Cymande - 1974 - Promised Heights

Cymande 

1974

Promised Heights

01. Pon De Dungle 3:45

02. Equatorial Forest 3:40

03. Brothers On The Slide 4:15

04. Changes 6:00

05. Breezeman 3:02

06. Promised Heights 6:00

07. Losing Ground 4:27

08. Leavert 3:29

09. The Recluse 5:50

10. Sheshamani 4:03

Ray King / vocals, percussion

Steve Scipio / bass

Derek Gibbs / soprano & alto saxophones

Pablo Gonsales / congas

Joey Dee / vocals, percussion

Peter Serreo / tenor saxophone

Sam Kelly / drums

Mike Rose / alto saxophone, flute, bongos

Patrick Patterson / guitar

A record that closed out a historic three-album run of seminal early 70’s Afro-soul that also included their 1972 self-titled debut and 1973’s ‘Second Time Around.’ ‘Promised Heights’ solidified Cymande’s place in music history, and contains some of their most-beloved and often-sampled tracks such as “Brothers On The Slide”. As children of the Windrush Generation, Cymande were part of the first wave of innovators and originators of the fledgling Black British music scene. Taking influences from their Guyanese and Jamaican roots, the band fused reggae bass lines, Afro-tinged Nyabinghi percussion, psychedelic rock touches, and American style funk instrumentation into a unique sound they dubbed as “Nyah-rock.” ‘Promised Heights’ was recorded following the band’s US tour with Al Green which had firmly planted Cymande in the ears of an adoring American audience. Cymande were also the first British band to ever play the legendary Apollo Theater in Harlem.

On their final LP for Janus Records, Cymande continues the heavy message theme of Second Time Round. "Pon de Dungle" is about the secrets of life and love articulated over a lazy beat. "Equatorial Forest" is a multifaceted tune with a lightning tempo and sliding, accentuating horns, while the Curtis Mayfield-ish "Brothers on the Slide" has some commercial appeal. The flavorful "Changes" is like viewing a good oil painting; the slow, moody instrumental has a meditating effect, and a soft, airy flute makes for an inconspicuous lead instrument. "Promised Heights," the title cut, is strong, and should have done better for Cymande. It has the lilt and beauty of earlier sides, the horn work is sensational, and a nice sax solo scintillates. That same looping reggae beat is matched with meaningful lyrics and a positive, working-together theme on "Losing Ground." "The Recluse" has a great hook ("When will all the lights go, will they leave the blackest night") and features a nice romping beat spiced by sweeping horns. Cymande is a perfect example of music's universal appeal; despite not knowing 70-percent of what they're saying, you're still drawn into the sounds.