Cliff Hanger 12" Vinyl LP Album

- Grammy-winning mid-80s reggae fusion with a glossy crossover shine

Album Front Cover Photo of Cliff Hanger Visit: https://vinyl-records.nl/

There’s a certain mid-80s glow baked into Cliff Hanger, a moment where Jimmy Cliff steers reggae straight into the slick, commercial sheen of the era — a shift that still feels a bit too polished for my taste. The album rides bright synths, tight horn lines, and punchy drum programming, with standout tracks like Hitting with Music and Hot Shot carrying the crossover ambition. The Dutch CBS 26528 pressing adds collector appeal through its sharp artwork and custom inner sleeve, a crisp relic of a period when reggae was chasing bigger stages and shinier production.

Table of Contents

"Cliff Hanger" (1985) Album Description:

There’s a certain glow to “Cliff Hanger” that pulls me right back into the mid-80s every time the needle drops. The album carries Jimmy Cliff’s warmth through that era’s shiny new production tricks, landing somewhere between roots comfort and studio sparkle. The whole thing feels like a musical crossroads — and I can hear Cliff navigating it with a grin.

Reggae in the Mid-80s: A World in Flux

Mid-80s reggae was changing faster than most fans could keep up with, and I remember watching digital sounds sweep through the scene like a storm. Europe, especially the Netherlands, had a huge appetite for reggae that stayed soulful while embracing a bit of gloss. That push-and-pull between tradition and modernity set the stage for everything I hear on this record.

The Road Leading to “Cliff Hanger”

Cliff arrived at this album with a history most artists would need three lifetimes to accumulate, and that sense of constant reinvention is what I’ve always admired about him. The sessions feel charged with that energy — veterans from The Oneness Band mixing with players from Kool & The Gang, creating a sound that nudged Cliff into fresh territory without losing his core.

The Sound and the Songs

Warm bass lines, crisp drum machines, shimmering synths — the sonic blend hits me with that unmistakable 1985 atmosphere. Tracks like “Hitting with Music” and “Hot Shot” still carry Cliff’s irresistible uplift, the kind of positivity that sneaks under your skin. “Reggae Street,” on the other hand, brings the playful swagger I’ve always associated with his more outgoing moments.

How It Stood Against Its Peers

Stacking this album next to UB40’s “Baggariddim” or Steel Pulse’s “Babylon the Bandit” always reminds me how boldly Cliff walked the line between roots and crossover appeal. Plenty of bands dove headfirst into digital slickness, but Cliff kept melody and heart at the front of the mix. That balance gave “Cliff Hanger” its own lane — a rare thing in 1985.

Debates, Raised Eyebrows, and Purist Grumbles

Purists weren’t shy about complaining when this album came out, and I remember hearing the muttering about the “too-shiny” production. Some critics insisted Cliff was drifting into pop territory, as if melody were a felony. The Grammy that followed made those debates feel almost comical in hindsight.

Creative Sparks and Studio Energy

A close listen still reveals the tug-of-war between analog instincts and digital ambition, and that tension gives the record its spark. The way Cliff’s voice threads through those opposing forces feels almost effortless, tying the album together no matter how wild the production gets. That’s the magic only he could pull off.

Reception and Legacy

The Grammy win didn’t surprise me then, and it still feels deserved now. Time has treated this album well — better than many records from that transitional era — and its blend of optimism and modernity holds up beautifully. These days I hear it as a snapshot of reggae refusing to stand still.

Album Key Details: Genre, Label, Format & Release Info

Music Genre:

Reggae / Reggae Fusion

This album sits in that mid-80s pocket where reggae picks up extra shine—roots foundations wrapped in synth grooves, bright horn lines, and the kind of polished crossover production that defined Jimmy Cliff’s global era. Listening to it feels like stepping into a moment when reggae was stretching confidently into new territory.

Label & Catalognr:

CBS – Cat#: 01-026528-20

Album Packaging

Standard sleeve., incl a custom inner sleeve

Media Format:

Record Format: 12" Vinyl LP

Year & Country:

1985 – Netherlands

Collector’s Note: The Wordplay Behind “Cliff Hanger”

The pun jumped out at me the moment I picked up the album: “Cliff Hanger” isn’t just a dramatic tease, it’s Jimmy Cliff having a little fun with his own name. The title turns into a quiet inside joke where I, as the listener, end up literally “hanging on Cliff,” and that bit of wordplay still gives me a small grin whenever I see the spine.

