![Cymande – Cymande (Self-Titled) [Album Review]](https://images.squarespace-cdn.com/content/v1/565c1ab5e4b05079e4bfa169/1769492761645-DQT7FNXW75ASJSTNN9T2/Cymande+Self-Titled+Album+Cover.jpg)
Released in 1972, the self-titled debut, Cymande, offers a brilliant blend of funk, jazz fusion, soul, and reggae that will appeal to just about any music lover; if they’ve heard of the band, that is.
Yes, dear reader, had it not been for my ongoing project: Exploring the history of recorded music; one album at a time, it’s highly likely that I would never have heard of Cymande either. It isn’t that their music is obscure, far from it, but they’ve flown under the radar of what is considered popular music. Yes, funk and jazz-styled music have often existed on the outskirts of the music industry, but given just how exceptional this debut is, it blows my mind to consider that Cymande, the band and the album, were never more popular; they truly are a hidden gem.
It is important to note, however, that Cymande did see moderate success in the United States; it just wasn’t long-lasting, and their single chart performance, while ranking in the Top 50, didn’t venture towards the top of the charts.
Given just how important album artwork was during the early ‘70s, it adds further fuel to the inquisitive fire as to why this release was seemingly ignored by the music-buying public, for the cover artwork is simply stunning and would have looked impressive on the shelves of any record store. This is certainly true when you consider the expanded artwork design continues on the rear cover, an aspect of music’s visual arts accompaniment that continues to be ignored in the streaming era. Thankfully, this aspect hasn’t been lost to the sands of time, for Partisan Records has not only kept the album alive via various vinyl reissues but they’ve remastered it in 2021 and have additionally reissued a CD release with the original gatefold design intact.
Part of the appeal, other than reasons of ownership and expanded artwork, is the magnificent sonic quality of the remastered release. Naturally, I haven’t heard an original release, but as I listen to the CD-quality lossless Apple Music stream, I’m left stunned, for this reproduction is so impressive you’d think it came directly from heaven. While I haven’t been able to find out which specific mastering engineer/s worked on this release, it was done by the team at Abbey Road Studios and is amongst the greatest sonic experiences I’ve ever had.
The sound signature is warm and creamy, but not overly so, as the incredible dynamic range remains intact, thereby allowing the album to sparkle in a way that is non-fatiguing. This is as much a sit up and take notice release as it is a lounge back and chill performance. How much the remaster plays into the remarkable recording and mix is a question that requires further investigation, but all one needs to do is hit play, and I’ve no doubt you’ll be blown away with one of the most memorable recorded musical experiences life has to offer.
While purists may note that the songs “Friends” and “Mighty Heavy Load” are not part of the original album’s linear structure, but added to the most recent remastered CD reissues, I feel these bonus tracks add to the core album experience, rather than detract from it. Plus, and this may just be me, but I’m not smitten with “Rastafarian Folk Song”, and I therefore feel “Mighty Heavy Load” is a much stronger closer.
Zion I is a rhythmic masterpiece and a perfect song to open the album with, as it sets the tone for the entire record. Immediately, you’ll feel your body moving involuntarily to the music, and after listening numerous times, you’ll find your mind melds perfectly with the harmonious vocals in a manner that will fill your soul with joy.
One More slows the tempo somewhat, but it isn’t a jolt to the senses. Instead, you’ll find “One More” akin to a sonic cleanser following the more upbeat “Zion I”. Its gentler mood is so pleasing that you’ll feel as if the weight of the world has been lifted off your shoulders when you listen to this incredible composition.
Getting It Back, much like “Zion I”, has some killer basslines by Steve Scipio that open the track and remain as the song’s backbone, but it’s the tight production, Ray King’s incredible vocals, and Peter Serreo’s tenor saxophone, amongst all other percussive elements, that make “Getting It Back” a standout.
Listen is a masterful tune, one that I’m surprised Quentin Tarantino (Pulp Fiction and Jackie Brown) hasn’t utilised in one of his films. That said, “Listen” is one of the finest songs from the album and is amongst my favourite songs of all time, by any artist, of any era.
Rickshaw is a little edgier than the smoothness heard on “Listen”, but diversity plays well into this record, for there’s never a dull moment, and it’s these contrasting elements that are essential to the album experience. Where “Rickshaw” differs, however, is in it’s free flowing jazz fusion styling, and while it may only be an instrumental tune, the layers of musical elements are something that has to be heard to be fully appreciated as you’ll find yourself immersed in a sonic presentation that is complex, yet appealing, and is never heard the same way twice as your mind will attach itself to different elements of the mix upon each repeat listen.
Dove is pure bliss. Sometimes less is more, but not in this case, for “Dove” is one of the most beautiful tunes you’re ever likely to hear, and it needs the entire 10+ minutes to convey its nuanced emotion.
Bra flows relatively smoothly from “Dove”, and while I maintain that I had not heard of Cymande until very recently, “Bra” sounds awfully familiar. Most likely, that’s due to it being sampled over the years by hip-hop artists, but despite that, where “Dove” needed the extra time to convey the song adequately, I feel “Bra” is a little too repetitive, despite its compelling groove.
The Message is an incredible composition with a funky, uplifting rhythm that will see you moving subconsciously throughout. “The Message” and “Bra” before it were the two songs that made the charts in the United States, yet I don’t consider them the strongest songs from the album, regardless of how much I enjoy “The Message”.
Rastafarian Folk Song is the album’s original closer, but the spoken word opening, regardless of paying homage to Rastafarian culture and heritage, takes listeners out of the musical flow. Once the song gets going, however, it’s catchy, appealing, and enjoyable.
Friends is a fluid, jazzy number that has some killer sonic hooks and is an admirable bonus track that is most certainly worthy of inclusion and has been strategically positioned, for “Mighty Heavy Load” is, in my opinion, an ideal closer for the record.
Mighty Heavy Load is a little more mellow than “Friends”, but the more laidback and mid-tempo styling allows for time to contemplate and appreciate the music that’s just been heard. Of course, if you’re like me, you’ll find yourself playing Cymande on repeat, for this is one album that can seldom be listened to once.
Few albums are as impressive as Cymande. Its sonic prowess is only amplified by the incredible songwriting, recording, and overall production values, but it’s the unassuming nature of the record, having flown under the radar for so long, that makes this album even more special, for it should have been a landmark release of the ‘70s, one that deserves far more attention than it receives. So, if, like me, you’ve only just come across this incredible release, share this album with a friend or a loved one, for it's too special to keep to ourselves.