Wonderful World, Beautiful People (A&M, 1970)

A masterful work whose sound survives the test of time. WWBP is not as musically diverse as some of Cliff's later albums, but this is not a bad thing, since the early reggae/rock steady feel provides a sense of cohesiveness. Even so, one song that breaks the reggae mold, "Many Rivers to Cross," is one of the most beautiful songs ever recorded in any genre. The only misstep on this album is the messy '70s rock-laden "That's the Way Life Goes." Still, I'll sit through that song 100 times just to hear the soaring chorus of "Sufferin' in the Land" or the heartfelt refrain of "My Ancestors," which, after Cliff extols the past achievement of his ancestry, repeats, "...but look at me, look at me, just look at me."

Give Thankx (Warner Brothers, 1978)

One of Cliff's most overlooked albums, Give Thankx displays why he is so popular around the world. Here his diverse yet unified style incorporates cultural reggae in songs like "Stand Up and Fight Back" and "Wanted Man," a lover's vein in "Footprints" and "She Is a Woman," African drumming in "Bongo Man," a Latin-esque beat in the album's best track, "Lonely Street," a subdued minimalism in "Universal Love," a '60s R & B flavor in "You Left Me Standing By the Door," and even a '70s rock sound in the catchy "Love I Need." Apart from "Lonely Street," none of the songs jump out at you a whole lot, but each is a concrete element contributing to this worthy album.

I Am the Living (MCA, 1980)

Another overlooked gem from Cliff, I Am the Living incorporates Cliff's typically universal sound and typically irresistible tunes.  Every song here is just plain good.  Not great, just good.  The funky "Gone Clear" (which Cliff later unnecessarily remade as "Like a Rocket" for his mediocre Cliffhanger album) is a nice high-energy groove, as is the title track, while "Another Summer" and "It's the Beginning of the End" ar soothing works of art, and "All the Strength We Got" and "Love Again" are positive roots anthems.

Give the People What They Want (MCA, 1981)

This album is for all of you who complain that Jimmy Cliff sings too many songs that veer out of the realm of reggae.  Maybe more than any of his albums (unless you count The Harder They Come as one of his), Give the People What They Want remains the most "true," producing pure roots reggae, undiluted or filtered.  Even his popular messages of unity and love are largely replaced by darker, more militant themes of injustice (on "Turn the Tables" and "Give the People What They Want"), inequality (on "Majority Rule"), and greed ("Material World").  Still, this material isn't completely out of line with Cliff's other works.  "Son of Man" is a characteristically catchy, bubbly tune, while "Shelter of Your Love" and "My Philosophy" are simple proclamations of love.  This album goes a long way to showing reggae purists that Cliff can hold his own when it comes to "real" roots...when he wants to.

The Power and the Glory (Columbia, 1983)

Cliff's message of peace/love/unity and his crossover musical style all begin to wear a tad thin on this album. The bombardment of happiness (lyrical and musical) right off the bat with the first 3 songs may be a bit much for some hardcore listeners to handle. Still, as much as "Reggae Night" sounds like an '80s Lionel Richie song, it's hard to resist the hook. The well-worn "We All Are One" theme too, though somewhat nauseating, can be overlooked due to the catchiness of the tune. After the first 3 songs, Cliff settles into a "truer," more conventional reggae style, with the last two songs on the album, "Power and the Glory" and "Journey," being the strongest.

Cliffhanger (Columbia, 1985)

Jimmy Cliff had been teetering on the edge for quite a while, and he finally falls into that crossover pop abyss on this album.  Previous efforts had managed to have mainstream sound while still being, well, good.  While not horrible, Cliffhanger has several tracks that lack the magical appeal for which Cliff is known, the appeal that makes you like his music whether you want to or not.  Particularly painful are "Sunrise" -- which is so giddy and cutesy-sounding, it should be sung by the Smurfs -- and "Now and Forever" -- which wants to be the powerful ballad that "Many Rivers to Cross" was, but which turns out to be annoying drivel.   Still, Cliff does show that irresistible magic in the live, electric "Hitting With Music" and especially in "Brown Eyes," a bouncy ditty that has the timeless appeal of a classic.  Meanwhile, "Hot Shot" is decent, but is a truly unnecessary remake of his own "Gone Clear."  "American Sweet" is the track that seems to typify this album; the melody is catchy and likeable, but the pop/rock guitar licks bring it down.  I want to like it, but as much as I like Jimmy Cliff, I can't.  Of course, the Grammys have to choose one of his worst, most pop efforts as their Best Reggae Album in 1986.

Fundamental Reggay (See For Miles, 1990 [orig. released 1987])

This album collects tracks from three albums that Jimmy Cliff recorded immediately after leaving Island Records (According to the liner notes, he was miffed at their handling of the The Harder They Come soundtrack, which surprisingly didn't sell well when released.).  Unlimited (released in 1973), Music Maker (AKA House of Exile, released in 1974), and Brave Warrior (released in 1975) feature the same appealing, inimitable style of pop/rock/R&B-tinged reggae that carried his classic tracks on The Harder They Come and Wonderful World, Beautiful People, but they lack a certain je ne sai qua -- be it an ambiguous musical magic or more definable song quality -- that leaves them a definite step or two below Cliff's best work.  Only a few tunes stand out: the '70s funk-flavored "Commercialization" and "Long Time No See," along with the fun, swaying tropical sound of "Music Maker."  Several other cuts are solid, as he displays his trademark range of musical influences, from the folk rock of "My People" to the -- shock -- roots reggae of "Brave Warrior," but overall I'd call Fundamental Reggay a "fundamental" choice only for hardcore Jimmy Cliff fans.

