenager when he relocated to London – via New York – in the mid-’60s, grafting the all-nighter circuit before eventually achieving global fame towards the end of the decade with crossover hits such as “Wonderful World, Beautiful People” and “Many Rivers To Cross”.
“They are building everywhere,” he notes, wistfully. “I visited some neighbourhood that I used to know, I don’t recognise it. It’s changing, but that’s how it goes.” Cliff is 71 and not as agile as he once was, but talk to him about his craft and his face lights up, quickly transforming back into the eager, determined youngster who hawked his songs around the sound systems of Kingston.
“I enjoy performing. It’s what I’m put on this earth to do, whether it’s acting, singing or writing. It makes me feel uplifted. You have different kinds of junkies, but for me it’s when I write a song or finish a performance. Wow, what a great buzz. I don’t think I’ll ever lose that excitement.”
It must have been amazing to have a hit single at the age of 14? Nathan Bayliss, Stoke-on-Trent
Very exciting. At the time I was living in an area of Kingston that was kind of survival. I started listening to Derrick Morgan in school and I heard on the radio that he was a local artist. I thought, ‘Oh wow, that could happen to me too.’ The reason I went to Kingston was to go to technical college, to please my parents, but in the back of my head I knew I wanted to be a singer, and Kingston was the place. It didn’t occur to me that I was young or anything, it’s just something I needed to do.
How did you discover Bob Marley? Could you always tell he was going to be a star?
Arve Thomsen, Malmo, Sweden
Well, the answer to the last part of the question is: yes, from the very beginning. He had that aura: ‘I’m here’, you know? How I discovered him, I was A&R person for Beverley’s Records and he was sent to me by Desmond Dekker, who I had auditioned earlier. He got his song recorded, so he went and told Bob as they both used to work at the same place, as welders. Bob Marley walked in like somebody who was in a hurry to get somewhere. I sensed he was a very rhythmic person, and very aware of the power of words – that told me he would be a star. It’s a good feeling to know that he passed through my hands.
Which films or actors inspired your portrayal of Ivan in The Harder They Come?
Geoff Chase, Cambridge
Actually, none. I always loved acting in school and every time it came to do a play, I’d light up. But there were some actors I liked, like James Cagney. He was a small man, but dynamic on the screen! I thought maybe I could come across like that. I did a few other movies after that, but it’s not as easy to make a movie as it is to write a song and get it recorded. But I still have it in mind to do more [acting].
How much of a culture shock was moving to London in the mid-’60s?
John Cranleigh, Skipton, Yorks
The first culture shock was from the country to Kingston. People were not as friendly, everyone is rushing, so it felt more hostile. The second culture shock was New York. Wow, the buildings… And I’d never seen people kissing on the street before! Now, coming to London was another culture shock. The first thing was the fog. I saw all the buildings that had chimneys and thought, ‘Now I know why many Jamaicans are coming here – lots of factories, they can get jobs!’ How naive I was. Also, I experienced upfront racism. But the UK was a great learning experience for me, so I’m always grateful for that.
How was it playing on the same bill as Jimi Hendrix?
Leo Veitch, via email
It was very interesting! When I met Jimi Hendrix for the first time, they asked me, “Look, there’s this guitarist – do you mind doing two sets with him in the middle?” So I agreed, and of course he went on and blew the place up. I didn’t know a guitar player could capture the crowd like that. Jimi came over, very warm, and said: “You can sing, man. I can’t sing, I just play my guitar.” We remained friends right up until the time he crossed over. He was one of the kindest persons I knew. He’d take off his shirt and give it to you – a great human being.
Did it mean a lot to you when Bob Dylan praised your song “Vietnam”?
Alistair McGuinness, Letterkenny, Ireland
It did mean a lot because I admired Bob Dylan. Who didn’t? He was the protest writer. So to hear a comment coming from him, that was great. I had a close friend, we went to school in Somerton together, but because his family lived in the States he migrated there and was drafted for Vietnam. When he came back, he didn’t know me. We met up again in Somerton where they have aeroplanes that fly low to spray the banana trees, and I remember he started running for cover. He lost his mind and it was so sad for me. A great person. So that was one part of it, I had something personal to write about. And also I felt the war was wrong.
Why did you decide to record [1971’s] Another Cycle at Muscle Shoals?
Brian Dale, via email
That was one point in my career where I made a wrong statement. I said to the press, “I’m not doing any more reggae.” I regret I said that, but that’s how I felt at the time. I didn’t seem to be getting the respect that the other music forms get, so Chris Blackwell suggested this set of musicians in Alabama – he said they’re very good if you write rhythmic songs. So that’s what I did. Now this album’s got great critical acclaim, but at the time it didn’t sell.
What did you think of Paul Simon going to Kingston to record “Mother And Child Reunion” with your backing band?
Pete Krasinsky, Ottawa, Canada
I met Paul one time in New York. He was telling me that he and Dylan sat up all night listening to my album! So it was pretty cool, because he’s a great writer and a very creative person. He said, “I want to go to Jamaica to record and I want the same band, I want the same studio.” I didn’t think he was serious but that’s what happened. Sometimes when people heard the song, they thought it was me! [Sings] “No I would not give you false hope…” But it was cool, because it brought [my sound] to a different audience.
What was it like to meet Fela Kuti and hang out at his compound?
Mark Templeton, Hull
It was great meeting Fela because I am a bit of a rebellious person too. But how we first met, it was strange. I was playing a stadium in Lagos and halfway through my show a commotion started. One of my musicians came up to me and whispered, “Fela is here.” So I said, “Welcome my brother Fela Ransome Kuti!” He came through with his people and everyone stayed calm and watched my show until it was finished. The next day he invited me to the Kalakuta and we had a great chat – we had a lot in common. He said, “They are trying to keep you from me!” So invading the concert was his own way of getting to me.
What’s the best sound system you’ve ever experienced?
Paul Sellin, Anerley, London
I lived on Spanish Town Road [in Kingston] and nearby was a hall where all the dances were held, five nights a week, so I knew all the sounds. Who was the best? I would have to pick Prince Buster’s Voice Of The People. Coxsone was already there, Duke Reid was there, King Edwards… there was a lot of champions out there. But here comes this guy from the back and upset the ’ole scene! I love Prince Buster. We had our own little conflicts, but we became nice colleagues.
How did you feel about David Cameron using “You Can Get It If You Really Want” at a Conservative party conference?
April Jones, via email
I have a dislike for politicians as they’re not truthful people. It’s the nature of politics that you cannot be straight, you have to lie and cheat. So I didn’t like David Cameron using my music, but I didn’t say stop. The opposite side of politics, the Sandinistas in South America, also used that song. But I make my music for people. I looked up the meaning of politics – poli means people and tics is a blood-sucking parasite.
I loved your last LP, Rebirth – do you have plans for new material?
Maurizio Santini, Rome
I have songs recorded for two LPs but I’m not satisfied they’re the right songs to touch people right now. I’ll do a few of them in my shows and see the reaction. The music scene is so different today – it’s not about how many CDs you can sell, it’s about the artist as a brand and you have to develop a rapport with your audience. It’s almost back to the old days, all about the performance. I have a different audience in the UK, on the Continent, in America and Africa… so I want to put out an LP with something for my fans all over the world.
This article originally appeared in Uncut Take 267 (August 2019)
The post Jimmy Cliff: “I’m a bit of a rebellious person” appeared first on UNCUT.
