They arrived in London, England from Guyana and Jamaica and developed a subtle, deep funk style heavily influenced by Calypso rhythms, Jazz, African music, and American Soul.
Cymande can now be seen as one of the most sophisticated of the heavy funk acts that evolved in the early 1970s.
By the mid-seventies the band members were going their separate ways. It wasn't until 20 years later that they reaped any financial rewards, as their music became a popular source for samplers.
Cymande's original albums are still widely sought-after by DJ's and funk afficionados.
Perhaps the band's best known recording is the soulful dancefloor groove "Bra", later sampled by the American hip-hop group De La Soul.
Cymande was accidentally discovered by English producer John Schroeder in a Soho, London club where they were rehearsing. He was there to see a rock band. But the gig had been cancelled and he stumbled upon this unique collection of West Indian musicians. He soon signed the band and recorded their intial single "The Message." The single was released by Janus Records, a division of Chess Records. The track reached number 20 on the US R&B and Pop charts. This set the stage for Cymande's self titled release in 1972.
Cymande traveled to New York after the success of the first LP, and began a tour of the US with Al Green. They also shared a few bills with the latin funk ensemble Mandrill. They played a few important venues, including The Apollo, and played a gig on Soul Train.
The band released three LPs for Janus. However, their final album, "Promised Heights" which shows Cymande developing their distinctive chilled funk/jazz sound was not released in the USA where Cymande had achieved their initial success. Promised Heights included one of their most cherished tracks, "Brothers on the Slide," along with "The Recluse," the downtempo jazz/funk of "Changes," and the slow funk churner "Promised Heights." The tracks "Brothers on the Slide," and "Bra," also were staples of the new Rare Groove/ Deep House scene which developed in London and New York night clubs during the eighties.
Members
* Ray King - Vocals/Percussion
* Steve Scipio - Bass
* Derek Gibbs - Soprano/Alto
* Pablo Gonsales - Congas
* Joey Dee - Vocals/Percussion
* Peter Serreo - Tenor
* Sam Kelly - Drums
* Mike Rose - Alto/Flute/Bongos
* Patrick Patterson - Guitar
* Jimmy Lindsey - Vocals/ Percussion (Promised Heights LP)
Discography
* 1972 - Cymande
* 1973 - Second Time Around
* 1974 - Promised Heights
* 2004 - Renegades of Funk "Best Of Anthology"
* 2007 - Promised Heights "reissue compilation"
In popular culture
* "Bra" is featured on the soundtrack to Spike Lee's 1993 film Crooklyn. "Bra", "Dove", & "The Message" can be heard in his 2002 film 25th Hour.
* "Bra" is sampled by De La Soul in the song "Change in Speak," from 3 Feet High and Rising.
* The instrumental mid-portion of "Bra" was used at both the beginning and ending of John Leguizamo's stage production Sexaholix.
* The Fugees sampled Cymande's "Dove" for the title track of their 1996 second album The Score.
* The Message was resampled for Masta Ace's "Me & The Biz," notably featured in the video game Grand Theft Auto: San Andreas, and in 1991 on MC Solaar's "Bouge de là."
* Solo.X sampled "Dove" for the first track on 2007s Limited Edition promotional EP Black September on the song Glass House Theory
* The track "Brothers on the Slide" was featured in the background of the movie Dallas 362.
* British reggae band Aswad covered "The Message" on their 1988 album "Distant Thunder".
