Pushkin.

Pushkin.

The British funk band Simonde released their self titled debut in nineteen seventy two. The album's deep calypso and reggae grooves are inspired by its members West Indian roots, and decades after its release, samples taken from Simnde's albums would find their way into songs that now define hip hop's Golden era from artists like Day La Soul, Gang Star and the Fujis. While the band had found a second life through sampling during the late eighties and nineties, its primary members bassist Steve Sippio and guitarist Patrick Patterson also found second lives as lawyers, but the desire to make music never left them, and last month Simonde released a new album called Renaissance, a project their label describes as a spiritual and sonic follow up to their nineteen seventy four album Promised Heights. On today's EPISO, I talked to Steve Cipio and Patrick Patterson about their early band days in London and about the early calypso track that helped launch Simonde's sound. They also reminisce about touring the US and opening for Al Green in the seventies, and how they came to collaborate with artists like Jazzy B and Celeste on their new album This is Broken Record, Real musicians, real conversations. Here's my conversation with Simandae.

The British funk band Simonde released their self titled debut in nineteen seventy two. The album's deep calypso and reggae grooves are inspired by its members West Indian roots, and decades after its release, samples taken from Simnde's albums would find their way into songs that now define hip hop's Golden era from artists like Day La Soul, Gang Star and the Fujis. While the band had found a second life through sampling during the late eighties and nineties, its primary members bassist Steve Sippio and guitarist Patrick Patterson also found second lives as lawyers, but the desire to make music never left them, and last month Simonde released a new album called Renaissance, a project their label describes as a spiritual and sonic follow up to their nineteen seventy four album Promised Heights. On today's EPISO, I talked to Steve Cipio and Patrick Patterson about their early band days in London and about the early calypso track that helped launch Simonde's sound. They also reminisce about touring the US and opening for Al Green in the seventies, and how they came to collaborate with artists like Jazzy B and Celeste on their new album This is Broken Record, Real musicians, real conversations. Here's my conversation with Simandae.

So.

So.

I remember hearing your guys' music for the first time and just being completely blown away. I mean, I knew James Brown, I knew Parliament Funkadelic. I even knew to some degree, Fela Kuti, But just like the way you guys had this original sound that was I mean, those those three off felt similar to me, like, and you guys too, like, but you could tell that Fela in Parliament Funkadelic were doing like a version of James Brown, like a very good version of James Brown. But you guys just had this whole I don't know, it was funk, but it also was these really complex melodies and it was just guys. I don't know what was your guys' musical upbringing, Like Stephen Patrick, what were you guys listening to growing up?

I remember hearing your guys' music for the first time and just being completely blown away. I mean, I knew James Brown, I knew Parliament Funkadelic. I even knew to some degree, Fela Kuti, But just like the way you guys had this original sound that was I mean, those those three off felt similar to me, like, and you guys too, like, but you could tell that Fela in Parliament Funkadelic were doing like a version of James Brown, like a very good version of James Brown. But you guys just had this whole I don't know, it was funk, but it also was these really complex melodies and it was just guys. I don't know what was your guys' musical upbringing, Like Stephen Patrick, what were you guys listening to growing up?

Well, I left I left the Caribbean pretty late. I was thirteen when I left the Caribbans, so I was pretty much into Calypso's obviously as the indigenous misic of the Caribbean, and at the time, you know very much you had lots of Natkin Cole and Brooke Benton's and those those those guys were really big in the Caribbean at that time and the sixties, and I think that might still be big in the Caribbean because you know, that music just connected with the people, with the people there, So that was the music I was listening to, the indigenous Calypsos and so on, and on top of that the stuff from America. A lot of that that of that period, you know, to say, Napkin Code and those guys there. So when I went to the State, when I went to the UK at thirteen and sixty three, I still had that very much with me, but then gradually started listening to the other stuff that was happening happening in the UK at the time, you know. So there there was Solomon Burke, I think was mid sixties. I really got into Solomon Burke, very much into into what he was doing. So I was still very much into the soul, you know, of that of that period. But at the same time I also started listening to a lot of jazz around the mid sixties, you know, Miles Davis and Coltrane and and those guys, you know, but on top of that also Jimmy Henjacks, you know, So it was varied. I wasn't kind of stuck in one particular groove and just listening to that, you know, whatever struck me, whatever took my fancy. I didn't have any any elitism, you know, real music is concerned.

Well, I left I left the Caribbean pretty late. I was thirteen when I left the Caribbans, so I was pretty much into Calypso's obviously as the indigenous misic of the Caribbean, and at the time, you know very much you had lots of Natkin Cole and Brooke Benton's and those those those guys were really big in the Caribbean at that time and the sixties, and I think that might still be big in the Caribbean because you know, that music just connected with the people, with the people there, So that was the music I was listening to, the indigenous Calypsos and so on, and on top of that the stuff from America. A lot of that that of that period, you know, to say, Napkin Code and those guys there. So when I went to the State, when I went to the UK at thirteen and sixty three, I still had that very much with me, but then gradually started listening to the other stuff that was happening happening in the UK at the time, you know. So there there was Solomon Burke, I think was mid sixties. I really got into Solomon Burke, very much into into what he was doing. So I was still very much into the soul, you know, of that of that period. But at the same time I also started listening to a lot of jazz around the mid sixties, you know, Miles Davis and Coltrane and and those guys, you know, but on top of that also Jimmy Henjacks, you know, So it was varied. I wasn't kind of stuck in one particular groove and just listening to that, you know, whatever struck me, whatever took my fancy. I didn't have any any elitism, you know, real music is concerned.

What were some of the calypsos growing up that you listened to? You remember any specific songs.

What were some of the calypsos growing up that you listened to? You remember any specific songs.

Well, one was very important for the image of the band and the name of the band, and that was a calypso that was called Dove and Pigeon. It was a big hit in the Caribbean and I think around nineteen sixty two. And it was about a competition. The eclypso itself was about a competition between a dove and a pigeon as to weis could eat the most pepper? Who could eat the most pepper peppers? Yeah, peppers, hot pepper, raw hot peppers. So they had this competition between them to say who is the better pepper? Eata and uh. And the dove the dove was smart. So the dove had this it was. It was the kind of hook of the eclypso and it went something like, what the dove did is that it found a way to ease the eating of the pepers. So while the pitcher was continually eating the peppers, the dove found the way to ease that bag. So it used to saying this this refrain in the ECLIPSEO which went something like, I think didn't go again. Oh yeaht Nettie, Yeah, Nettie, Nettie ban simande wyo wyo ban simande. And you mustn't say, you must not say, you must not say. And that is how the dove is the pressure of the heat from the pepper barb ca.