Breakout (JRS, 1992)

Cliff again shows why he remains so loved worldwide, incorporating elements of roots reggae, hip-hop, dancehall, R&B, pop, Latin, and African music in this cornucopia of styles. No matter what the style, though, one thing with which you can't disagree is that he knows how to put together a melody that will stay with you all day long. While this may be a horrible proposition if the tune is the jingle for Juicy Fruit, these songs are generally enjoyable in a guilty sort of way. For instance, although Cliff -- ick -- raps in it, "I'm a Winner" will stick with you like three-day-old bubble gum. You try to scrape it off, but eventually you just give up and succumb. You don't have to feel guilty about liking several other songs, though. "War a Africa" is a gloriously sad African drum feast, while "Peace" -- which was actually released as a single in the US -- is a tender ballad reminiscent of his classic "Many Rivers to Cross." "Jimmy Jimmy" and "Baby Let Me Feel It" meanwhile are pure, fun, bouncy reggae love-fests. And we all need our bouncy love-fests, don't we?  Note: the songs on this album can also be  found on Samba Reggae (in a slightly different order), released on the Culture Press label and on Stepping Out of Limbo on the Burning Bush label.

Ultimate Collection (Hip-O, 1999)

With all the career-spanning box sets for reggae legends like Bob Marley, Peter Tosh, Lee "Scratch" Perry, Burning Spear, and Toots & The Maytals, one has to wonder why there isn't a multi-disc set for one of the biggest worldwide reggae stars, Jimmy Cliff.  Probably because his "worldwide" appeal has traditionally centered outside of both Jamaica and the USA, I suppose.  While Ultimate Collection contains only one CD, it packs in 19 tracks, spanning from the late '60s to the late '90s.  OK, that's a bit deceptive, because there's nothing here from 1982 to 1992, when he released some forgettable material for CBS/Columbia, including the Grammy-winning clunker Cliffhanger.  (Note to self: never buy an album whose title incorporates the artist's name in some "witty" pun . . . Willennium anyone?)  However, deleting this time period overlooks two worthy Cliff albums, 1992's Breakout and 1983's The Power and the Glory.  Nevertheless, Ultimate Collection still manages to capture the essence of his greatness.  It rightly gives props to the great Give the People What They Want, choosing the title track from that roots classic, along with "Majority Rules" and "Shelter of Your Love."  But what about I Am the Living?  It's as good as Give the People What They Want, in my humble opinion.  Further, the only cut from Give Thankx is "Bongo Man," while Follow My Mind is represented by two mediocre tracks -- "The News" and "If I Follow My Mind."  I haven't heard Follow My Mind, but based on these two, I haven't missed much.  Of course, the rest of Ultimate Collection is dominated by Cliff's best-known albums, The Harder They Come, Wonderful World Beautiful People, and, to a lesser extent, Struggling Man.  No real surprises here, but classic material nonetheless.  An intriguing inclusion is a 1970 cover of Cat Stevens' "Wild World," released a bit too close to the original to achieve any success in the States.  (Maxi Priest would, of course, later score a hit with a remake of the song in 1988.)  Additionally, Cliff's biggest US hit is included -- his 1993 cover of Johnny Nash's "I Can See Clearly Now" for the ungodly Cool Runnings soundtrack -- as well as a track from his most recent studio album, 1999's Humanitarian.  While heavier fans like myself may notice a few omissions, Ultimate Collection hits most of the major high points in Jimmy Cliff's career and provides ample evidence to show why he's attained such popularity across the globe.   

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Music Maker (Wounded Bird, 2005 [orig. released 1974])

Jimmy Cliff recorded three albums for mainstream American label Reprise in the mid-'70s. Music Maker (released also by EMI as House of Exile) is the second, following Unlimited and preceding Follow My Mind. Although the latter managed to dip a toe into the US pop charts -- thanks to the wave of acclaim for the film The Harder They Come -- none proved particularly successful, nor are they generally considered among his best efforts...and rightly so.  Cliff's engaging persona is ever present here, but tracks like "You Can't Be Wrong and Get Right," "I Want to Know," and "My Love Is Solid as a Rock" are so cutesy, they'd be more at home on Sesame Street than on a serious reggae album. As with much of Cliff's work, there's a pervasive R&B/soul thread throughout Music Maker, sometimes for better ("House of Exile"), sometimes for worse ("Look What You’ve Done to My Life, Devil Woman").  "No. 1 Rip-Off Man" is a rousing gospel-inspired tune, and "I've Been Dead 400 Years" adds a nice blues twist, but their appeal is distinctly gimmicky.  "Long Time No See" is a funky, cool track that is easily the star of Music Maker, and, along with "House of Exile" and the buoyant title track (and maybe the rock steady throwback "Foolish Pride") are the only reasons to check it out.