* "The Message" was sampled by Ruthless Rap Assassins on their 1990 single "And It Wasn't A Dream"
Rastafarian Folk Song
Cymande Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Dedicated to the world's first hippie
Hail Jah Rastafari
Hail Jah Rastafari
(Ahh, say the words, ahh, speak the words, speak the Words)
Behold how good and how pleasant it is
(Praise be, praise be)
For brethren to dwell together in unity
say the words, true words, say the words, lord, say the words)
It is like the precious ointment upon the head
Which runneth down to the beard
(Oh, Oh, Oh,)
Even I-Man's beard
That went down to the skirt of I-Man's garments
(Praise, praise Rastafari, peace, peace and love)
When I was a scar faced man
Everybody know be me name
Now I am a bearded man
Nobody know be me name
Allah, Allah, Allah Allah Jah
Everybody know be me name
Only Babylon and them
Could never know be me name
Speak brother
Peace and love is the message
Rastafari is bringing you this message
Yes
We don't need a Rastafari
Everybody know be me name
Kings of kings and lords of lords
Would I ever know be me name
Allah, Allah, Allah Allah Jah
Everybody know be me name
Only Babylon and them
Could ever know be me name
Yes
Peace, peace my friend
Rastafari is bringing this message
Power to the people, power to the people
And right on, right on
Allah, Allah, Allah Allah Jah
Everybody know be me name
Only Babylon and them
Could ever know be me name
Allah, Allah, Allah Allah Jah
Everybody know be me name
Kings of kings and lords if lords
Could ever know be me name
The song starts by setting the context that it is a Rastafarian folk song dedicated to the world's first hippie. It is then followed by a chant of "Hail Jah Rastafari" which signifies the worship of the Rastafarian god. The song then transitions to a verse that praises the unity of brethren living together, which is compared to the precious ointment running down from the head to the beard.
The following lyrics speak about how the singer was once known by his scar face but now that he has grown a beard, nobody knows his name. The mention of Allah at this point could be indicative of the Islamic influence on Rastafarianism, which is a religion born in Jamaica in the 1930s. The singer also recognizes that "Only Babylon and them could never know be me name", alluding to the Babylonian system that is perceived to be the enemy of the Rastafarian movement.
In the final verse, the singer closes with a message of peace, love, and power to the people, which are all central to the Rastafarian belief system. The song ends with the repetition of "Allah, Allah, Allah Allah Jah" and "Kings of kings and lords of lords" as a form of praise to their god.
Line by Line Meaning
This is a Rastafarian folk song
Introduction to the song as a Rastafarian folk song.
Dedicated to the world's first hippie
Acknowledging the world's first hippie and dedicating the song to them.
Hail Jah Rastafari
Expressing gratitude and acknowledgment to Jah Rastafari.
Behold how good and how pleasant it is
Appreciating the importance of unity and brotherhood among people.
For brethren to dwell together in unity
Highlighting the significance of togetherness as brothers.
It is like the precious ointment upon the head
Describing the beauty and value of unity among brothers.
Which runneth down to the beard
Portraying the spread of this unity as something that starts from the head and spreads downward.
Even I-Man's beard
Personalizing the appreciation of unity by referencing the singer's own beard.
That went down to the skirt of I-Man's garments
Further elaborating on the spread of unity and its reach.
When I was a scar faced man
Recounting how the singer was known as a scar-faced man.
Everybody know be me name
Explaining how he was widely known by everyone.
Now I am a bearded man
Explaining how time has passed and now the singer has a beard.
Nobody know be me name
Pointing out that despite the change in appearance, he is no longer known by everyone.
Allah, Allah, Allah Allah Jah
Reference to Jah Rastafari and their acknowledgment.
Only Babylon and them
Examples of those who do not or cannot know his name.
Could never know be me name
Emphasizing the exclusivity of those who can know his name.
Speak brother
Encouraging the expression of thoughts and ideas.
Peace and love is the message
Highlighting the overall message of peace and love.
Rastafari is bringing you this message
Attributing the message of peace and love to Rastafari.
We don't need a Rastafari
Rejecting the idea that Rastafari is necessary to understand and embrace this message of peace and love.
Kings of kings and lords of lords
Referring to Jah Rastafari as the true King of Kings and Lords of Lords.
Would I ever know be me name
Emphasizing that only those who recognize Jah Rastafari as the true King of Kings and Lords of Lords can truly know his name.
Power to the people, power to the people
Encouraging the empowerment of the people.
And right on, right on
Expressing agreement or approval to the message of empowerment.
Writer(s): PABLO GONSALES, MIKE 'BAMMI' ROSE
Contributed by Eva E. Suggest a correction in the comments below.
@emmanuelcabey5687
It always gives me great pleasure just to hear cymande