Well, one was very important for the image of the band and the name of the band, and that was a calypso that was called Dove and Pigeon. It was a big hit in the Caribbean and I think around nineteen sixty two. And it was about a competition. The eclypso itself was about a competition between a dove and a pigeon as to weis could eat the most pepper? Who could eat the most pepper peppers? Yeah, peppers, hot pepper, raw hot peppers. So they had this competition between them to say who is the better pepper? Eata and uh. And the dove the dove was smart. So the dove had this it was. It was the kind of hook of the eclypso and it went something like, what the dove did is that it found a way to ease the eating of the pepers. So while the pitcher was continually eating the peppers, the dove found the way to ease that bag. So it used to saying this this refrain in the ECLIPSEO which went something like, I think didn't go again. Oh yeaht Nettie, Yeah, Nettie, Nettie ban simande wyo wyo ban simande. And you mustn't say, you must not say, you must not say. And that is how the dove is the pressure of the heat from the pepper barb ca.

Yeah.

Yeah.

Yeah. And all the time the dove was doing that, the pigeon was continually eating. Wow, it was that the pigeon had so much just eventually it just collapsed because it just collapse from eating too much peppers. You know, but you would have heard that refrain I just did. Nettie, Nettie band Simandi. What's familiar there? Wow, that's the clipso it came from. That's the clips from which we took. We took, we took the name from. We don't know what Simandy needs Really you don't know, no, never know what seman they means. It was just a refrain that was sung by the Dove. We liked the song of it and it connected us with that were roots in the Caribbean, so we said let's go with that for the name of the band. Patrick.

Yeah. And all the time the dove was doing that, the pigeon was continually eating. Wow, it was that the pigeon had so much just eventually it just collapsed because it just collapse from eating too much peppers. You know, but you would have heard that refrain I just did. Nettie, Nettie band Simandi. What's familiar there? Wow, that's the clipso it came from. That's the clips from which we took. We took, we took the name from. We don't know what Simandy needs Really you don't know, no, never know what seman they means. It was just a refrain that was sung by the Dove. We liked the song of it and it connected us with that were roots in the Caribbean, so we said let's go with that for the name of the band. Patrick.

So, Patrick, you remember the song as well growing up?

So, Patrick, you remember the song as well growing up?

Uh?

Uh?

Sure, sure, I mean I left the Caribbean quite early, but yes, it was a popular It was a popular song and we you know, as the years went by, we kind of translated or found it, I feel like a way to express the to utilize the name to mean other things. So it's like, you know, you would say Simander, which is kind of if you like Jamaican linguo, instead of just associating it with that one no Shell Lord Nelson's song. But Steve Brightley says that it reflects our Caribbean heritage and so it should.

Sure, sure, I mean I left the Caribbean quite early, but yes, it was a popular It was a popular song and we you know, as the years went by, we kind of translated or found it, I feel like a way to express the to utilize the name to mean other things. So it's like, you know, you would say Simander, which is kind of if you like Jamaican linguo, instead of just associating it with that one no Shell Lord Nelson's song. But Steve Brightley says that it reflects our Caribbean heritage and so it should.

Are you two both from the same place in the Caribbean?

Are you two both from the same place in the Caribbean?

Yes, Guyana.

Yes, Guyana.

What what was the Caribbean community in London in the sixties, Like, were you guys spread out throughout Like where did you guys all live in a specific place where you spread out throughout the city?

What what was the Caribbean community in London in the sixties, Like, were you guys spread out throughout Like where did you guys all live in a specific place where you spread out throughout the city?

Like, what was the diaspora of.

Like, what was the diaspora of.

The Caribbean community in London in the sixties when you guys got there.

The Caribbean community in London in the sixties when you guys got there.

What was that like?

What was that like?

Yeah, just back a little, because some Caribbean people went to London. Caribbean people from other places went to different locations, So you'd find petitions for example in Leeds, it'd find agwillains.

Yeah, just back a little, because some Caribbean people went to London. Caribbean people from other places went to different locations, So you'd find petitions for example in Leeds, it'd find agwillains.

For example in Slough.

For example in Slough.

But our community, and it was a tight community when we when we were there in those days, Guyanese, Trinidadian, to a lesser extent, Barbigian and Jamaicans.

But our community, and it was a tight community when we when we were there in those days, Guyanese, Trinidadian, to a lesser extent, Barbigian and Jamaicans.

So it was it was mainly Guyanese and.

So it was it was mainly Guyanese and.

Jamaicans in our community, but it was our community was tight.

Jamaicans in our community, but it was our community was tight.

It's a I can't say that I see the.

It's a I can't say that I see the.

Same thing nowadays, but we had the privilege of living through a period where that sort of thing happened.

Same thing nowadays, but we had the privilege of living through a period where that sort of thing happened.

You know, our street, Steve and I left five doors.

You know, our street, Steve and I left five doors.

Our families lived about five doors apart from the time, well I was there before him, but from the time he came in an event, we lived very close. His parents knew my parents, his family knew my family, and we've lived that way kind of.

Our families lived about five doors apart from the time, well I was there before him, but from the time he came in an event, we lived very close. His parents knew my parents, his family knew my family, and we've lived that way kind of.

You know, for all these years.

You know, for all these years.

Which of you got into music first or were you both in the music.

Which of you got into music first or were you both in the music.

I got in the first, I used to play soul music with a band, you know, do little trips through German basic American bases in Germany and that sort of thing.

I got in the first, I used to play soul music with a band, you know, do little trips through German basic American bases in Germany and that sort of thing.

That was a bit of a you know, a travel. It was not quite a popular location for there, so for the bands at that time, certainly the the young bands, the bands, the developing bands, if I can put it that way. I used to play a lot on the American basis. We toured.

That was a bit of a you know, a travel. It was not quite a popular location for there, so for the bands at that time, certainly the the young bands, the bands, the developing bands, if I can put it that way. I used to play a lot on the American basis. We toured.

When we did, I can't even call those things tours, you know, it goes spend too much a month or what have you, playing American bases in different kind of places, and then make a few pounds or dollars as the case may be, and.

When we did, I can't even call those things tours, you know, it goes spend too much a month or what have you, playing American bases in different kind of places, and then make a few pounds or dollars as the case may be, and.

Then go back home. But I started quite early.

Then go back home. But I started quite early.

You know, natural fact, I must have been tender sixteen, just going into my seventeenth year.

You know, natural fact, I must have been tender sixteen, just going into my seventeenth year.

That's when I started to do it. Were you doing American soul music or was it? Yeah?

That's when I started to do it. Were you doing American soul music or was it? Yeah?

Absolutely, I mean that I think that's probably the music that I grew up on.

Absolutely, I mean that I think that's probably the music that I grew up on.

The difference between Steve and I is probably that I liked a lot of.

The difference between Steve and I is probably that I liked a lot of.

Rock music as well, and his rock music range is probably narrower than mine.

Rock music as well, and his rock music range is probably narrower than mine.

But you know, all guys were rock rock people. Yeah, what was the first rock and role you started getting into? Patrick, Well, I wouldn't, I wouldn't.

But you know, all guys were rock rock people. Yeah, what was the first rock and role you started getting into? Patrick, Well, I wouldn't, I wouldn't.

I wouldn't say rock and roll, more more more rock guitar like you know, led Zeppelin ten years after Jimmy Hendrix, my all time favorite Claire main Maine kind of guitar guitar music, not.