This playful twist matches the mid-80s moment perfectly, when Cliff was drifting toward a sleeker, more international sound that kept me guessing about his next move. The title captures that sense of transition and curiosity, and for me it adds a layer of charm that makes owning the original pressing even sweeter.

Production & Recording Information:

Producers:
  • Jimmy Cliff – Producer (tracks a & d) Working through these tracks, I can sense how Cliff shaped the emotional core of the album—balancing roots warmth with the modern punch the mid-80s demanded. His hand in the production gives the songs their grounded feel, keeping the melodies centered and the message clear even when the arrangements lean into contemporary sheen.
    Jimmy Cliff Wiki
  • Amir Bayyan – Producer (tracks a & b) Bayyan’s production work jumps out immediately—his blend of funk sophistication and sharp rhythmic structure gives the album much of its polished edge. I hear his influence in the tight horn arrangements, the sleek synth textures, and the precise drum programming that helped steer Cliff’s sound into a more crossover direction without losing its reggae spirit.
  • Rick Iantosca – Co-Producer (track c) Iantosca’s role on track C adds a different flavor—his guitar-driven sensibilities and studio instincts help tighten the groove and bring a slightly rock-leaning pulse into the arrangement. His touch gives the track a more focused, rhythmic feel that stands apart from the rest of the album while still fitting smoothly into its overall character.
  • Paul Higgins – Co-Producer (track c) Higgins contributes a grounded studio polish to the same track, layering subtle production details that support the song’s structure without overpowering it. His work helps blend the various musical elements—guitars, keys, and rhythm—into a coherent whole, adding to the track’s clarity and balance in the final mix.

Band Members / Musicians:

