Tag Archives: Soundtrack

Jamaica’s first superstar

Jimmy Cliff, one of Jamaica’s most prolific and celebrated performers, and an inductee into the Rock and Roll Hall of Fame, has been hailed as the first true superstar of Jamaican music. As a uniquely gifted singer-songwriter, Cliff was among the earliest artists to bring reggae to a global audience. With more than 25 studio albums to his credit, he was the only living musician to have received the Jamaican government’s Order of Merit for his contributions to national culture. Yet his path to international acclaim was far from straightforward. Born James Chambers in Adelphi, a small, rural town on Jamaica’s north coast near Montego Bay, Cliff’s early life was marked by poverty, controversy, and prejudice.

A mural honoring Jimmy Cliff in Montego Bay, Jamaica.

Following the dissolution of his parents’ marriage, Cliff and his older brother were raised by their father, a Pentecostal Christian, in a modest two-room shack. When Hurricane Charlie destroyed their home in 1951, Cliff was forced to live for a time with his aunt and grandmother on a nearby farm. At Somerton All Age School, his intelligence was quickly recognized by a teacher who recommended that he pursue studies in electronics at Kingston Technical High School. Moving to Jamaica’s capital of Kingston in the late 1950s, Cliff began studying electronics while simultaneously entering talent contests under the stage name Jimmy Cliff.

Jimmy Cliff in Kingston, mid-1970s.

Cliff’s appearance at the 1964 World’s Fair in New York brought him to the attention of Island Records founder Chris Blackwell, who brought him to London two years later and promoted him as a soul singer, backed by musicians who would later form Mott the Hoople. Even before Bob Marley’s international breakthrough in the 1970s, Cliff introduced Jamaican rocksteady to U.S. audiences through his starring role in the 1972 cult classic film The harder they come. His portrayal of Ivan in the groundbreaking film drew on elements of his own youthful experiences. The film’s soundtrack became a reggae primer for many listeners unfamiliar with the genre, with Cliff contributing four songs, including his enduring You can get it if you really want, which reached number two on the U.K. singles chart; the title track, The harder they come; and the soulful ballad Sitting in limbo.

Promotion poster for The harder they come (1972).

Cliff was among the first Jamaican vocalists to relocate to London in pursuit of greater recognition. He also became one of the earliest artists to make a significant impact in South America and Africa, broadening his musical output to reach diverse audiences.

Cover art for The harder they come soundtrack.

Cliff was also the first reggae singer to assume a leading role in a feature film (The harder they come) which introduced international audiences to Jamaica’s vibrant musical culture. His distinctive style of reggae, infused with non-Jamaican musical elements, resonated strongly in Africa, leading to performances in Nigeria in 1974 and a subsequent tour of West Africa three years later.

This according to Jimmy Cliff: An unauthorized biography by David Katz (Oxford: Signal Books, 2011; RILM Abstracts of Music Literature 2011-18440).

Jimmy Cliff passed away on 24 November 2025 at the age of 81.

Cliff performs at the Love Supreme Jazz Festival in 2019.

Related Bibliolore posts:

https://bibliolore.org/2018/11/29/reggae-as-intangible-cultural-heritage/

https://bibliolore.org/2019/05/16/maldita-vecindad-and-activism/

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Filed under Film music, Performers, Popular music, West Indies, World music

Nash The Slash reinvents classic rock

Electric mandolin and violin player and vocalist Nash The Slash (Jeff Plewman), whose name comes from the 1927 Laurel & Hardy movie Do detectives think?, is well known for his instrumental soundtrack work and reinvention of classic rock cover tunes while his image, that of a bandaged, walking, Invisible Man has made him instantly recognizable. During a performance in the late 1970’s to raise awareness of the threat from the Three Mile Island disaster, Nash walked on stage wearing bandages dipped in phosphorous paint and exclaimed: “Look, this is what happens to you!” Since that appearance, the bandages became his sartorial trademark. Although he was a guitarist for the late 1960’s Toronto band Breathless, Nash The Slash made his auspicious debut on 17 March 1975 sporting a top hat and tails (the bandages came later) at the Roxy Theatre to perform his soundtrack to Luis Buñuel’s silent film Un chien andalou (1929).

Nash The Slash would put out a half dozen releases between 1980 and 1984 as writer, producer, vocalist, and multi-instrumentalist as well as work doing engineering and production. His album Children of the night was produced by Steve Hillage and eventually became Nash’s biggest selling solo record with estimates at 100,000 copies worldwide. A fledgling engineer named Daniel Lanois later produced the single Dance after curfew from the And you thought you were normal album. Nash played violin on Gary Numan’s Dance album and was invited by Numan to tour the UK through 1980 and 1981. His long career included numerous appearances on various television shows in Canada and elsewhere, studio recordings, collaborations, and film soundtracks. In 1989, Nash The Slash landed a movie soundtrack deal with Toronto’s Sinister Cinema which hired him to add soundtrack scores to old silent films such as Lon Chaney’s 1925 Phantom of the opera and the 1919 German The cabinet of Dr. Caligari specifically for home video release. Nash The Slash would later perform the works live at special screenings in Toronto’s Danforth Music Hall.

Read the full entry on Nash The Slash in The Canadian pop music encyclopedia (2020). Find it in RILM Music Encyclopedias.

Below is the video for Nash The Slash’s 1982 classic Dance after curfew and his cover of The Rolling Stones’ 19th nervous breakdown.

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Filed under Curiosities, Humor, Performers, Popular music

Herrmann-induced vertigo

For his main title music for Alfred Hitchcock’s Vertigo, Bernard Herrmann used alternately ascending and descending arpeggiated chords in contrary motion in the treble and bass voices; no clear direction, up or down, is established, nor is a harmonic center confirmed.

With its almost uninterrupted, destabilizing undulation, the music provides a musical evocation of vertigo that is reinforced by Hitchcock’s spiraling geometric images.

This according to “The language of music: A brief analysis of Vertigo” by Kathryn Kalinak, an essay included in her Settling the score: Music and the classical Hollywood film (Madison: University of Wisconsin Press, 1992) and reprinted in Movie music: The film reader (London: Routledge, 2003).

Today is Bernard Herrmann’s 110th birthday! Below, the virtiginous title sequence in question.

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Filed under 20th- and 21st-century music, Film music

The new soundtrack

Launched by Edinburgh University Press in March 2011, The new soundtrack (ISSN 2042-8855; EISSN 2042-8863) presents cutting-edge academic and professional perspectives on the complex relationship between sound and moving images. The journal also encourages writing on more current developments, such as sound installations, computer-based delivery, and the psychology of the interaction of image and sound.

Alongside academic contributions, The new soundtrack includes contributions from practitioners in the field—composers, sound designers, and directors—giving voice to the development of professional practices. Each issue also features a short compilation of book and film reviews.

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Filed under 20th- and 21st-century music, New periodicals