I wouldn't say rock and roll, more more more rock guitar like you know, led Zeppelin ten years after Jimmy Hendrix, my all time favorite Claire main Maine kind of guitar guitar music, not.

Not not the Jerry Leine Lewis and Little Richard that I mean. I like that, but it wasn't the kind of stuff that I was into. It was nice to listen to, not not for doing That's right. The other stuff was a little more fun, I guess.

Not not the Jerry Leine Lewis and Little Richard that I mean. I like that, but it wasn't the kind of stuff that I was into. It was nice to listen to, not not for doing That's right. The other stuff was a little more fun, I guess.

Right, at what point do you two decide to put a band together yourselves, like to say, like we too, we should do something together.

Right, at what point do you two decide to put a band together yourselves, like to say, like we too, we should do something together.

First of all, had to develop some skills on on on an instrument. I mean Patrick had been playing the guitar for a while, so he was quite skillful on his on his instrument. And I experimented with a few instruments before I actually settled on the base. My first instrument was I I purchased a harmonica, and I still wonder what was the attraction of the harmonicas, But I think I think it might have been because TV was very much into the harmonica at that time, so it might have had something to do with it.

First of all, had to develop some skills on on on an instrument. I mean Patrick had been playing the guitar for a while, so he was quite skillful on his on his instrument. And I experimented with a few instruments before I actually settled on the base. My first instrument was I I purchased a harmonica, and I still wonder what was the attraction of the harmonicas, But I think I think it might have been because TV was very much into the harmonica at that time, so it might have had something to do with it.

I was gonna ask if that because that sounds more like maybe where your inspiration would have been from, rather than like a blues harmonica, more of like a Stevie wonder.

I was gonna ask if that because that sounds more like maybe where your inspiration would have been from, rather than like a blues harmonica, more of like a Stevie wonder.

Yeah, yeah, it might have been. You know Stevie's I really like Steve how Stevie used the harmonica, you know, the way it is phrasing, and it was almost like like a sex in the way that he utilized the harmonica, you know, really really attractive for me. So I think that might have been an influence. But I didn't the kind of skills that Stevie yet, so that do didn't last very long. Patrick's laughing.

Yeah, yeah, it might have been. You know Stevie's I really like Steve how Stevie used the harmonica, you know, the way it is phrasing, and it was almost like like a sex in the way that he utilized the harmonica, you know, really really attractive for me. So I think that might have been an influence. But I didn't the kind of skills that Stevie yet, so that do didn't last very long. Patrick's laughing.

I liked that you didn't sound.

I liked that you didn't sound.

Like Stevie Patrick, I remember his efforts. Then after that, I I I I like the trumpet. I was attracted to the trumpet skill of me, so I purchased a trumpet. But it was it was I mean, I couldn't buy anything at that time, you know, in my mid teens, I couldn't buy anything significant, no big name, brand, brand new, or anything like that. So it was a second hand trumpet, and I think it probably needed a good service in before I started use it, so the pads and everything were all born, so that didn't last very long. And then I tried the guitar a little bit more, and actually it was still still bit that and then to spatch it, he said, well, listen, why don't you try the bass. I'm on the guitar. If you get on the bass, then we could try and maybe try and put something together. So that was when I bought my first bass guitar. It was around maybe seventeen or I was around maybe seventeen or eighteen something like that. I did connect rate it pretty quick that way. I did connect with it pretty quickly. And maybe my style of my style also was very unique, even right from the outset, because I wasn't really listening to bass players as I suppose many people would do, trying to learn techniques and basic things from bass players who were around at the time, and right from the outset I developed my own arm style of playing.

Like Stevie Patrick, I remember his efforts. Then after that, I I I I like the trumpet. I was attracted to the trumpet skill of me, so I purchased a trumpet. But it was it was I mean, I couldn't buy anything at that time, you know, in my mid teens, I couldn't buy anything significant, no big name, brand, brand new, or anything like that. So it was a second hand trumpet, and I think it probably needed a good service in before I started use it, so the pads and everything were all born, so that didn't last very long. And then I tried the guitar a little bit more, and actually it was still still bit that and then to spatch it, he said, well, listen, why don't you try the bass. I'm on the guitar. If you get on the bass, then we could try and maybe try and put something together. So that was when I bought my first bass guitar. It was around maybe seventeen or I was around maybe seventeen or eighteen something like that. I did connect rate it pretty quick that way. I did connect with it pretty quickly. And maybe my style of my style also was very unique, even right from the outset, because I wasn't really listening to bass players as I suppose many people would do, trying to learn techniques and basic things from bass players who were around at the time, and right from the outset I developed my own arm style of playing.

I always wondered about that because the interplay between YouTube between the bass and guitar is always even on the new record, from the very first record, all the way through until the newest record is always seems to me it have been the key to the music. You guys sound very much like you guys are are playing off one another when when you're playing, you know.

I always wondered about that because the interplay between YouTube between the bass and guitar is always even on the new record, from the very first record, all the way through until the newest record is always seems to me it have been the key to the music. You guys sound very much like you guys are are playing off one another when when you're playing, you know.

Not possible, because I mean we started together. I mean the band really started with me and Patrick, even before we started thinking about get adding drums and other instrumentation was me and Patrick used the child basic ideas. And Patrick was always a kind of guitarist who didn't seek to fill every space. You know, you got guitarists who with every gap, every space, they would want to put something in. But Patrick has always been a guitarist who would seek the compliment. And you'll find out with my style of plan I use a lot of syncopatient with my BA explained. I developed that from very early, so I used that syncopation. And then then we got the band together. You know, we got a drummer who was also complimentary, you know, so that's three those three elements. I think we're foundational in terms of the sound the song that Simanda developed self, Patrick and Sam. You know, Sam was a was a complimentary is the drummer you listened, He was very much trying to play with the.

Not possible, because I mean we started together. I mean the band really started with me and Patrick, even before we started thinking about get adding drums and other instrumentation was me and Patrick used the child basic ideas. And Patrick was always a kind of guitarist who didn't seek to fill every space. You know, you got guitarists who with every gap, every space, they would want to put something in. But Patrick has always been a guitarist who would seek the compliment. And you'll find out with my style of plan I use a lot of syncopatient with my BA explained. I developed that from very early, so I used that syncopation. And then then we got the band together. You know, we got a drummer who was also complimentary, you know, so that's three those three elements. I think we're foundational in terms of the sound the song that Simanda developed self, Patrick and Sam. You know, Sam was a was a complimentary is the drummer you listened, He was very much trying to play with the.

Bass right, almost maybe more like like a ringo, more than doing like a backbeat, almost like a ringo. Like he was coming up with interesting parts, you know, like and really seemed like he was following what you guys were doing, and very very unique, unique parts.

Bass right, almost maybe more like like a ringo, more than doing like a backbeat, almost like a ringo. Like he was coming up with interesting parts, you know, like and really seemed like he was following what you guys were doing, and very very unique, unique parts.

Yeah, you'll find that those three albums, they're very spacious. Yeah, you know, very specious.

Yeah, you'll find that those three albums, they're very spacious. Yeah, you know, very specious.