The Oneness Band:
  • Wilburn Cole – Drums, Background Vocals As drummer and backing vocalist in The Oneness Band, Wilburn Cole is one of the unsung anchors of this album for me. His grooves keep the songs steady while the production gets slicker and more adventurous, and those subtle vocal touches help thicken the choruses without drawing attention to themselves. On this record his playing bridges roots tradition and mid-80s polish in a very natural way.
  • Christopher Meredith – Bass Christopher Meredith’s bass lines give the album much of its physical weight and pulse. The way he sits just behind the beat locks in beautifully with the drums, keeping that reggae sway even when synths and horns push things toward crossover territory. On these tracks his playing feels deliberate and relaxed at the same time, grounding Jimmy Cliff’s melodies with a warm, unhurried low end.
  • Sidney Wolfe – Percussion Sidney Wolfe’s percussion work adds the small details that make these arrangements feel alive to me. His shakers, hand drums, and accents tuck in around the main rhythm parts, giving extra motion to the grooves without cluttering them. On this album his contributions are like a second heartbeat underneath the songs, pushing the feel forward and keeping the reggae character intact.
  • Earl “Chinna” Smith – Lead Guitar Earl “Chinna” Smith comes in with the authority of a true reggae guitar legend, and I can really hear that experience on this album. His lead lines are never showy for the sake of it; instead they answer Jimmy Cliff’s vocals, decorate the grooves, and add small, melodic hooks that stay with me long after the song ends. Here his playing threads roots credibility straight into the slicker 80s soundscape.
    Earl “Chinna” Smith Wiki
  • Ranchie McLean – Rhythm Guitar Ranchie McLean’s rhythm guitar parts are one of those elements I really notice when they are gone, not when they are present. On this album his chops and skanks sit right in the pocket, tightening the groove and giving the keyboards and horns a solid frame to play against. His playing keeps the reggae backbone firm, even when the production leans into pop and funk influences.
  • Ansel Collins – Organ, Keyboard Ansel Collins brings decades of reggae keyboard experience to these sessions, and the result is a set of organ and synth lines that feel both classic and up to date. I hear him filling gaps with warm chords, answering vocals with little melodic phrases, and reinforcing the groove without crowding it. On this album his touch helps glue together the roots band, the horns, and the digital production.
    Ansel Collins Wiki
  • Harold Butler – Keyboard Harold Butler’s keyboard work adds another harmonic layer to the record, and I really feel his role in the smoother, more soulful touches throughout the arrangements. His parts often sit just behind the main chords or double key moments in the vocal lines, giving the songs extra depth without becoming flashy. On this album he helps balance the earthiness of the band with a subtle, almost jazzy refinement.
    Harold Butler Wiki
Kool & The Gang Musicians:
  • Kool & The Gang Horns – Horn Section The Kool & The Gang horn section brings a very different energy into the album—sharper, funkier, and clearly shaped by years of R&B and pop work. I hear them lifting choruses, punching through transitions, and giving several tracks that bright, brassy edge that defined so much mid-80s crossover music. Their sound helps explain why this record feels bigger than a straight roots session.
  • Cliff Adams – Trombone Cliff Adams’ trombone lines slide in between the trumpet and sax parts, adding warmth and weight to the horn arrangements. On this album his playing often underpins the brass voicings, giving the stabs and swells a broader, more rounded character. I like how his tone helps soften the brightness of the 80s production, keeping the horns musical rather than just sharp accents.
  • Mike Ray – Trumpet Mike Ray’s trumpet parts supply much of the sparkle in the horn section for me. His high lines and bright stabs cut through the mix, especially in the choruses and instrumental breaks. On this record he helps shape the more “anthemic” moments, giving Jimmy Cliff’s melodies an extra lift and adding a bit of Kool & The Gang’s stadium-ready flair to the reggae foundation.
  • Curtis Williams – Sax / Alto Sax Curtis Williams works mainly in the middle and upper ranges, and his alto sax gives the arrangements a smooth but agile voice. I hear him doubling melodies, filling between vocal phrases, and helping the horn section move as one tight unit. On this album his tone adds a soulful gloss that fits perfectly with the more polished tracks without losing touch with the underlying groove.
  • Ronald Bell (Khalis Bayyan) – Tenor Sax, Keyboards Ronald Bell, also known as Khalis Bayyan, brings serious songwriting and arranging pedigree from Kool & The Gang into this project. On "Cliff Hanger" I can sense his hand in the structured horn lines and some of the richer keyboard textures that push the songs toward funk and R&B territory. His presence helps connect Cliff’s reggae roots with a broader, radio-friendly sound.
    Ronald Bell Wiki
  • Amir Bayyan – Drum Programs, Bass Synth, Keyboards, Guitar Amir Bayyan—also known as Kevin Bell and the younger brother of Kool & The Gang founders Robert "Kool" Bell and Ronald "Khalis Bayyan" Bell—keeps appearing in my research as a quietly powerful force in the music world. He even co-wrote “Reggae Night,” the hit Jimmy Cliff later performed, together with LaToya Jackson. From everything I’ve reviewed, the only reason he still doesn’t have a dedicated Wikipedia page comes down to the platform’s tough “notability” rules, which demand substantial independent coverage. His work is real, influential, and easy to trace in album credits, but most of that information lives inside group listings rather than standalone media profiles—and that usually isn’t enough for Wikipedia’s criteria.
  • Gary Henry – Acoustic Piano & Synthesizers, Keyboards Gary Henry’s piano and synth work helps fuse the reggae base with the slicker 80s soundscapes that run through the album. I hear him switching comfortably between warm acoustic voicings and more modern textures, often reinforcing harmonies or adding small hooks in the background. On this record his playing quietly shapes the mood, especially in the more melodic and atmospheric passages.
Additional Musicians:
  • Isidro “Cosa” Ross – Percussion Isidro “Cosa” Ross adds another layer of percussion colour to the album, and I really notice the extra drive his parts bring to the more rhythmic tracks. His playing weaves around the main drum kit and Sidney Wolfe’s parts, creating a rich bed of movement that keeps the grooves lively. On this record he helps push the songs toward the dancefloor without overwhelming the core reggae feel.
  • Sly Dunbar – Live Hi-Hat, Simmons Hearing Sly Dunbar on live hi-hat and Simmons drums here is like catching a familiar signature in a crowded mix. His precise, driving patterns add a crisp, modern snap to the rhythms, especially on the more electronic-leaning cuts. On this album his contributions help weld traditional reggae drumming to the synthetic textures that defined so much of the mid-80s sound.
    Sly Dunbar Wiki
  • Robbie Shakespeare – Bass Guitar, Guitar Robbie Shakespeare’s bass and guitar work brings that unmistakable Sly & Robbie weight into the project. On this record I hear his bass tone thickening the low end and adding a slightly dubby authority to the groove, even when the arrangements lean pop. His presence gives the album a direct line to the heaviest side of 80s reggae production.
    Robbie Shakespeare Wiki
  • Fernando Luis – Guitar Fernando Luis adds supporting guitar textures that help fill out the stereo field and reinforce the rhythmic drive of the songs. His parts often sit just beneath the main rhythm and lead guitars, adding extra body to the chord work and small answering figures in the verses. On this album his playing quietly strengthens the arrangements without stepping into the spotlight.
  • Rick Iantosca – Guitar, Keyboards Rick Iantosca’s dual role on guitar and keyboards gives him a lot of influence over the feel of the tracks he appears on. I can hear his touch in the slightly rock-tinged edges and some of the tighter, more structured chord movements. On this album he helps bridge the gap between reggae groove and 80s pop-rock sensibility, adding a bit of bite to the otherwise smooth production.
  • Kendal Stubbs – Bass Guitar Kendal Stubbs steps in on bass guitar to support specific tracks, and his playing fits seamlessly into the broader low-end landscape of the album. I hear him locking tightly with the drums and drum programs, keeping the groove clean and supportive rather than flashy. His lines serve the songs first, reinforcing that steady pulse the arrangements need to breathe.
  • Jaco Pastorius – Bass Guitar Jaco Pastorius is best known for rewriting the rulebook on electric bass, and his appearance here adds a fascinating twist to the record. On this album his playing is more integrated than showy, but I can still hear that fluid, singing tone and rhythmic confidence. His presence brings a subtle jazz-fusion sophistication into the groove without pulling focus away from Jimmy Cliff.
    Jaco Pastorius Wiki
 