We'll be right back with more from simon day after the break we guys first got together. What were some of the early efforts you got. I mean, were you guys at first doing covers or were you guys starting to write original stuff at that point.

We'll be right back with more from simon day after the break we guys first got together. What were some of the early efforts you got. I mean, were you guys at first doing covers or were you guys starting to write original stuff at that point.

We had a band before we did Simande, which is called Meta, and once again, you know, the focus was doing our original music. But we did a couple of covers with that Forgot, which was a Rollin Kirk track one Rolling Kirk track, one Miles Davis Thing Footprints and well look slavery if my memory serves me well, and that was about it. Because we always wantd to create our own original sound and our own original have our own original style, and we sort of achieved that with Mita. It was a four piece Na Steve really wonderful English drama and Saxon polk player god Ress is so called Pepsi Delgado.

We had a band before we did Simande, which is called Meta, and once again, you know, the focus was doing our original music. But we did a couple of covers with that Forgot, which was a Rollin Kirk track one Rolling Kirk track, one Miles Davis Thing Footprints and well look slavery if my memory serves me well, and that was about it. Because we always wantd to create our own original sound and our own original have our own original style, and we sort of achieved that with Mita. It was a four piece Na Steve really wonderful English drama and Saxon polk player god Ress is so called Pepsi Delgado.

Did you guys ever record meter? Well if we did, none, I either think we did. But the tip, the tips wouldn't have survived in those days. It was it was your your real to real stuff. So it was unless it was properly it wouldn't It wouldn't have survived, man, because that's what I mean.

Did you guys ever record meter? Well if we did, none, I either think we did. But the tip, the tips wouldn't have survived in those days. It was it was your your real to real stuff. So it was unless it was properly it wouldn't It wouldn't have survived, man, because that's what I mean.

If you guys doing fascinating you guys were doing Roland Kirk and volunteers, I mean that is that's that's a bugged out toune, you know, like that would have been incredible to hear.

If you guys doing fascinating you guys were doing Roland Kirk and volunteers, I mean that is that's that's a bugged out toune, you know, like that would have been incredible to hear.

And you know, we did get some recognition. We started to get some recognition, not not not not from the public, but from within the music industry because I think it was probably unusual at that time kids have owed it to be so into jazz and not just and not just jazz, but really complicated stuff. You know, we were intimized. There is a lot of the time signatures that was going on, you know that Miles and Cold Train and those guys used to do. That's why we called the band meter because we were specifically focusing on different time signatures. Time signatures not just your four four, but you know your six faith, three four, five four and that kind of stuff. So I think a lot of the older musicians at the time were fascinated by these these kids. You know that. I'm so involved with this type of jazz.

And you know, we did get some recognition. We started to get some recognition, not not not not from the public, but from within the music industry because I think it was probably unusual at that time kids have owed it to be so into jazz and not just and not just jazz, but really complicated stuff. You know, we were intimized. There is a lot of the time signatures that was going on, you know that Miles and Cold Train and those guys used to do. That's why we called the band meter because we were specifically focusing on different time signatures. Time signatures not just your four four, but you know your six faith, three four, five four and that kind of stuff. So I think a lot of the older musicians at the time were fascinated by these these kids. You know that. I'm so involved with this type of jazz.

With calypse and a lot of the music from the Caribbean. It was a lot of that, and four four was that stuff also in a little bit of a different meter.

With calypse and a lot of the music from the Caribbean. It was a lot of that, and four four was that stuff also in a little bit of a different meter.

But mainly four four what I know of Calypso Calypso. It's another thing I love about Calypso is the lyricism.

But mainly four four what I know of Calypso Calypso. It's another thing I love about Calypso is the lyricism.

You know, I don't know how much.

You know, I don't know how much.

You know about some of those songwriters or their music, but the lyric writing is absolutely fabulous.

You know about some of those songwriters or their music, but the lyric writing is absolutely fabulous.

Yeah.

Yeah.

And you know storytelling, Yeah, I think it's just incredible, kind of like Chuck Bay or something like that.

And you know storytelling, Yeah, I think it's just incredible, kind of like Chuck Bay or something like that.

Like the stories they tell.

Like the stories they tell.

Well, let me tell you to what to do. You don't have to be a cabby a person to enjoy it. Listen to Sparrow, you know, listen to old Calypso and you will see and old Calypso is different from the stuff you have today, which is more popular, which is like Soca Eclypso storytelling stuff and you got some great stories there.

Well, let me tell you to what to do. You don't have to be a cabby a person to enjoy it. Listen to Sparrow, you know, listen to old Calypso and you will see and old Calypso is different from the stuff you have today, which is more popular, which is like Soca Eclypso storytelling stuff and you got some great stories there.

M hm.

M hm.

So the meter stuff, so the odd times stuff that really came from your guys's love of jazz.

So the meter stuff, so the odd times stuff that really came from your guys's love of jazz.

Yeah, yeah, yeah.

Yeah, yeah, yeah.

Were you guys going out to see a lot of music at the time, because London had, you know, there were a lot of as I understand, a lot of a lot of American jazz musicians coming to Europe to play, and of course London itself had like a pretty vibrant music.

Were you guys going out to see a lot of music at the time, because London had, you know, there were a lot of as I understand, a lot of a lot of American jazz musicians coming to Europe to play, and of course London itself had like a pretty vibrant music.

Still, you guys going out to see a lot of stuff or mostly it would be the American musicians. When I when I, you know, went out, it was mostly American musicians, but there were there were there were some are popular venues in our locality. There was one called ram Jam and a lot of musicians use American musicians. I think I saw James Brown there, if I recall correctly, Patrick, you used to more. Patrick was more outgoing in terms of going and listening. Way, babe, did you see Jimmy was not in the Western Marquie Mark Mark Marquee. That's what I was looking for, Yes, But tell me about that experience seeing Jimmy.

Still, you guys going out to see a lot of stuff or mostly it would be the American musicians. When I when I, you know, went out, it was mostly American musicians, but there were there were there were some are popular venues in our locality. There was one called ram Jam and a lot of musicians use American musicians. I think I saw James Brown there, if I recall correctly, Patrick, you used to more. Patrick was more outgoing in terms of going and listening. Way, babe, did you see Jimmy was not in the Western Marquie Mark Mark Marquee. That's what I was looking for, Yes, But tell me about that experience seeing Jimmy.

I saw Jimmy when he first came to England at what was then the most famous rock club, which is the Market Club in Ward the Street. It's his you know, are you experienced trio kind of thing and it's a long time ago. And the thing I remember most is I, I don't know who.

I saw Jimmy when he first came to England at what was then the most famous rock club, which is the Market Club in Ward the Street. It's his you know, are you experienced trio kind of thing and it's a long time ago. And the thing I remember most is I, I don't know who.

Believes me now, but it's true. Shook my hand. So that was a great great you haven't watched that hands since? Right, I was an Ardent fan. I've been an Ardent fan of you know, from then to an hour.

Believes me now, but it's true. Shook my hand. So that was a great great you haven't watched that hands since? Right, I was an Ardent fan. I've been an Ardent fan of you know, from then to an hour.

Actually, it's really hard to beat, it's really hard to be Tell me about how the first the first album came together, the self titled album.

Actually, it's really hard to beat, it's really hard to be Tell me about how the first the first album came together, the self titled album.

You see.

You see.

What you have to remember is that we rehearsed every day, I mean every day and much of the day and from the from meter days all the way through when.

What you have to remember is that we rehearsed every day, I mean every day and much of the day and from the from meter days all the way through when.

We finished meeting.

We finished meeting.

We didn't work with Ginger Johnson, but we we were constantly creating what what eventually came to many music.

We didn't work with Ginger Johnson, but we we were constantly creating what what eventually came to many music.

We were absolute musicians. That was that was our life. Raison death. Yeah, that's kind of all we did, or we did.

We were absolute musicians. That was that was our life. Raison death. Yeah, that's kind of all we did, or we did.

It was like one long stream of creativity that turned into Semandi music nineteen empty like nineteen one empty two.

It was like one long stream of creativity that turned into Semandi music nineteen empty like nineteen one empty two.

In the first album, it's the it's you know, the message ricks incredible, incredible stuff.

In the first album, it's the it's you know, the message ricks incredible, incredible stuff.

Yeah, we were fortunate with having John Shoeder as our producer in the sense that he never saw t interfere with the music. He was fascinated with the music. School was quite unusual, I mean, looking back on it now, because we've only been together for about a year before we went into the studio, you know, and and to have that kind of how can I say, a rapid access to you know, to high quality recordings at that time was you know, it was unusual. Normally it'd have to be you on the road three four or five years building a profile before you get that kind of opportunity. We started to develop a following, you know, there was a following that you still come and listen to us whenever we were playing. But we were certainly not what you might call a big you know, a big name band. But John Shoeda liked the music and he wanted to get us into the studios as early as possible, and that's what he did. And he took us into the studio and just left us really to you know, to create. There was no real pressure on us. Okay, guys, start recording and that kind of thing. But we had a lot of freedom in terms of you know, or building our interactions and getting the right atmosphere, go in, et cetera. So that was my recollection. Well, I will put one word, you know, you ask us what it was like. It was very exciting.

Yeah, we were fortunate with having John Shoeder as our producer in the sense that he never saw t interfere with the music. He was fascinated with the music. School was quite unusual, I mean, looking back on it now, because we've only been together for about a year before we went into the studio, you know, and and to have that kind of how can I say, a rapid access to you know, to high quality recordings at that time was you know, it was unusual. Normally it'd have to be you on the road three four or five years building a profile before you get that kind of opportunity. We started to develop a following, you know, there was a following that you still come and listen to us whenever we were playing. But we were certainly not what you might call a big you know, a big name band. But John Shoeda liked the music and he wanted to get us into the studios as early as possible, and that's what he did. And he took us into the studio and just left us really to you know, to create. There was no real pressure on us. Okay, guys, start recording and that kind of thing. But we had a lot of freedom in terms of you know, or building our interactions and getting the right atmosphere, go in, et cetera. So that was my recollection. Well, I will put one word, you know, you ask us what it was like. It was very exciting.

First time returned it to do any real recording of our own. John was in house producer for five records and it had all sorts of you know, hits with various people. So the fact that he saw us like us and loved the music I wanted to do something with.

First time returned it to do any real recording of our own. John was in house producer for five records and it had all sorts of you know, hits with various people. So the fact that he saw us like us and loved the music I wanted to do something with.

Us was fortunate us. So it was a good bit of fortune that we were introduced to him and.

Us was fortunate us. So it was a good bit of fortune that we were introduced to him and.

He to us and rapidly moved from there to chest Janus Records in America and touring America with agreed.

He to us and rapidly moved from there to chest Janus Records in America and touring America with agreed.

What was that tour like? Really excited I. I mean, we've been on the road, as I said, we've been existed for about a year, and and to be moving from small venues and I can't even cause some of them were just very small clubs in the UK, yeah, you know, and then to be going in the States and being playing in football stadiums, you know, twenty to thirty thousand people. Yeah, to be playing a week at the Apollo. I mean the Apollo was even in the UK that was like the holy grail you know for soul music and that that that kind of stuff. And to have the opportunity of going and played that for to do a week there was was something. You know, It's just it was a mind blowing experience. Really. Yeah. How was Al as a performer on that Well, I was into his element at the time. You know, I love it. The guys used to be throwing the girls were throwing their things at him.

What was that tour like? Really excited I. I mean, we've been on the road, as I said, we've been existed for about a year, and and to be moving from small venues and I can't even cause some of them were just very small clubs in the UK, yeah, you know, and then to be going in the States and being playing in football stadiums, you know, twenty to thirty thousand people. Yeah, to be playing a week at the Apollo. I mean the Apollo was even in the UK that was like the holy grail you know for soul music and that that that kind of stuff. And to have the opportunity of going and played that for to do a week there was was something. You know, It's just it was a mind blowing experience. Really. Yeah. How was Al as a performer on that Well, I was into his element at the time. You know, I love it. The guys used to be throwing the girls were throwing their things at him.

You know, you got shock seeing that stuff, Like how the girls are responding to Al.

You know, you got shock seeing that stuff, Like how the girls are responding to Al.

We got shot now we we We finished with Church long before that, man.

We got shot now we we We finished with Church long before that, man.

Great, got you got you man? That's wild. Yeah. But I was big, man, I was big. The girls would do anything to get the moment without I mean anything. They were offering anything to if you could get the maccuster out because it was really that big. It was just a ginormous It's probably difficult to imagine now you know just how big how big he was at the time. Yeah.

Great, got you got you man? That's wild. Yeah. But I was big, man, I was big. The girls would do anything to get the moment without I mean anything. They were offering anything to if you could get the maccuster out because it was really that big. It was just a ginormous It's probably difficult to imagine now you know just how big how big he was at the time. Yeah.

Yeah, when you first went into the studio for that first album, was it then, like Dove is almost eleven minutes long. Were all your songs at that point like that you would play like in your sets, were they all pretty long like that? And when you got to the studio you thought, I'll bring them down or or I was.

Yeah, when you first went into the studio for that first album, was it then, like Dove is almost eleven minutes long. Were all your songs at that point like that you would play like in your sets, were they all pretty long like that? And when you got to the studio you thought, I'll bring them down or or I was.

Just everything in the same way we had been doing it before. And because it's so much improvisational stuff and you go divide in a sense, I do I think we knew it was that longer we were cutting it.

Just everything in the same way we had been doing it before. And because it's so much improvisational stuff and you go divide in a sense, I do I think we knew it was that longer we were cutting it.

But we never enough. Yeah, we never operated in with the kind of commercial restrictions on on on on songs. You know, your three and a half minutes. We never worked a three and a half and a half minute kind of limit for the songs. However, the songs developed, that's how we we went with them.