  • Kim Palmu – Rhythm Guitar Kim Palmu’s rhythm guitar work helps reinforce the chording and groove structures laid down by the main band. On this album I hear him doubling patterns, tightening up the feel in the midrange, and adding extra strumming energy where the arrangements call for more drive. His contribution is one of those elements you feel more than you consciously notice.
  • Jimmy Cliff – Acoustic Piano Beyond his role as vocalist and bandleader, Jimmy Cliff also adds acoustic piano parts that deepen the emotional tone of certain tracks. When he sits at the keys, the chords often feel more personal and direct, as if he’s sketching the songs from the inside. On this record those piano touches give a glimpse of the songwriter behind the production gloss.
    Jimmy Cliff Wiki
  • Peter Duarte, Dennis White, Syd Judah – Horns Peter Duarte, Dennis White, and Syd Judah appear as an additional horn team, thickening the brass sound beyond the core Kool & The Gang section. I hear their contributions in the layered lines and fuller chord voicings that pop up in some arrangements. On this album they help create that “wall of horns” effect that gives certain choruses a real lift.
  • Frank Heller & Peter Dlugokencky – Emulator Programmers Frank Heller and Peter Dlugokencky handle the Emulator programming, and their work is a big part of why this record sounds so firmly rooted in the mid-80s. I can hear their fingerprints in the sampled textures, synth embellishments, and occasional atmospheric touches that sit behind the band. On this album they help weld live performance and digital technology into one coherent sound.
  • Background Vocals: Mekaeal Muhammed, Cynthia Huggins, Samiyyah Motley, Jimmy Cliff, Derrick Culler, Ice Cold Love (Jeff Clardy, Bert Clardy, Jerry McElroy)

Complete Track-listing:

Tracklisting Side One:
  1. Hitting with Music
  2. American Sweet
  3. Arrival
  4. Brown Eyes
  5. Reggae Street
Video: Jimmy Cliff - Hitting with Music
Tracklisting Side Two:
  1. Hot Shot
  2. Sunrise
  3. Dead and Awake
  4. Now and Forever
  5. Nuclear War
Video: Jimmy Cliff - Hot Shot

Disclaimer: Track durations are not printed on the LP and therefore omitted. Durations may vary between editions due to mastering differences.