But we never enough. Yeah, we never operated in with the kind of commercial restrictions on on on on songs. You know, your three and a half minutes. We never worked a three and a half and a half minute kind of limit for the songs. However, the songs developed, that's how we we went with them.

So like with with the message, for instance, you guys didn't have a longer version that you get in the studio.

So like with with the message, for instance, you guys didn't have a longer version that you get in the studio.

Dot, let's get it closer to four. That's just kind of what it was. So we did it.

Dot, let's get it closer to four. That's just kind of what it was. So we did it.

John just captured what we were doing on the on the table.

John just captured what we were doing on the on the table.

Those were the songs.

Those were the songs.

There were some that we you know, there was some improvization going on, so they might be a little longer here, a little shorter there, but those are the songs.

There were some that we you know, there was some improvization going on, so they might be a little longer here, a little shorter there, but those are the songs.

Mm hmmm. I think it's because of the jazz element and the music. You know, we always wanted to make space for the sex players, you know, we Devil wanted our sax players to be just accent accent players, and that's why you'll find a leader of them. Yeah, exactly, exactly.

Mm hmmm. I think it's because of the jazz element and the music. You know, we always wanted to make space for the sex players, you know, we Devil wanted our sax players to be just accent accent players, and that's why you'll find a leader of them. Yeah, exactly, exactly.

Yeah, as much as part of the I feel like the sound of Sinandi was like the way you guys played together. Steven Patrick as a bass playing guitar player, there were wonderful songs that would just be drum, you know, and it sounded almost more Jamaican in that sense, you know, like NAVINGI kind of where it wasn't even reggae, but just with the kind of spiritual with the drum. Was that something you guys were also listening to or was that more of the Jamaican members of the group or what?

Yeah, as much as part of the I feel like the sound of Sinandi was like the way you guys played together. Steven Patrick as a bass playing guitar player, there were wonderful songs that would just be drum, you know, and it sounded almost more Jamaican in that sense, you know, like NAVINGI kind of where it wasn't even reggae, but just with the kind of spiritual with the drum. Was that something you guys were also listening to or was that more of the Jamaican members of the group or what?

How did how how did that enter the sound.

How did how how did that enter the sound.

From That's more from Pablo and Mike at the time, and I know it was at that time. It was really quite important because that gave us a slightly different tilt to our music that rasted are.

From That's more from Pablo and Mike at the time, and I know it was at that time. It was really quite important because that gave us a slightly different tilt to our music that rasted are.

Underpinning.

Underpinning.

Yeah, and I think maybe it was the first album or first and second album. We have about four raster songs on there, and.

Yeah, and I think maybe it was the first album or first and second album. We have about four raster songs on there, and.

It was very important on music.

It was very important on music.

Pablo as a as a percussion players, a bungka player had is a really original style. It would we interacted, you know, musically, and they brought to Bablo and Mike book much of the Rastafarian element that Simandi was to it. Yeah, that was all part of Samandai's make up. The percussive thing, the styling of the guitar and bass.

Pablo as a as a percussion players, a bungka player had is a really original style. It would we interacted, you know, musically, and they brought to Bablo and Mike book much of the Rastafarian element that Simandi was to it. Yeah, that was all part of Samandai's make up. The percussive thing, the styling of the guitar and bass.

It was better what we did. You know.

It was better what we did. You know.

It wasn't it wasn't it wasn't contrived, you know it it was organic with that way so beautiful.

It wasn't it wasn't it wasn't contrived, you know it it was organic with that way so beautiful.

Even in hindsight, you listen to these records and you guys, I want to talk about the new record because you guys, I feel like you guys have figured out how to keep that. But you guys, really I don't know how you guys did it. But even just the way the congas, that the just the sound of those so crisp and just like you guys really captured something just magical, you know.

Even in hindsight, you listen to these records and you guys, I want to talk about the new record because you guys, I feel like you guys have figured out how to keep that. But you guys, really I don't know how you guys did it. But even just the way the congas, that the just the sound of those so crisp and just like you guys really captured something just magical, you know.

So yeah, John John John just allowed us to He allowed us to be ourselves in the studio.

So yeah, John John John just allowed us to He allowed us to be ourselves in the studio.

After the flast break, we're back at the rest of my conversation with see Monday. Were you guys shocked over Over the years, after a while, you guys kind of just retreated into civilian life. But you know, through the nineties and two thousands, you guys' music became revered, you know in a sense, and it would just pop up in movies or in other people's music. How did that feel when that sorted to happen?

After the flast break, we're back at the rest of my conversation with see Monday. Were you guys shocked over Over the years, after a while, you guys kind of just retreated into civilian life. But you know, through the nineties and two thousands, you guys' music became revered, you know in a sense, and it would just pop up in movies or in other people's music. How did that feel when that sorted to happen?

Well, I mean, never, we never ceased being musicians. You know, It's just for a while because nothing was happening for the music, we decided to go down another avenue and something to some extent that probably you know, we always felt we'd do at some point, But we never ceased being musicians. But certainly with the interest the new interests in the music, I think started in the eighties or it might have been the nineties. Certainly, the first the first sampling and I heard of the song was brought to my attention by my my older children at the time, was the Della Soul sample. And then after that, I think was the Fujis And then you know, I became aware that something was happening with the music. I think I told Patrick also that something was happening with the music, and you know, we saw the development. Unfortunately for us prior, just prior to that, when all the activity with the music that was being generated by the younger generation, we'd also got all our copyright back for our songs, so that that that coincided nicely with what what was happening with the music.

Well, I mean, never, we never ceased being musicians. You know, It's just for a while because nothing was happening for the music, we decided to go down another avenue and something to some extent that probably you know, we always felt we'd do at some point, But we never ceased being musicians. But certainly with the interest the new interests in the music, I think started in the eighties or it might have been the nineties. Certainly, the first the first sampling and I heard of the song was brought to my attention by my my older children at the time, was the Della Soul sample. And then after that, I think was the Fujis And then you know, I became aware that something was happening with the music. I think I told Patrick also that something was happening with the music, and you know, we saw the development. Unfortunately for us prior, just prior to that, when all the activity with the music that was being generated by the younger generation, we'd also got all our copyright back for our songs, so that that that coincided nicely with what what was happening with the music.

Wow, that's great. Was that like a pretty tough processing the copyright back?

Wow, that's great. Was that like a pretty tough processing the copyright back?

Yes? That well?

Yes? That well?

I think I think we had to just have sufficient nows to know what to do, and sufficient interest to realize that something had gone terribly wrong with the music that we had written and seemed to be owned and divided up, you know, between all kinds of people except us. Was that what we got to that point, you know, it was kind of time to go just take it, take it back because it was ours, you know.

I think I think we had to just have sufficient nows to know what to do, and sufficient interest to realize that something had gone terribly wrong with the music that we had written and seemed to be owned and divided up, you know, between all kinds of people except us. Was that what we got to that point, you know, it was kind of time to go just take it, take it back because it was ours, you know.

Yeah, yeah, got to clean that up a little bit. We didn't have to, fortunately, end up in any big hearings before the courts or things like that. I think people recognized pretty quickly after we had instruct did attorneys to you know, to represent us and communicate to them, you know, how we felt about what was happening. I think people recognized pretty quickly that they didn't really have a lectus stand on and it was best to get the thing resourced. Let's talk.

Yeah, yeah, got to clean that up a little bit. We didn't have to, fortunately, end up in any big hearings before the courts or things like that. I think people recognized pretty quickly after we had instruct did attorneys to you know, to represent us and communicate to them, you know, how we felt about what was happening. I think people recognized pretty quickly that they didn't really have a lectus stand on and it was best to get the thing resourced. Let's talk.

Let's talk about renaissance guy. I mean I was saying a bit earlier, like the new album. I was shocked because in some way I thought it sounded a lot like the classic lineup. Even the drums sounded so similar to to Sam Kelly and and and the way that you guys still create that space which doesn't exist in a lot of modern music. It's still present in your guys' music. When did you guys start collecting these songs? And when did you guys decide to go record a new project.

Let's talk about renaissance guy. I mean I was saying a bit earlier, like the new album. I was shocked because in some way I thought it sounded a lot like the classic lineup. Even the drums sounded so similar to to Sam Kelly and and and the way that you guys still create that space which doesn't exist in a lot of modern music. It's still present in your guys' music. When did you guys start collecting these songs? And when did you guys decide to go record a new project.

I think it's it's kind of an ongoing process. We never stopped writing. We never killed off the Simandi project. We were always working in some form or fashion. The hardest thing was deciding what Samanda twenty twenty four was going to be.

I think it's it's kind of an ongoing process. We never stopped writing. We never killed off the Simandi project. We were always working in some form or fashion. The hardest thing was deciding what Samanda twenty twenty four was going to be.

But much of what we did.

But much of what we did.

Is if you liked the end product of a lot of work coming towards at that time and that space. We didn't write to go into the studio to record. We've been writing, and we could seelect material from the stuff that we had written, and we selected about maybe there was a from about a bunch of shortlists of maybe fifteen twenty songs.

Is if you liked the end product of a lot of work coming towards at that time and that space. We didn't write to go into the studio to record. We've been writing, and we could seelect material from the stuff that we had written, and we selected about maybe there was a from about a bunch of shortlists of maybe fifteen twenty songs.

Wow.

Wow.

And I must say that the ani Man and Gene was really very helpful in, you know, in our latter process of deciding which tract to go on the album, because he was he was openly enough to say, I really like this, I think it's good that sort of thing, and not something and I'm going to just not they shouldn't be faid any money doing.

And I must say that the ani Man and Gene was really very helpful in, you know, in our latter process of deciding which tract to go on the album, because he was he was openly enough to say, I really like this, I think it's good that sort of thing, and not something and I'm going to just not they shouldn't be faid any money doing.

But it was from being Patrick. Patrick passed over it pretty quickly. But it was a difficult it was. It was. It was not as as easy as Patrick probably makes it sound, you know, because there were lots of things we had to be thinking about, you know, the band that that at that time, and now, you know, people were now exposed to the three albums, they knew what the sound of the band was, you know those days. What would they expect now, Yeah, you know, are they going to expect us to try and recreate something that we did in the seventies, or are we going to do something now that maybe so far remove from what they're expecting that you know, it disappoints them. So it was it was quite a difficult process for us. Actually, even Patrick and I had a differences with all of the some of the material in terms of what we think would be correct for the album or and so on. You know. So it wasn't it wasn't it wasn't uneasy. It wasn't an easy process. We wanted a connectedness bit the seventies, but we didn't want it to appear as were we're trying to recreate the seventies because we're in different places now forty years the past. You know, we different people. You know, we are not kids anymore. We're were big, grown men. So all of those those considerations played into the into the selection process.

But it was from being Patrick. Patrick passed over it pretty quickly. But it was a difficult it was. It was. It was not as as easy as Patrick probably makes it sound, you know, because there were lots of things we had to be thinking about, you know, the band that that at that time, and now, you know, people were now exposed to the three albums, they knew what the sound of the band was, you know those days. What would they expect now, Yeah, you know, are they going to expect us to try and recreate something that we did in the seventies, or are we going to do something now that maybe so far remove from what they're expecting that you know, it disappoints them. So it was it was quite a difficult process for us. Actually, even Patrick and I had a differences with all of the some of the material in terms of what we think would be correct for the album or and so on. You know. So it wasn't it wasn't it wasn't uneasy. It wasn't an easy process. We wanted a connectedness bit the seventies, but we didn't want it to appear as were we're trying to recreate the seventies because we're in different places now forty years the past. You know, we different people. You know, we are not kids anymore. We're were big, grown men. So all of those those considerations played into the into the selection process.

We've always gone in the same direction. Really, that's that's my old Yeah, he has his writing style.

We've always gone in the same direction. Really, that's that's my old Yeah, he has his writing style.

I have kind of my writing style.

I have kind of my writing style.

We don't write as much together s ifing down as we did in the past, but our direction is, especially to Semantha's, much the same, you know, to that extent. It wasn't that that had a task to achieve a body of sums that we go both.

We don't write as much together s ifing down as we did in the past, but our direction is, especially to Semantha's, much the same, you know, to that extent. It wasn't that that had a task to achieve a body of sums that we go both.

We're all happy with.

We're all happy with.

Have your guys's taste, I mean, you're listening habits changed from the seventies to now, Like I guess when you go to listen to music now, what are you listening to and has it changed since you know, the seventies. I'm still very much into jazz. Jazz is still my favorite medium for listening to music. I don't listen to music that much anymore, to be honest, I don't don't get the opportunity.

Have your guys's taste, I mean, you're listening habits changed from the seventies to now, Like I guess when you go to listen to music now, what are you listening to and has it changed since you know, the seventies. I'm still very much into jazz. Jazz is still my favorite medium for listening to music. I don't listen to music that much anymore, to be honest, I don't don't get the opportunity.

Really. The most might be now if I'm traveling, you know, in the air, then I might take out my phone and put a couple of tracks on. But most of most of the albums on my phone would be jazz, and mostly it would be the traditional jazz stuff, you know, not not the not the modern too much of the modern stuff. There's a lot of you know, musicians now even based play now you know, they're they're into this, displaying their skills. It's almost like beast players are now guitar players, you know. And I when I when I hear some of them, and it's nice stuff. It's great stuff, very technical and whatever, but it doesn't have that I mean like ron KRT and some of those guys, they play one note, yeah, put it in the right place and it just hits you. It's you more than than twenty notes that some of these guys would would now be playing so these guys know, they display their skills, they display their techniques and their abilities and so on. But I find that that knowing where to just land the note or put or put a particular groove there, I find that lacking much with some of some of what I'm hearing. I don't listening enough listen. I'm gonna listen to more.