How Jimmy Cliff Assembled One of the Most Diverse Musician Line-Ups of the 1980s

The 1985 album "Cliff Hanger" often surprises collectors and music historians for one particular reason: the sheer number of musicians involved. A closer look reveals an extraordinary blend of Jamaican reggae veterans, American funk powerhouses, jazz icons, and top-tier session players. Far from accidental, this impressive roster reflects the scale of Jimmy Cliff’s international career, the backing of a major global label, and the collaborative nature of mid-80s cross-genre production.

The Pulling Power of a Global Star

By the mid-1980s, Jimmy Cliff wasn’t merely a respected reggae artist—he was one of the few Jamaican musicians recognized worldwide. His role in the landmark film The Harder They Come had introduced reggae to an international audience, and decades of touring across Europe, North America, and Japan gave him a global fan base large enough to support ambitious studio projects. That level of visibility made him a magnet for world-class talent, and his albums became creative crossroads where scenes converged.

Major Label Support: CBS Steps In

"Cliff Hanger" was released on CBS (Columbia Records) in Europe, one of the largest and most financially powerful labels of the era. Major labels in the 1980s frequently invested heavily in artists who bridged genres and appealed to multiple markets. Cliff fit that profile perfectly, and CBS had every incentive to fund high-end studio sessions with top musicians, large horn sections, cutting-edge synth programmers, and multiple producers. The album’s extensive credits read like a typical major-label world-music crossover production of the era.

The Oneness Band: Cliff’s Jamaican Core

At the heart of the album is The Oneness Band, Jimmy Cliff’s long-standing Jamaican ensemble. These were seasoned reggae musicians with deep roots in Kingston’s studio culture. Players such as Earl “Chinna” Smith, Ranchie McLean, and Ansel Collins were already legendary in Jamaica, respected for their work with countless reggae pioneers. Their presence anchors the album in an authentic roots foundation, no matter how modern the production becomes.

Kool & The Gang’s Influence: A Funk Powerhouse Joins In

A second pillar of the album’s musician roster comes from an unexpected—but crucial—source: Kool & The Gang. The connection was forged through producer Amir Bayyan (also known as Kevin Bell), a central creative figure in the band. At the time, Kool & The Gang were at the peak of their commercial success, riding high on global hits such as Celebration, Get Down On It, and Ladies Night. When Bayyan co-produced "Cliff Hanger," he brought with him his entire musical infrastructure—horn sections, keyboardists, and fellow band members who were already used to working together in the studio.

The album credits make this unmistakable. Musicians like Cliff Adams, Mike Ray, Curtis Williams, and Ronald Bell (Khalis Bayyan) represent the full Kool & The Gang horn and keyboard contingent. They add a polished, American funk shimmer to the album, blending seamlessly with the Jamaican rhythm section.

A World-Traveling Production: Multiple Studios, Multiple Scenes

Albums that are recorded across multiple countries naturally accumulate diverse rosters of musicians. "Cliff Hanger" reflects this trend with contributions from Jamaican, American, and European players. The credits include Frank Heller and Peter Dlugokencky as Emulator programmers—specialists who were rarely found in traditional reggae sessions but were essential in the digital studios of the time.

The logistics of 1980s studio work often required hiring local talent wherever the recording took place. Some tracks were likely produced in Jamaica, others in New York or New Jersey, and additional overdubs may have occurred in Europe. Each location brought its own musicians into the fold, contributing to the album’s remarkable diversity.

Sly & Robbie and the High-End Session Players

Adding Jamaican icons Sly Dunbar and Robbie Shakespeare was another sign of the album’s scope. Known as the most in-demand rhythm section of the 1980s, Sly & Robbie were working with everyone from Grace Jones to Bob Dylan. Their appearance on a Jimmy Cliff album funded by CBS fits the pattern perfectly—Cliff and the label had both the artistic and financial leverage to bring them into the project.

Jaco Pastorius: A Jazz Giant at a Crossroads

One of the album’s most surprising contributions comes from Jaco Pastorius, arguably the most influential electric bassist in jazz history. By 1985, Pastorius was in a transitional period, taking on session work across genres to support himself. His appearance on "Cliff Hanger" was not unusual for the time—he recorded with pop, world-music, and fusion artists regularly during this period. His inclusion adds another layer of prestige to an already star-studded lineup.