Really. The most might be now if I'm traveling, you know, in the air, then I might take out my phone and put a couple of tracks on. But most of most of the albums on my phone would be jazz, and mostly it would be the traditional jazz stuff, you know, not not the not the modern too much of the modern stuff. There's a lot of you know, musicians now even based play now you know, they're they're into this, displaying their skills. It's almost like beast players are now guitar players, you know. And I when I when I hear some of them, and it's nice stuff. It's great stuff, very technical and whatever, but it doesn't have that I mean like ron KRT and some of those guys, they play one note, yeah, put it in the right place and it just hits you. It's you more than than twenty notes that some of these guys would would now be playing so these guys know, they display their skills, they display their techniques and their abilities and so on. But I find that that knowing where to just land the note or put or put a particular groove there, I find that lacking much with some of some of what I'm hearing. I don't listening enough listen. I'm gonna listen to more.

But when I do listen, you know, I'm a I'm a big fan of good song, right thing, and I like to hear stories, so.

But when I do listen, you know, I'm a I'm a big fan of good song, right thing, and I like to hear stories, so.

I kind of will listen to that.

I kind of will listen to that.

So like if you like, when you say you want to listen to more, like, what's something you want to you might mis listening to that you if you had time, you throw it on.

So like if you like, when you say you want to listen to more, like, what's something you want to you might mis listening to that you if you had time, you throw it on.

When I go home.

When I go home.

The albums I listened to generally are the two Herbi Haandcock albums, the one that he has, the Johnny Mitchell.

The albums I listened to generally are the two Herbi Haandcock albums, the one that he has, the Johnny Mitchell.

The Johnny Mitchell songs Yeah the River, Yeah yeah yeah, River River River, Yeah it's river, and the one would Imagine on it. So I listened to that. I listened to there's.

The Johnny Mitchell songs Yeah the River, Yeah yeah yeah, River River River, Yeah it's river, and the one would Imagine on it. So I listened to that. I listened to there's.

This compilation there's not really a compilation, but Bob Marley songs played by other artists and now it's simply listened to that a great deal with India.

This compilation there's not really a compilation, but Bob Marley songs played by other artists and now it's simply listened to that a great deal with India.

I Rea, I think it's on it. Maxie Priest.

I Rea, I think it's on it. Maxie Priest.

I really don't listen enough, but I listened to to those things when I when I'm home and get the listening opportunity.

I really don't listen enough, but I listened to to those things when I when I'm home and get the listening opportunity.

M hm. How did you guys select the new personnel in the band when you had to put some new people around you? How did you guys figure out who the right people would be?

M hm. How did you guys select the new personnel in the band when you had to put some new people around you? How did you guys figure out who the right people would be?

Monday?

Monday?

Most of these guys we have known for ages, and they have known each other for ages, you know, and it's a very It's actually, when I think about it, it's quite strange. Ray who is our singer? Now, this is a funny looking story. He was a kid coming to watch us rehearse in Brixton when he for a sex help.

Most of these guys we have known for ages, and they have known each other for ages, you know, and it's a very It's actually, when I think about it, it's quite strange. Ray who is our singer? Now, this is a funny looking story. He was a kid coming to watch us rehearse in Brixton when he for a sex help.

Really had his own career as a solo singer, did some and he's also a good songwriter.

Really had his own career as a solo singer, did some and he's also a good songwriter.

I worked did some work with him in the mid mid mid eighties. Going towards the nineties, he worked with Jazzy b. He worked with many other people. Then the piano player I've known since the mid eighties. First time I encounted him, Jian Reid. He used to work be in a band with a guy that used to play drums with me, and in other places the rest of people either agent and brought them or we knew of them. For example, the drummer Richard Bailey, he's been around almost as long as us. He's a bit younger than us, but he's almost because we had there were some really nice bands in England in the early days, and you know he used to play with some of them. We are very pleased to say that we think we have the cream of the crop.

I worked did some work with him in the mid mid mid eighties. Going towards the nineties, he worked with Jazzy b. He worked with many other people. Then the piano player I've known since the mid eighties. First time I encounted him, Jian Reid. He used to work be in a band with a guy that used to play drums with me, and in other places the rest of people either agent and brought them or we knew of them. For example, the drummer Richard Bailey, he's been around almost as long as us. He's a bit younger than us, but he's almost because we had there were some really nice bands in England in the early days, and you know he used to play with some of them. We are very pleased to say that we think we have the cream of the crop.

Well, you know, that goes to show I mean, really is that you guys really are the key to the sound I mean. And then it's like, no matter what era of the group I'm listening to, it's like, what the way you guys sound together. It sounds like you guys aren't even writing so much together anymore. From from Patrick was saying, but you guys still have a interplay between one another. That's just it just sounds like the band.

Well, you know, that goes to show I mean, really is that you guys really are the key to the sound I mean. And then it's like, no matter what era of the group I'm listening to, it's like, what the way you guys sound together. It sounds like you guys aren't even writing so much together anymore. From from Patrick was saying, but you guys still have a interplay between one another. That's just it just sounds like the band.

You know, well, we formed the band. The band is the band, our creation.

You know, well, we formed the band. The band is the band, our creation.

The music that you know that the band plays to a great extent is decided upon between us. And you know the thing about the twenty fifteen albums, Steve might have a different view, but for me, the important thing for the twenty fifteen album was bringing the original six players back together to do that album. Very important that we could do that, and I mean every man was ready to do.

The music that you know that the band plays to a great extent is decided upon between us. And you know the thing about the twenty fifteen albums, Steve might have a different view, but for me, the important thing for the twenty fifteen album was bringing the original six players back together to do that album. Very important that we could do that, and I mean every man was ready to do.

It, and we did it.

It, and we did it.

And in fact John also came back on board, John Troda, and the original engineer also came back on board, Alan Florence. So that's the original Semandic project. It's not exactly the same as it was in the first three albums, but that to me is a very important thing. And Steve mightn't have to write together in the way sit down in the room any longer. We know what it We both of us know what it is that we want some Mandy music to be. And we each have a and and what is crafted at the end of the day. That's just how it's always been, I suppose how it always will be.

And in fact John also came back on board, John Troda, and the original engineer also came back on board, Alan Florence. So that's the original Semandic project. It's not exactly the same as it was in the first three albums, but that to me is a very important thing. And Steve mightn't have to write together in the way sit down in the room any longer. We know what it We both of us know what it is that we want some Mandy music to be. And we each have a and and what is crafted at the end of the day. That's just how it's always been, I suppose how it always will be.

We might not have that long, but that's it. But a lot of the songs, you know, although the developmental process is when the band comes together, so you'll have the ideas, the genesis of the ideas and whatever. But the real can I say, the completion of the songs or when the band comes together and we start, because lots of changes take place in that process. I mean a lot of the songs on the album when we presented them as demos, you know, they're in a form that is different how they were presented as demos. Yeah, a number of a number of the songs. Because when you start, when we when the band is together and everybody is putting in there a little bit, you have the drama it is isn't put the keyboard players so you know, and that all comes together, it impacts the song and it it sometimes also dictates the direction of the of the song. So although myself and Patrick will be there, I have my my style of plane obviously, which will remain an influence on on the sound. Patrick will have his style of plane also that isn't remains an important influence on the sound. But the audio instrumentation also has an impact in terms of the direction and the flow of the of the minister.