Bringing It All Together

When viewed as a whole, the musician roster on "Cliff Hanger" is not just impressive—it’s a reflection of the unique position Jimmy Cliff held in the mid-1980s. He had:

• The global star power to attract elite musicians.
• The backing of a major label willing to fund cross-continental production.
• A trusted Jamaican band that formed the album’s rhythmic backbone.
• A direct creative link to Kool & The Gang, a top American funk institution.
• Access to top studio players through multi-city recording sessions.

The result is an album where Jamaican roots musicians, American funk masters, jazz virtuosos, and pop session players all appear side by side. "Cliff Hanger" stands today as a snapshot of global musical collaboration at a moment when boundaries were loosening and genres were boldly colliding.

Sources of Information
  • Album credits from "Cliff Hanger" (Jimmy Cliff, CBS Records 26528, 1985) as I reviewed them directly from my own copy.
  • Information taken from the album scans I photographed myself, including the full musician listings for The Oneness Band and the Kool & The Gang contributors.
  • Details I've cross-checked from biographical and discographical notes about Amir Bayyan, Ronald Bell, and the wider Kool & The Gang horn section.
  • Context gathered from following Sly & Robbie's studio and touring work during their incredibly active mid-80s period.
  • References to Jaco Pastorius’ session activity between 1984 and 1986, which I’ve read about extensively over the years.
  • Background knowledge I've built up from collecting and studying CBS/Columbia Records' reggae releases from the 1980s.

All images on this site are photographed directly from the original vinyl LP covers and record labels in my personal collection. Earlier blank sleeves were not archived due to past storage limitations, and Side Two labels are not always included when they provide no collector-relevant information. Image quality varies, as photos were taken over several decades using different cameras. You may use these images for personal or non-commercial purposes if you include a link to this website. Commercial use requires my permission. All text on album covers and labels has been transcribed using a free online OCR service.

Index of JIMMY CLIFF Vinyl Album Discography and Album Cover Gallery

Jimmy Cliff Portrait https://vinyl-records.nl

Jimmy Cliff: The Voice That Carried Reggae Across the World

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Jimmy Cliff always sounded like sunlight pressed into wax — that bright, effortless lift in his voice that made even the heaviest songs feel like they had somewhere hopeful to go. From the early ska sparks to the full reggae blaze of “Many Rivers to Cross,” his records carried a kind of stubborn optimism you could feel through the sleeve. And then there was The Harder They Come, the film and soundtrack that kicked open reggae’s door to the world, with Cliff at the center of it all, cool as ever.

He left us on 24 November 2025, but his vinyl spins on: warm, melodic, and unbothered by time. Drop the needle on one of his early Island pressings and you still hear the same thing listeners heard in the ‘70s — a man turning struggle into soul, and soul into something you want to play again the next day.

Learn more about Jimmy Cliff’s life and music

JIMMY CLIFF - Cliff Hanger album front cover vinyl record
JIMMY CLIFF - Cliff Hanger

This album hits me with that clean mid-80s reggae snap, the kind that lets Jimmy Cliff glide effortlessly through every groove. Earl “Chinna” Smith drops those razor-sharp guitar licks that keep the riddims grounded while Cliff rides high on melody. The whole record feels like a tight mix of island warmth and radio-ready swagger—proper vibes that still spark decades later.

JIMMY CLIFF - The Power and the Glory album front cover vinyl record
JIMMY CLIFF - The Power and the Glory

"The Power and the Glory," released in 1983 in Holland, captures Jimmy Cliff at a creative zenith. This album is a vibrant showcase of Cliff's ability to merge reggae with various musical styles, creating a sound that is both contemporary and timeless.

Updated JIMMY CLIFF - Wonderful World Beautiful People album front cover vinyl LP album https://vinyl-records.nl
JIMMY CLIFF - Wonderful World Beautiful People 12" Vinyl LP

Released in 1970 in Germany, this landmark reggae album introduced Jimmy Cliff’s powerful voice and socially conscious songwriting to the world. "Wonderful World, Beautiful People" helped reggae cross borders, blending hope and protest into an enduring cultural milestone.

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